Max Beckmann Distinguished Visitorship - Villa Grisebach

Benefit Auction for the Max Beckmann Distinguished Visitorship
of the American Academy in Berlin
30 November 2012

Max Beckmann. Brooklyn Museum Art School, New York, 1950
Benefit Auction for the
Max Beckmann Distinguished Visitorship
of the American Academy in Berlin
Auction No. 205
Friday, 30 November 2012
7 p.m.
Villa Grisebach
Fasanenstraße 25, Berlin
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Max Beckmann Distinguished Visitorship
of the American Academy in Berlin
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Sämtliche Gegenstände in diesem Katalog, sofern sie
eindeutig identifizierbar sind und einen Schätzwert von
mind. EUR 2.500,– haben, wurden vor der Versteigerung mit
dem Datenbankbestand des Registers individuell abgeglichen.
Villa Grisebach is a partner of the Art Loss Register.
All objects in this catalogue which are uniquely identifiable
and have an estimate of at least 2.500 Euro have been
checked individually against the register’s database prior
to the auction.
Alice Neel · Lot 915 (detail)

Blissful Serendipity –
An Initiative in the Spirit of Max Beckmann
By Gary Smith
Please imagine that moment in 1948 when art student
Ellsworth Kelly met the legendary artist Max Beckmann
during the latter’s brief visit to Boston. Beckmann travelled
and taught indefatigably during those few years he was
fi nally able to spend in America, not only holding distinguished
appointments in St. Louis and Brooklyn, but crisscrossing
the country from Mills College in Oakland and the University
of Colorado in Boulder, where he taught
summers, to Boston, Memphis, and other
points south where this titan of twentieth
century art, encumbered by age, language,
and fi guration, sought to educate the postwar
generation of students with impressive
fortitude and dedication, in a language not
his own, with tireless, careful fortitude.
In Boston, Beckmann lectured on Paul
Cézanne, as he often had, translated by
Quappi, and took the time to critique
student works at the Boston Museum School.
For Ellsworth Kelly, this was an epochal
experience, perhaps even documented
in his own brief excursion into the fi gurative.
We witnessed a kindred, blissful serendipity in the early
1970s when philanthropist Dominique de Menil brought
Max Ernst and the de Koonings, Ashbery, Rossellini,
and György Kepes to Houston, Texas, to lecture and teach.
We could hardly believe our good fortune, even if the freight
of implication of those presentations and discussions would
unfold only in subsequent decades, drawing the lineaments
of our intellectual autobiographies.
The arts have been a cornerstone of the American Academy
in Berlin’s program ever since Arthur Miller held a master
class to a roomful of Berlin drama students during our very
fi rst week in September 1998, and Jenny Holzer spent months
frequenting Mies van der Rohe’s Neue Nationalgalerie in
2000, conceiving of the luminous installation she would
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eventually inscribe in its ceiling and which is now part of its
permanent collection. The American Academy has hosted
several dozen fellowship recipients in the fi ne arts, and many
more distinguished visitors for shorter periods. All have
been visible, and many have subsequently become part of
the fabric of Germany’s dynamic life of the arts. Alex Katz
gave a master class for young Leipzig artists during his
three-week residency, and Xu Bing
transformed Berlin’s Museum for East
Asian Art into a dialogue between
its collection and his own oeuvre in
2004. Laura Owens recently returned
to Germany for a solo exhibition at the
Kunstmuseum Bonn, and it seems as
if Julie Mehretu (an Academy trustee),
Sarah Morris, Mitch Epstein, Paul
Pfeiff er, Jessica Rankin, and Aaron Curry
have been happily omnipresent in the
German public sphere. Jim Rosenquist,
Ed Ruscha, Richard Artschwager, and
Francesco Clemente all made cameo
appearances at the American Academy;
they join an exceptional group of German
artists who have become fond of the institution in
generously supporting the present initiative.
When the American Academy in Berlin was founded in
1994 by Richard C. Holbrooke, Henry A. Kissinger, and a
distinguished circle of Germans and Americans, it was to
be “a living center for the exchange of ideas” that would
expand the transatlantic dialogue well beyond political and
security issues into the cultural, academic, and economic
spheres. At its heart was to be a residential Fellowship
program, enabling scholars, writers, and policy professionals
to pursue a signifi cant scholarly or creative project in
the splendid isolation of the American Academy’s lakeside
villa, the Hans Arnhold Center. The American Academy’s
public outreach of lectures and discussions was an important

innovation on that original idea. Another cornerstone
became the Distinguished Visitors program, high-profile
Americans whom the American Academy brings to Berlin
for briefer visits in order to facilitate an especially robust
exchange of views through a public lecture and a brimming,
targeted schedule of meetings with peers, students, media,
and others from the private and public sector in and beyond
Berlin.
Though he is one of the greatest artists of the past century, it
is remarkable that there is hardly any significant chair or
prize named in Max Beckmann’s honor, and we are deeply
grateful to his granddaughter Mayen Beckmann for her
support. The Max Beckmann Distinguished Visitorship will
bring major artists living in the US to Berlin for a short-term
residency of one week to a month. Although Berlin hosts
no dearth of major artists visiting the city, they are rarely
glimpsed beyond the world of gallerists, collectors, peers,
and other art professionals. The American Academy wishes
to make select artists accessible to students and the
opulent collections in its museums the subject of the artist’s
reflection. First and foremost, the artists will work with a
select group of German students of fine arts, humanities, and
architecture in the form of a master class, which will include
studio visits, professional critiques, and informal meetings.
A second facet of the residency will enable the artist to
curate a cabinet exhibition in two rooms drawn from and
in dialogue with the collections of one of the museums of
the Stiftung Preußischer Kulturbesitz. These range from
the Byzantine to the present, whether it be the magnificent
sculptures or Byzantine gems of the Bode Museum, the
archeological treasures, classical antiquities, and Middle
Eastern treasures of the Pergamon Museum, the centuries
of Old Masters shown in the Gemäldegalerie, the Romantic
masterpieces in the Alte Museum, or the 20th-century
collections of the Hamburger Bahnhof and the Neue National-
galerie. By selecting, juxtaposing, and commenting objects
from the museum’s storage depot, the artist not only
creates a personal art historical narrative, but also
challenges the authority of the traditional way objects are
viewed and categorized. For the students fortunate enough
to observe or even participate in preparing this histoire
à rebours curated by the artist, this experience should
provide an unforgettable lesson in independent thinking
about received narratives of art, as well as the importance
of divulging new affinities between objects and epochs,
reendowing objects and art itself with the mystery and the
epiphanies of play.
We are indebted to all the artists and other benefactors
listed individually at the end of this catalogue, and above all
our friends at the Villa Grisebach, who are conducting this
auction pro bono, for their great generosity. The proceeds from
this auction will benefit the Max Beckmann Distinguished
Visitorship. The American Academy is an independent,
nonpartisan, and privately funded center for advanced
study and exchange, and thus dependent upon private
generosity. We welcome all contributions to this initiative.
Dr. Gary Smith is the Executive Director
of the American Academy in Berlin
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On the significance of America in the life and work
of Max Beckmann – and why it makes sense
to name the American Academy’s
Distinguished Visitorship after him
By Mayen Beckmann
A young man caught in the narrow confines of bourgeois
society in the Wilhelminian era, at odds with the expectations
of his strict protestant school, built on the principle of
obedience, in conflict with his overtaxed, newly widowed
mother and a stern guardian. Where do his dreams wander
as he reads The Leatherstocking Tales? Toward America!
He dreams of shipping off as a sailor or stowaway. It doesn’t
matter how – he just has to escape from narrow, stifling
Germany.
This is Max Beckmann’s first America: a continent of longing.
In the early 1920s, this dream returns. He has become a
major artist, and his Berlin art dealer, the entrepreneurialminded
J.B. Neumann, wants to expand. Neumann thinks
big, and New York, in his mind, rather than Paris, is the
launch-pad from which his artist’s career and his own
business can take flight. But Beckmann puts on the brakes.
Not yet. His sights are still on Paris. He wants to conquer that
fortress of contemporary art first, is seeking a reckoning with
the great modern artists, Picasso and Matisse. Despite this,
J.B. Neumann presents the first exhibition of Beckmann’s
work in New York in 1927. In 1929, Beckmann wins the
Carnegie Prize for his 1928 painting, “Die Loge” (The Loge)
and the Art Institute in Chicago acquires his “Stilleben
mit umgestürzten Kerzen” (Still Life with Fallen Candles).
In 1935 the Museum of Modern Art in New York buys
his “Familienbildnis” (Family Portrait) (1920) and in 1939,
Beckmann wins first prize in the European Art in
American Collections section at the Golden Gate International
Exposition.
This is Beckmann’s second America: a place of recognition.
The seizure of power by the National Socialists puts an end
to his nascent attempt to establish himself in Paris, and his
dreams of life in the wider world end on Graf-Spee-Strasse
in Berlin. The artist retreats to private life in the metropolis,
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hoping to survive the madness gripping the nation and be left
in peace. One by one, however, his friends emigrate to the
United States: Kurt Valentin, Hanns Swarzenski, Valentiner,
Schniewind, Otto Kallir, Mies van der Rohe, Stefan Lackner,
J.B. Neumann.
In 1937, after Hitler’s speech on German art and the
opening of the “Entartete Kunst” exhibit in Munich showing
“degenerate art”, Beckmann also leaves Germany. He has
recognized that his attempt to live a right life in the wrong
one is doomed to failure. The Beckmanns’ first move is to
the Netherlands, but even in Amsterdam, they know their
final destination is the United States.
But in 1940, when his friends have organized a summer
teaching position for him in Chicago, the US Consul in Den
Haag denies his visa application on the grounds that
the US would probably enter the war soon, meaning the
Beckmanns would not be able to return to Europe. Shortly
thereafter, the gates slam shut. The German army invades
Holland, ushering in a grim period in the painter’s life.
Beckmann and his wife Quappi face five years of isolation,
their lives and livelihoods under constant threat. For
two further years, they exist as enemy aliens, without
passports. Beckmann will create over 200 works during these
dark years, including important graphic cycles. He also begins
learning English in the Netherlands. He still believes his dream
can come true once the nightmare is over.
As soon as the war is over, his old friends try to finally find
a way for Beckmann to enter the country he longs for. The
first among them to make contact is the Berlin dealer Curt
Valentin formerly of the Galerie Flechtheim and currently with
the Galerie Buchholz in New York. Valentin pulls together an
exhibition in incredibly short order. Dozens of paintings are
removed from their stretcher frames, rolled up, and cleared
for transport to New York, despite enormous bureaucratic
difficulties. The exhibition is a huge success, but the painter

is still stuck in Amsterdam. His paintings, however, will clear
the path for him.
In 1947 it finally happens; the Beckmanns get passports and
can now travel. A one-year teaching contract at Washington
University in St. Louis makes it possible. Beckmann travels
to New York by ship, across the sea he loves so much. His
arrival is compensation for the many years of deprivation and
obscurity. The admiration he receives in America from the
moment he steps ashore touches his heart like few other
things in his life.
That is Max Beckmann’s third America: A place of long-overdue
happiness.
In quiet St. Louis, he is received with genuine enthusiasm, and
he realizes that he enjoys teaching. Despite language barriers,
the older painter, who had become so unaccustomed to
contact with young, passionate, free people, discovers that
sharing his own passion and well-honed skill brings great
rewards. As an aging man, he enjoys the admiration of his
students, and his discussions with them. He discovers talent
and nurtures it. With the help of Quappi as his interpreter and
a glass of whiskey now and again, it all comes together. He travels
the expansive country by train to give lectures and teach.
Quappi delivers the speeches on his behalf, but he gives
classroom instruction himself. There are artists, such as
Ellsworth Kelly, who remember him even today and rhapsodize
about the intense exchanges they had with their teacher.
The American Academy’s endeavor to create a fellowship
that will bring outstanding American artists to Berlin once
a year is an idea that resonates with Beckmann’s ethos.
The visitors will live on the Wannsee and curate an exhibition
together with the Stiftung Preußischer Kulturbesitz. One
especially important aspect is that they will work together
with students at Berlin’s art universities. This direct contact
between young artists and prominent, experienced artists
and the direct pedagogical exchange based on making
art and engaging with art make Max Beckmann an ideal
guardian spirit for such an undertaking.
As Beckmann’s granddaughter, I am very grateful that such a
Distinguished Visitorship has been established in his memory,
and that such first-class German and American artists
have donated their works for this auction serving to build
a fund to support the Distinguished Visitorship. May it spur
exchange between experienced, prominent artists and the
next generation, as well as between America and Germany,
and, with God’s help, inspire the creation of great art.
Max Beckmann in front of his triptych “Departure”
at the Museum of Modern Art, New York.
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900 R Max Beckmann
Leipzig 1884 – 1950 New York
PORTRAIT HENRY RADFORD HOPE. 1950
Charcoal on tracing paper.
44,6 x 28,1 cm (17 ½ x 11 ⅛ in.).
Donated by Mayen Beckmann, Cologne/Berlin
€ 10.000 – 15.000
$ 13,000 – 19,400
GRUPPENBILD HOPE. 1950
Oil on canvas. 204 x 89 cm (80 ⅜ x 35 in.). Göpel 822. –
Indiana University Art Museum, Bloomington
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Henry R. Hope (1905-1989) was an art historian and,
at the time of meeting Max Beckmann, Chairman of
the Department of Fine Arts at Indiana University in
Bloomington. In 1950, the artist painted the portrait
of the Hope family, illustrated below. The present lot
was executed by Beckmann as a preparatory drawing
for the painting.

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901 R Thomas Demand
Munich 1964 – lives in Berlin
“PRESIDENCY VI”. 2008/2010
Dye transfer on coated cardboard on AluDibond.
41 x 29,5 (58 x 45,8 cm)
(16 ⅛ x 11 ⅝ in. (22 ⅞ x 18 in.)).
Signed and dated on the reverse.
Unique print in this size. Framed.
Donated by the artist
€ 12.000 – 15.000
$ 15,500 – 19,400
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Thomas Demand is one of the most well-known and influential
artists of his generation. A photographer who uses the
photographs of other photographers as the basis of his own
work, Demand’s images – reshot scenes comprised entirely
of colored paper and cardboard – result in their strangely
touching artificiality. And Demand’s subject matter is always
the result of a well-considered choice: a scene where an incident
or intrinsic function has disrupted the banality of the everyday,
as in this image, where the press is allowed an “intimate“ peek
into President Barack Obama’s office.

LAYOUTÄNDERUNG FOTO BEACHTEN
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902 R Jessica Rankin
Sydney 1971 – lives in New York
“AGAINST THE SKY”. 2012
Embroidery on organdy.
60,5 x 65,5 cm (23 ⅞ x 25 ¾ in.).
Donated by the artist
€ 6.000 – 8.000
$ 7,770 – 10,360
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Jessica Rankin, an Australian living in New York, has made
a name for herself with her delicate work with fabrics that often
touches on decidedly indelicate subjects. Role and gender
stereotypes are among the recurring themes in her work,
yet the material itself plays a decisive role. Large pictures like
the present one are made on organdy, a cotton fabric made
translucent and extremely firm by means of sulfuric acid.
With embroidery that either remains abstract or forms words,
the artist creates objects she calls ”brainscapes.“ Rankin has
exhibited in such renowned institutions and galleries as P.S.1
in New York, Jay Jopling’s White Cube and the Saatchi Gallery.
Jessica Rankin was a guest of the American Academy in spring
2007.

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903 R André Butzer
Stuttgart 1973 – lives in Rangsdorf
near Berlin
UNTITLED (3). 2011
Watercolour, acrylic, and wax crayon on
paper. 94 x 153 cm (37 x 60 ¼ in.).
Signed and dated lower right with
black crayon: A. Butzer ‘11. Framed.
Donated by Galerie Max Hetzler, Berlin
€ 8.000 – 10.000
$ 10,360 – 13,000
Grotesque faces, comic book character-like creatures,
echoes of Jean Dubuffet’s and Asger Jorn’s Art Brut –
these are the elements that normally make up the
paintings of André Butzer. Born in Stuttgart in 1973 and
today living and working near Berlin, Butzer painted this
large, early watercolour, in delicate hues, but references
to the human figure are not yet apparent. Here, instead,
the focus is on instilling in the viewer a sense of space and
undetermined physical form via abstraction. In Butzer’s
work one finds an ambiguous sense of humor, guided by
irony and self-mockery, characteristics that can also be
seen in his exhibition titles. For example, in is latest solo
show, at Hanover’s Kestner-Gesellschaft: “André Butzer,
probably the world’s best abstract painter.“
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904 R Aaron Curry
San Antonio 1972 – lives in Los Angeles
“INEVITABLE VEGETABLE”. 2009
Silkscreen and letterpress printing on wove
paper. 247 x 100 cm (259 x 107,5 cm)
(97 ¼ x 39 ⅜ in. (102 x 42 ⅜ in.)).
Unique. Framed.
Donated by the artist, courtesy
Michael Werner Gallery, New York
€ 12.000 – 15.000
$ 15,500 – 19,400
Aaron Curry was the Guna S. Mundheim Fellow
in the Visual Arts at the American Academy in
Berlin in the fall of 2010.
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Aaron Curry’s work is almost diametrically opposed to the
contemporary high culture generally debated at the American
Academy’s home in Wannsee. Born in 1972 in San Antonio,
Curry’s paintings and sculptures are prime examples of the
strategy of sampling. In his work skater aesthetics meet Picasso,
graffiti art meets surrealism, Henry Moore meets Jeff Koons
– and all at the same time. Culture is what we make of it: This
stance of a respectful disrespectfulness has made Curry into one
of the most significant young American artists of the twenty-first
century.

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905 R Anselm Reyle
Tübingen 1970 – lives in Berlin
UNTITLED. 2011
Mixed media on paper.
30 x 22,5 cm (11 ¾ x 8 ⅞ in.).
Framed.
Donated by the artist,
courtesy Heiner Bastian, Berlin
€ 7.000 – 9.000
$ 9,070 – 11,660
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When Anselm Reyle’s gallerist first showed his work,
the response to his striped paintings and neon-lit wheel
sculptures was scorn and derision. Today, ten years later,
the Berlin-based son of a doctor and heavy metal fan from
southwestern Germany belongs to the absolute crème de la
crème of European contemporary art. Reyle mines modernity
like a quarry, supplying him with countless inspirations which he,
in turn, through the use of spray-paint, iridescent plastic foil,
and similar tools, reinserts into the artistic discourse – in a
Warholian tradition.

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906 R Paul Pfeiffer
Honolulu/Hawaii 1966 – lives in New York
“FOUR HORSEMEN OF THE
APOCALYPSE (26)”. 2006
Fujiflex C-print. 122 x 174 cm (48 x 68 ½ in.).
From the edition of 6 and 2 artist’s proofs.
Framed.
Donated by the artist, courtesy
Carlier I Gebauer, Berlin
€ 10.000 – 15.000
$ 13,000 – 19,400
Paul Pfeiffer was the Guna S. Mundheim Fellow
in the Visual Arts at the American Academy in
Berlin in the fall of 2011.
The 46-year-old American Paul Pfeiffer is one of those
artists who use the moving image like others use canvas
and a brush. In Pfeiffer’s videos - or in film stills like the
present lot - there is always something to see. Far more
important, however, is what can no longer be seen.
When basketball players battle for points, it is the ball
that is missing: digitally excised, the blank space is
flooded with light and thus symbolic meaning. Sports
as mass entertainment, a grotesque dance around the
golden calf. In other works, Pfeiffer tests boundaries –
his own and the viewer’s: one of his most well-known
works is Empire which nominally is about wasps building
a nest in real-time. Effectively, however, the film is about
the futility of grasping the whole, because no one will be
able to view the film in its entirety – the running-time is
three months.
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907 R Julie Mehretu
Addis Ababa 1970 – lives in New York
“FOUR-FOLD”. 2012
Ink, graphite, and acrylic on canvas.
63,7 x 91,5 cm (25 ⅛ x 36 in.).
Signed and dated on the reverse in
black felt-tip pen: J. Mehretu 2012.
On the reverse with a certificate of the
Julie Mehretu Studio. –
Donated by the artist
€ 100.000 – 150.000
$ 130,000 – 194,000
Julie Mehretu was the Guna S. Mundheim Fellow
in the Visual Arts at the American Academy in
Berlin in the spring of 2007.
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Maps, flight paths, diagrams of telephone networks and
ocean currents are the starting point for Julie Mehretu’s large
scale drawings and paintings. Born in Addis Ababa in 1970,
Julie Mehretu moved to America as a young child. Her work
carries wide-ranging references from Japanese calligraphy all
the way to imagery gleaned from advertising and corporate
logos. From these diverse sources the Documenta 13 participant
and MacArthur Fellow creates intricately and uniquely woven
images of the highest complexity.
Julie Mehretu at work in her Berlin studio, spring 2007

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908 R James Rosenquist
Grand Forks/N.D. 1933 – lives in New York
“THE XENOPHOBIC MOVIE DIRECTOR OR
OUR FOREIGN POLICY”. 2004-2011
Colour lithograph on firm paper. 51 x 136,5 cm
(63,5 x 147,3 cm) (20 ⅛ x 53 ¾ in. (25 x 58 in.)).
Titled, signed and dated.
Not in the catalogue raisonné by Glenn. –
From the edition of 10 numbered artist’s
proofs. Gemini G.E.L., Los Angeles (with the
blindstamp and the stamp on the reverse).
Donated by the artist
€ 8.000 – 10.000
$ 10,360 – 13,000
James Rosenquist was a guest speaker
at the American Academy in Berlin
in the spring of 2005.
James Rosenquist is considered, along with Andy Warhol,
Robert Rauschenberg, and Roy Lichtenstein, as one of
the most important figures of American pop art. In his
strongly narrative, often extremely large paintings, the
artist, born in Grand Forks, North Dakota, in 1933, often
picks up imagery and motifs from contemporary culture,
assembling them in a collage-like manner. Honored with
countless awards and museum exhibitions, Rosenquist
has also created a large graphic Œuvre, culminating in
“Time Dust”, the largest print ever created by an artist
and measuring 2 by 11 meters (7 x 35 ft).
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James Rosenquist at the American Academy, spring 2005

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909 R Mitch Epstein
Holyoke/Massachusetts 1952 – lives in New York
“CHECKPOINT CHARLIE, BERLIN 2008”. 2012
C-print. 76,2 x 101,6 cm (30 x 40 in.).
Signed and dated on the reverse on a label.
From the edition of 3 prints in this size. Framed.
Donated by the artist, courtesy
Galerie Thomas Zander, Cologne
€ 10.000 – 15.000
$ 13,000 – 19,400
Mitch Epstein was the Guna S. Mundheim Fellow
in the Visual Arts at the American Academy
in Berlin in the spring of 2007.
Grisebach 11/2012
Mitch Epstein, part of the second generation of American
color photographers, is considered one of the most important
chroniclers of American everyday life. Having studied with
Garry Winogrand at Cooper Union in the early 1970s, Epstein
primarily works in series that often take years to complete.
Among his most well known works are ”Recreation: American
photographs“ (1973-1988), ”American Power“ (1994-1999)
as well as his images of India and Vietnam which were the
product of multiyear residences in the countries. During his
residence at the American Academy in Berlin in spring 2008,
Mitch Epstein set out to examine Berlin‘s layered and famously
tormented history by photographing the remnants of its war and
postwar histories; the resulting pictures convey the city’s unique
capacity for the contradictory and surreal. In 2010, the Kunstmuseum
Bonn presented the major career retrospective
”State of the Union.“
Mitch Epstein enjoys a game of pick-up ping pong
at the American Academy

Grisebach 11/2012
Korr 31

32
910 R Richard Artschwager
Washington/D.C. 1924 – lives in New York
“CORNER SPLAT II”. 2009
Laminate on aluminium, in 4 parts.
9 x 22 cm to 20 x 79 cm (3 ½ x 8 ⅝ in. to
7 ⅞ x 31 ⅛ in.). Element 4/4 signed and
dated in black felt-tip pen on the reverse:
Artschwager ‘09.
From the edition of 20 numbered
unique variations.
Donated by the artist, courtesy
Sprüth Magers Berlin / London
€ 10.000 – 15.000
$ 13,000 – 19,400
Grisebach 11/2012
Richard Artschwager, born in Washington in 1924 of German
and Russian parentage, is one of the pioneers of Minimalism.
With his formally pared down sculptures, reminiscent of furniture,
his wall paintings and painted objects, the artist has throughout
his career stridently broken down the barriers between artistic
genres. Wood veneer, painted or glued onto his objects,
has long been the hallmark of Artschwager’s work. He is
considered one of the most well-known contemporary artists,
having had numerous major museum exhibitions and five
invitations to Documenta in his long career.

Grisebach 11/2012
33

34
911 R Tacita Dean
Canterbury 1965 – lives in Berlin
“GIBRALTAR OLD TREES”. 2012
Gouache on albumen print.
15,7 x 20,2 cm (6 ⅛ x 8 in.).
Titled, signed and dated in pencil
on the reverse: ‘Gibraltar Old Trees‘
Tacita Dean 2012.
Framed.
Donated by the artist
€ 25.000 – 35.000
$ 32,400 – 45,300
Grisebach 11/2012
With her photographs, paintings, sound installations, and
drawings, British artist Tacita Dean works across various media.
Yet almost always these works are based on her own film
recordings from which she isolates images or series and turns
them into individual works. Dean was nominated for the Turner
Prize in 1998. Following a DAAD scholarship in 2000, the artist
and director, born in Canterbury, has lived in Berlin, where she
has been inducted into the Akademie der Künste. Most recently
her work was exhibited at Documenta 13 and in Tate Modern’s
Turbine Hall as part of the renowned Unilever series.

Grisebach 11/2012
35

36
912 R Matt Mullican
Santa Monica 1951 – lives in New York and Berlin
UNTITLED.
Oilstick and acrylic on canvas.
180 x 120 cm (70 ⅞ x 47 ¼ in.).
Donated by the artist
€ 18.000 – 24.000
$ 23,300 – 31,100
Grisebach 11/2012
Since his participation in Documenta 9 in 1992, California-born
Matt Mullican is considered one of the most renowned members
of the international contemporary art scene. Along with Cindy
Sherman, Robert Longo, Richard Prince, and Louise Lawler,
Mullican is part of the ”Pictures Generation“ (named after the
eponymous 1977 group exhibition at New York’s Artists
Space.) His freely invented pictograms, fantasy flags, and
monochromatic paintings are considered highly unique within
contemporary art. Following solo shows at the Metropolitan
Museum, MoMA, Amsterdam’s Stedelijk, and the Neue
Nationalgalerie in Berlin, Munich’s Haus der Kunst honored
Mullican with a major career retrospective last year.

Grisebach 11/2012
37

913 R George Condo
Concord/New Hampshire 1957 – lives in Paris and New York
“THE DRINKER’S DREAM”. 2012
Coloured crayon and pencil on cream laid paper.
49,8 x 34,7 cm (19 ⅝ x 13 ⅝ in.).
Signed and dated upper left: Condo 2012.
Framed.
Donated by the artist, courtesy
Sprüth Magers, Berlin / London
€ 7.000 – 9.000
$ 9,070 – 11,660
Korr 38
Grisebach 11/2012
Few artists master the art of creating a distinctive style from a
multitude of influences as well as George Condo, born in
Concord, New Hampshire, in 1957. His works are laden with
references from the Renaissance to Picasso, from Velazquez
to Keith Haring, whom Condo counted among his friends in
New York. Along with Haring and Basquiat, Condo was one
of the innovators of painting in the early 1980s and debuted
with his first solo exhibition in Europe in 1984. A major touring
retrospective made stops in 2011 and 2012 in New York’s
New Museum, Rotterdam’s Boijmans van Beuningen, and most
recently, Frankfurt’s Schirn Kunsthalle.

Grisebach 11/2012
39

40
914 R Georg Baselitz
Deutschbaselitz/Saxony 1938 – lives near Munich
DER GEIST IN DER FLASCHE. 2011
Pen and brush and India ink on paper.
65,7 x 50,6 cm (25 ⅞ x 19 ⅞ in.).
Dated and monogrammed in the
lower center: 16.VI.2011 G.B.
Framed.
Donated by the artist, courtesy
Heiner Bastian, Berlin
€ 26.000 – 34.000
$ 33,700 – 44,000
Grisebach 11/2012
Georg Baselitz is deservedly considered one of the most renowned
German painters of his generation, whose neo-expressive painting
style has been globally exhibited. In 1969 Baselitz painted
his first upside-down picture, ”Der Wald auf dem Kopf.“ Ever
since, it has become the artist’s instantly recognizable hallmark.
In 2006 Baselitz caused a critical uproar when he first presented
his ”Remix“ paintings at Munich’s Pinakothek der Moderne.
Going back to his work of the last four decades, Baselitz has
reworked prior images and compositions, creating ”remixed“
new canvases.

Grisebach 11/2012
41

42
915 R Alice Neel
Merion Square/Pennsylvania 1928 – 1984 New York
PORTRAIT DICK BAGLEY. 1946
Oil on canvas. 76 x 63 cm (29 ⅞ x 24 ¾ in.).
Signed lower left: Neel.
Framed.
Donated by Hartley Neel and Richard Neel.
Exhibition: Alice Neel. Paintings and Drawings.
Berlin, Galerie Aurel Scheibler, 2010-11,
full-page colour ill. p. 11
€ 280.000 – 350.000
$ 363,000 – 453,000
Grisebach 11/2012
For a long time Alice Neel was only known to insiders, even
though she had been honored with a major exhibition by the
Whitney Museum, New York, in 1974, and had enjoyed growing
recognition towards the end of her life. But only the last few
years have seen a wider awareness of her work, fueled by a
retrospective that was shown in Houston, London, and Malmö.
Neel is now considered one of the preeminent American
women artists of the second half of the twentieth century.
In her psychologically insightful portraits the artist frequently
depicted artist friends and people from her neighborhood of
Spanish Harlem. The here portrayed Richard Bagley was a
Greenwich Village documentary cinematographer whose later
work included Lionel Rogosin’s ”On the Bowery“ and Sydney
Myers’s ”The Quiet One“, both of which where nominated for
Best Documentary at the Academy Awards.

Grisebach 11/2012
43

44
916 R Xu Bing
Chongqing 1955 – lives in New York
FROM: “FIVE SERIES OF REPETITIONS”.
1987/88
10 woodcuts, each on Japan laid paper.
52,5 x 73,5 cm to 55 x 74 cm
(66,5 x 90,5 cm) (20 ⅝ x 28 ⅞ in. to
21 ⅝ x 29 ⅛ in. (26 ⅛ x 35 ⅝ in.)).
Each signed and dated.
Donated by the artist, courtesy
Alexander Ochs, Berlin / Beijing
€ 70.000 – 90.000
$ 90,700 – 116,600
Xu Bing was the Coca-Cola Fellow
at the American Academy in Berlin
in the spring of 2004.
Grisebach 11/2012
Born in the southwest Chinese city of Chongqing, the painter
and installation artist Xu Bing was a major force in the creation
of an independent Chinese art scene in the 1980s. He studied
printmaking in Beijing and received various awards for his work.
Following the massacre of Tiananmen Square, Xu emigrated to
the US and is today considered one of the most important
contemporary Chinese artists. His works span across many
genres and media. Frequently large suites of woodcuts or
etchings will form the basis of major installations, as in 1990,
when Xu made casts of parts of the Great Wall of China, created
a group of prints, using traditional methods, that measured
32 x 15 meters overall. The American Academy’s Fellowship in
spring 2004 provided the impetus for Berlin’s Museum of
East Asian Art to organize Germany‘s first substantial solo exhibition
of Xu’s work. He won the MacArthur Award (1999)
in recognition of his ”capacity to contribute importantly to
society, particularly in printmaking and calligraphy.“.

Grisebach 11/2012
45

46
917 R Anselm Kiefer
Donaueschingen 1945 – lives in France
“EMANATION”. 2011
Oil, emulsion, acrylic, shellac, charcoal,
and zinc on photograph on cardboard.
140 x 99 x 15 cm (55 ⅛ x 39 x 5 ⅞ in.).
Titled upper left: Emanation. Framed.
Donated by the artist, courtesy
Heiner Bastian, Berlin
€ 150.000 – 200.000
$ 194,000 – 259,000
Grisebach 11/2012
For the last few decades Anselm Kiefer has been considered one
of the leading contemporary German artists whose works can be
found in the most important museums and most distinguished
private collections around the world. The three-time Documenta
participant’s expansive work frequently circles around historical
and mythological themes, often with clear allusions to thorny
issues of morality. Since representing West Germany at the
Venice Biennial in 1980, Kiefer has received countless prizes
and awards, including the Goslar Kaiserring (1990), Japan‘s
Praemium Imperiale (1999), and most recently the Leo Baeck
Medal, awarded by the eponymous New York institute.

Grisebach 11/2012
Final 47

Korr48
918 R Francesco Clemente
Naples 1952 – lives in New York
UNTITLED. 2007
Watercolour on paper.
46 x 60,6 cm (18 ⅛ x 23 ⅞ in.).
Signed in chalk on the reverse and dated:
Francesco Clemente 2007. Framed.
Donated by the artist
€ 30.000 – 40.000
$ 38,900 – 51,800
Francesco Clemente was a Special Guest
of the American Academy in Berlin in the
spring of 2007.
Grisebach 11/2012
Francesco Clemente reached international fame in the 1980s as
one of the chief proponents of Italian Transavanguardia. After
moving to New York, the Neapolitan became extremely close
to Andy Warhol and Jean-Michel Basquiat. Clemente’s symbolic
and often “encrypted” paintings contain elements of expressionism
and surrealism, but also references to Paul Gauguin.
Last year saw a major retrospective of his work at Frankfurt’s
Schirn Kunsthalle, while this spring the Bundeskunsthalle, Bonn,
featured the exhibition “Ménage à trois” dedicated to Warhol,
Basquiat, and Clemente.

Grisebach 11/2012
49

919 R Louise Lawler
Bronxville 1947 – lives in New York
Korr 50
ASSEMBLED. 2010/11
Digital Duraflex print. 18,1 x 14 cm (25,2 x 20,4 cm)
(7 ⅛ x 5 ½ in. (9 ⅞ x 8 in.)).
Signed and dated on the reverse.
From the edition of 10 artist’s proofs
from a total edition of 60. Framed.
Donated by the artist, courtesy
Sprüth Magers, Berlin / London
€ 1.500 – 2.500 $ 1,940 – 3,240
Grisebach 11/2012
Also an alumna of the “Pictures” generation, Louise Lawler
has long forged a highly analytical approach to art making.
Photographing the works of other artists in situ, at the homes
of collectors, in museums or auction houses, Lawler addresses
how art is received, presented, and then sold. Her own work is
included in many renowned public collections, including MoMA,
Centre Pompidou, and the Moderna Museet.

920 R Barbara Kruger
Newark 1945 – lives in New York and Los Angeles
UNTITLED. 2006
Laserchrome, plexiglass, and Diasec on aluminium.
128 x 66 cm (50 ⅜ x 26 in.). On the reverse with
the numbered edition label.
From the numbered edition of 20 from a total
edition of 25. Published by Kestner-Gesellschaft,
Hanover 2006. Framed.
Donated by Sprüth Magers, Berlin / London
€ 3.000 – 4.000 $ 3,890 – 5,180
Grisebach 11/2012
As a young artist, Barbara Kruger took part in the notorious
exhibition “Pictures” at New York’s Artists Space, which
launched the careers of an entire whole generation. Since then,
Kruger has worked in the mediums of photography, language,
and typography, using the hyperbolic speech and the bold
aesthetics of print advertising to take a decidedly critical view
of contemporary society.
Korr 51

Korr 52
921 R Jenny Holzer
Gallipolis/Ohio 1950 – lives in New York
SELECTION FROM SURVIVAL:
PEOPLE LOOK LIKE ... 2006
Danby Imperial white marble footstool.
43 x 58 x 40 cm (16 ⅞ x 22 ⅞ x 15 ¾ in.).
From the edition of 10 plus 2 artist’s proofs.
Donated by the artist, courtesy
Sprüth Magers, Berlin / London
€ 60.000 – 80.000
$ 77,700 – 103,600
Jenny Holzer was the Berlin Prize Fellow
at the American Academy in Berlin in the
spring of 2000.
Jenny Holzer requests that the successful
bidder signs an agreement not to resell
the work for the period of ten years.
Grisebach 11/2012
Jenny Holzer can be considered among the most prominent
American conceptual artists of her generation. Her work has
for many years been exhibited in Europe, and she is among the
select coterie of artists commissioned for the collection of the
Bundestag in the Berlin Reichstag. Her work is often comprised
of poetically ambiguous text fragments, which she then applies
to billboards, tracks of LED lights, or, as in the present lot,
marble sculptures. Many of Holzer’s works are found in the
public realm, including her ceiling installation at the Neue
Nationalgalerie, which has become a staple of Berlin’s visual
landscape. Apart from partaking in Documenta several times,
Holzer was also the very first female artist to represent the
United States at the Venice Biennale, in 1990.
Jenny Holzer illuminates Berlin‘s Neue Nationalgalerie.

Grisebach 11/2012
53

54
922 R Günther Uecker
Wendorf/Mecklenburg 1930 – lives in Dusseldorf
“STRUKTUR ABGESUNKEN”. 2012
Nails and acrylic on canvas on wood.
60 x 40 cm (23 ⅝ x 15 ¾ in.).
Titled, inscribed, dated, signed and
marked with a directional arrow on
the reverse: Struktur abgesunken
60 x 40 [2]012 Uecker.
Donated by the artist
€ 50.000 – 70.000
$ 64,800 – 90,700
Grisebach 11/2012
Few of Günther Uecker’s artistic contemporaries can look
back at an equally distinguished career or an equally vigorous
period of work late in life. In the mid-1950s Uecker created his
first nail paintings, and in 1961 he joined the artist group Zero.
He participated in Documenta three times, and in 1970,
along with Thomas Lenk, Heinz Mack, and Georg Karl Pfahler
he represented West Germany in Venice. In the 1970s and
1980s Uecker undertook extensive voyages through South
America, Africa, and East Asia, resulting in works that frequently
drew attention to the political strife he had encountered. Uecker
was born on the Baltic coast of Mecklenburg in 1930 and today
lives and works in Düsseldorf.

Grisebach 11/2012
55

56
923 R Barry Le Va
Long Beach 1941 – lives in New York
STUDY FOR SCULPTURE (KÖLN). 2000
Photograph and blue India ink on nacreous paper.
57 x 38,2 cm (22 ½ x 15 in.). Signed and
dated in pencil lower right: B. Le Va 00.
Framed.
Donated by the artist, courtesy
David Nolan Gallery, New York
€ 4.000 – 6.000 $ 5,180 – 7,770
Grisebach 11/2012
The three-time Documenta participant Barry Le Va is well-known
not only for his sculptures and objects. His drawings and prints,
too, have found much acclaim. The work groups he creates in
those media go far beyond illustrating his expansive installations
of materials like broken glass, cement, chalk dust, and everyday
objects. Located in a sphere between abstraction und concretion,
they are independent works of great complexity.

924 R Micha Ullman
Tel Aviv 1939 – lives in Ramat Hasharon
IM SAND LESEN. 2006
Sand, red chalk, and binder on slightly nacreous paper.
29,6 x 41,5 cm (11 ⅝ x 16 ⅜ in.). Dated and
signed in pencil lower right: 2006 Micha Ullman.
Framed.
Donated by Alexander Ochs, Berlin / Beijing
€ 3.000 – 4.000 $ 3,890 – 5,180
Grisebach 11/2012
Micha Ullman’s ”Im Sand lesen“ is a perfect example of the
work of one of the most distinguished living Israeli sculptors.
From a historical perspective, human existence is as fleeting
as traces in sand. Giving this elusive fleetingness an enduring
shape is the overarching theme in Ullman’s work, whose Berlin
memorial to the book burnings can be considered one of the
great monuments of our time.
57

925 R Raymond Pettibon
Korr 58
Tucson/Arizona 1957 – lives in Venice Beach/California
UNTITLED. 2011
Brush and India ink and watercolour
over pencil on firm paper. 48,1 x 60,8 cm
(18 ⅞ x 23 ⅞ in.). Signed and dated on the
reverse in blue ink: Raymond Pettibon 2011.
Donated by the artist, courtesy
Contemporary Fine Arts, Berlin
€ 8.000 – 12.000
$ 10,360 – 15,500
Grisebach 11/2012
Raymond Pettibon, born in 1957 as Raymond Ginn in Tucson,
Arizona, began his artistic career designing flyers and LP sleeves,
mainly for the California punk band “Black Flag“, of which he and
his older brother Gregg were members. Since the mid-1980s
he emerged on the art scene with his subversive, comic bookinfluenced
drawings, often featuring disturbing text. Raymond
Pettibon lives in Venice Beach and is one of the most important
and influential artists of his generation.

Grisebach 11/2012
59

60
926 R Edward Ruscha
Omaha/Nebraska 1937 – lives in Hollywood
“ANCHOR WITH ROPE”. 2010
Acrylic on grass paper. 11,4 x 11,4 cm
(4 ½ x 4 ½ in.). On the cardboard backing
a label from the Ruscha studio inscribed:
D 2010/42.
The work will be included in the forthcoming
catalogue raisonné of works on paper by
Edward Ruscha. –
Framed.
Donated by the artist
€ 10.000 – 15.000
$ 13,000 – 19,400
Ed Ruscha was a Special Guest of the
American Academy in Berlin in the
spring of 2002.
Grisebach 11/2012
Like Raymond Pettibon, Ed Ruscha’s artistic roots can be
traced not so much to academic art, but rather the counter-
culture scene. In the 1950s, Ruscha traversed the country in an
old road cruiser, taking pictures of motels, diners, gas stations,
and advertising billboards that today are considered icons
of American pop culture. The resulting paintings, frequently
combined with text, have since 1983 been exhibited in some
of the most renowned museums in the world, including the
L.A. County Museum, the Whitney Museum, the Centre
Pompidou, and Madrid’s Reina Sofia. In 2005 Ruscha
represented the United States at the Venice Biennale.
His last major retrospective was shown in Munich’s Haus
der Kunst in 2010.
Ed Ruscha at the American Academy, 2002

Grisebach 11/2012
(lifesize illustration)
Korr 61

62
927 R Walter Dahn
Krefeld 1954 – lives in Cologne
UNTITLED. 1981
Acrylic on nettle. 160 x 120 cm (63 x 47 ¼ in.).
Signed on the reverse, dated and inscribed
with a directional arrow: Walter Dahn 1981.
Framed.
Donated by Dr. Erich Marx, Berlin
€ 10.000 – 15.000
$ 13,000 – 19,400
Grisebach 11/2012
In 1983, at age 27, Walter Dahn was one of the youngest artists
ever invited to a Documenta. Previously, Dahn, today considered
one of the members of the Junge Wilde movement, had studied
as a master student of Joseph Beuys at the Düsseldorf Art
Academy. Dahn’s work is characterized by its combination
of vigorous, fierce painting, and sometimes strongly abstracted
figuration. In this respect the present untitled lot is a perfect
example of Dahn’s work. Since 1996, Dahn, who lives in
Cologne, has taught at the Braunschweig University of the
Arts. Most recently his work was exhibited in the show
”The Name is Burroughs“ at the ZKM in Karlsruhe.

Grisebach 11/2012
63

64
928 R Alex Katz
New York 1927 – lives in New York
ADA. 2011/12
Oil on masonite. 30,3 x 23 cm (11 ⅞ x 9 in.).
Signed and dated lower left: Alex Katz 11.
Inscribed, signed and dated on the reverse
in black felt-tip pen: 1451 Alex Katz 2012.
Donated by the artist
€ 10.000 – 15.000
$ 13,000 – 19,400
Alex Katz was the Philip Morris Arts Fellow
at the American Academy in Berlin in the
spring of 2001.
Grisebach 11/2012
Although his work cannot easily be classified, Alex Katz is
among the most successful painters of his hometown, New York
City, for decades. His paintings include the characteristics of
pop art, but also of photorealism and – and this is only a seeming
contradiction – of abstraction. The major part of his work
involves portraits of the East Coast, but there are cityscapes
and some quite lovely landscapes. Katz has had numerous
exhibitions in recent years, especially in German-speaking
countries, including the Bundeskunsthalle in Bonn, Museum
Kurhaus Kleve, Kunsthalle Würth in Schwäbisch Hall, Jüdisches
Museum in Frankfurt am Main, Albertina in Vienna, Museum
Ostwall in Dortmund, and Kestnergesellschaft in Hanover.
Currently, Museum Essl in Klosterneuburg near Vienna is
holding a comprehensive retrospective of works by Alex Katz.
Alex Katz‘s portrait of the house
next door to the American Academy, 2001

Grisebach 11/2012
65

Acknowledgements
The Academy would like to thank the following
artists and benefactors for their generous
contributions of artworks to the auction:
Richard Artschwager; Georg Baselitz; Mayen Beckmann;
Francesco Clemente; George Condo; Aaron Curry;
Thomas Demand; Tacita Dean; Mitch Epstein; Max Hetzler;
Jenny Holzer; Alex Katz; Anselm Kiefer; Louise Lawler;
Barry Le Va; Erich Marx; Julie Mehretu; Matt Mullican;
Hartley Neel and Richard Neel; David Nolan;
Alexander Ochs; Raymond Pettibon; Paul Pfeiffer;
Jessica Rankin; Anselm Reyle; James Rosenquist;
Ed Ruscha; Sprüth Magers Berlin / London;
Günther Uecker; and Xu Bing.
The Academy would like to thank the following
supporters for their generous contributions:
Art Passepartout, Berlin; Ulrich Guntram, AXA ART
Versicherung; Aeneas, Céline, and Heiner Bastian
with Coraly von Bismarck and Lisa Franziska Sandner;
Belaj Fine Art Service, Berlin; Marie-Blanche Carlier
and Ulrich Gebauer, carlier | gebauer, Berlin;
Richard Feigen; Nicole Hackert and Bruno Brunnet,
Contemporary Fine Arts, Berlin; Jeremy Higginbotham,
Ringier Deutschland; Erika Hoffmann; Regine Leibinger;
Jan Oelmann; Philomene Magers and Monika Sprüth,
Sprüth Magers Berlin / London; Aurel Scheibler;
Bernd Schultz and Mary Ellen von Schacky-Schultz;
the partners and the staff of Villa Grisebach Auktionen;
Harry Scrymgeour, VeneKlasen Werner; and Christine
Uecker.
66
The Academy would like to thank the following
supporters for their generous contributions
to the endowment and annual program costs:
Thomas van Aubel; Deutsche Börse; Marie Louise Gericke;
Klaus and Lily Heiliger; Jeane von Oppenheim;
Jaroslav Marak and Andrea Lawrence; Thaddaeus Ropac;
Victoria and Aurel Scheibler; Bernd Schultz and
Mary Ellen von Schacky-Schultz; the partners of
Villa Grisebach Auktionen; Peter Schwicht;
Sprüth Magers Berlin / London

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67

Hinweise
zum Katalog
1. Alle Katalogbeschreibungen sind online und auf Anfrage in
Englisch erhältlich.
2. Basis für die Umrechnung der EUR-Schätzpreise:
1 US $ = EUR 0,772 (Kurs vom 4. Oktober 2012)
3. Bei den Katalogangaben sind Titel und Datierung, wenn
vorhanden, vom Künstler bzw. aus den Werkverzeichnissen
übernommen. Diese Titel sind durch Anführungszeichen
gekennzeichnet. Undatierte Werke haben wir anhand der
Literatur oder stilistisch begründbar zeitlich zugeordnet.
4. Alle Werke wurden neu vermessen, ohne die Angaben in
Werkverzeichnissen zu übernehmen. Die Maßangaben sind
in Zentimetern und Inch aufgeführt. Es gilt Höhe vor Breite,
wobei bei Originalen die Blattgröße, bei Drucken die Darstel-
lungsgröße bzw. Plattengröße angegeben wird. Wenn Papier-
und Darstellungsmaß nicht annähernd gleich sind, ist die
Papiergröße in runden Klammern angegeben. Signaturen,
Bezeichnungen und Gießerstempel sind aufgeführt.
„Bezeichnung“ bedeutet eine eigenhändige Aufschrift des
Künstlers, im Gegensatz zu einer „Beschriftung“ von fremder
Hand. Bei druckgraphischen Werken wurde auf Angabe der
gedruckten Bezeichnungen verzichtet.
5. Bei den Papieren meint „Büttenpapier“ ein Maschinenpapier
mit Büttenstruktur. Ergänzende Angaben wie „JW Zanders“
oder „BFK Rives“ beziehen sich auf Wasserzeichen.
Der Begriff „Japanpapier“ bezeichnet sowohl echtes wie
auch maschinell hergestelltes Japanpapier.
6. Sämtliche zur Versteigerung gelangenden Gegenstände
können vor der Versteigerung besichtigt und geprüft
werden; sie sind gebraucht. Der Erhaltungszustand der
Kunstwerke ist ihrem Alter entsprechend; Mängel werden
in den Katalogbeschreibungen nur erwähnt, wenn sie den
optischen Gesamteindruck der Arbeiten beeinträchtigen.
Für jedes Kunstwerk liegt ein Zustandsbericht vor, der
angefordert werden kann.
7. Die in eckigen Klammern gesetzten Zeichen beziehen sich
auf die Einlieferer, wobei [E] die Eigenware kennzeichnet.
8. Es werden nur die Werke gerahmt versteigert, die gerahmt
eingeliefert wurden.
9. Die Kunstwerke, die mit R hinter der Losnummer
gekennzeichnet sind, unterliegen der Regelbesteuerung
(§ 4 der Versteigerungsbedingungen).
68
Catalogue
Instructions
1. Descriptions in English of each item included in this
catalogue are available online or upon request.
2. The basis for the conversion of the EUR-estimates:
1 US $ = EUR 0,772 (rate of exchange 4 October 2012)
3. The titles and dates of works of art provided in quotation
marks originate from the artist or are taken from the
catalogue raisonné. These titles are printed within quotation
marks. Undated works have been assigned approximate
dates by Villa Grisebach based on stylistic grounds and
available literature.
4. Dimensions given in the catalogue are measurements taken
in centimeters and inches (height by width) from the actual
works. For originals, the size given is that of the sheet; for
prints, the size refers to the plate or block image. Where that
differs from the size of the sheet on which it is printed, the
dimensions of the sheet follow in parentheses ( ). Special
print marks or designations for these works are not noted in
the catalogue. “Bezeichnung” (“inscription”) means an
inscription from the artist’s own hand, in contrast to
“Beschriftung” (“designation”) which indicates an inscription
from the hand of another.
5. When describing paper, „Bütten paper” denotes machine-
made paper manufactured with the texture and finish of
„Bütten”. Other designations of paper such as „JW Zanders”
or „BFK Rives” refer to respective watermarks. The term
„Japan paper” refers to both hand and machine-made
Japan paper.
6. All sale objects may be viewed and examined before the
auction; they are sold as is. The condition of the works
corresponds to their age. The catalogues list only such
defects in condition as impair the overall impression of the
art work. For every lot there is a condition report which
can be requested.
7. Those numbers printed in brackets [ ] refer to the consignors
listed in the Consignor Index, with [E] referring to property
owned by Villa Grisebach Auktionen.
8. Only works already framed at the time of consignment
will be sold framed.
9. For those works of art with R following the lot number
the standard VAT is applicable (§ 4 Conditions of Auction).

Versteigerungsbedingungen
der Villa Grisebach Auktionen GmbH
§ 1 Der Versteigerer
1. Die Versteigerung erfolgt im Namen der Villa Grisebach Auktionen GmbH –
nachfolgend: „Grisebach“ genannt. Der Auktionator handelt als deren
Vertreter. Er ist gem. § 34b Abs. 5 GewO öffentlich bestellt. Die
Versteigerung ist somit eine öffentliche Versteigerung i.S. § 474 Abs. 1 S. 2
und § 383 Abs. 3 BGB.
2. Die Versteigerung erfolgt in der Regel für Rechnung des Einlieferers,
der unbenannt bleibt. Nur die im Eigentum von Grisebach befindlichen
Kunstgegenstände werden für eigene Rechnung versteigert. Sie sind
im Katalog mit „E“ gekennzeichnet.
3. Die Versteigerung erfolgt auf der Grundlage dieser Versteigerungsbedingungen.
Die Versteigerungsbedingungen sind im Auktionskatalog,
im Internet und durch deutlich sichtbaren Aushang in den Räumen von
Grisebach veröffentlicht. Durch Abgabe eines Gebots erkennt der Käufer
diese Versteigerungsbedingungen als verbindlich an.
§ 2 Katalog, Besichtigung und Versteigerungstermin
1. Katalog
Vor der Versteigerung erscheint ein Auktionskatalog. Darin werden zur
allgemeinen Orientierung die zur Versteigerung kommenden Kunst gegenstände
abgebildet und beschrieben. Der Katalog enthält zusätz lich Angaben
über Urheberschaft, Technik und Signatur des Kunst gegen standes. Nur sie
bestimmen die Beschaffenheit des Kunst gegen standes. Im übrigen ist der
Katalog weder für die Beschaffenheit des Kunstgegenstandes noch für
dessen Erscheinungsbild (Farbe) maß gebend. Der Katalog weist einen
Schätzpreis in Euro aus, der jedoch lediglich als Anhaltspunkt für den
Verkehrswert des Kunst gegen stan des dient, ebenso wie etwaige Angaben
in anderen Währungen.
Der Katalog wird von Grisebach nach bestem Wissen und Gewissen
und mit großer Sorgfalt erstellt. Er beruht auf den bis zum Zeitpunkt
der Versteigerung veröffentlichten oder sonst allgemein zugänglichen
Erkenntnissen sowie auf den Angaben des Einlieferers.
Für jeden der zur Versteigerung kommenden Kunstgegenstände kann bei
ernstlichem Interesse ein Zustandsbericht von Grisebach angefordert und
es können etwaige von Grisebach eingeholte Expertisen eingesehen werden.
Die im Katalog, im Zustandsbericht oder in Expertisen enthaltenen Angaben
und Beschreibungen sind Einschätzungen, keine Garantien im Sinne des
§ 443 BGB für die Beschaffenheit des Kunstgegenstandes.
Grisebach ist berechtigt, Katalogangaben durch Aushang am Ort der
Versteigerung und unmittelbar vor der Versteigerung des betreffen den
Kunstgegenstandes mündlich durch den Auktionator zu berichtigen
oder zu ergänzen.
2. Besichtigung
Alle zur Versteigerung kommenden Kunstgegenstände werden vor der
Versteigerung zur Vorbesichtigung ausgestellt und können besichtigt
und geprüft werden. Ort und Zeit der Besichtigung, die Grisebach fest legt,
sind im Katalog angegeben. Die Kunstgegenstände sind gebraucht und
werden in der Beschaffenheit versteigert, in der sie sich im Zeit punkt
der Versteigerung befinden.
3. Grisebach bestimmt Ort und Zeitpunkt der Versteigerung. Sie ist berechtigt,
Ort oder Zeitpunkt zu ändern, auch wenn der Auktions katalog bereits
versandt worden ist.
§ 3 Durchführung der Versteigerung
1. Bieternummer
Jeder Bieter erhält von Grisebach eine Bieternummer. Er hat die
Versteigerungsbedingungen als verbindlich anzuerkennen.
Von unbekannten Bietern benötigt Grisebach zur Erteilung der Bieternummer
spätestens 24 Stunden vor Beginn der Versteigerung eine schriftliche
Anmeldung mit beigefügter zeitnaher Bankreferenz.
Nur unter einer Bieternummer abgegebene Gebote werden auf der
Versteigerung berücksichtigt.
2. Aufruf
Die Versteigerung des einzelnen Kunstgegenstandes beginnt mit dessen
Aufruf durch den Auktionator. Er ist berechtigt, bei Aufruf von der im
Katalog vorgesehenen Reihenfolge abzuweichen, Los­Nummern zu
verbinden oder zu trennen oder eine Los­Nummer zurückzuziehen.
Der Preis wird bei Aufruf vom Auktionator festgelegt, und zwar in Euro.
Gesteigert wird um jeweils 10 % des vorangegangenen Gebots, sofern
der Auktionator nicht etwas anderes bestimmt.
3. Gebote
a) Gebote im Saal
Gebote im Saal werden unter Verwendung der Bieternummer abgegeben.
Ein Vertrag kommt durch Zuschlag des Auktionators zustande.
Will ein Bieter Gebote im Namen eines Dritten abgeben, hat er dies
mindestens 24 Stunden vor Beginn der Versteigerung von Grisebach
unter Vorlage einer Vollmacht des Dritten anzuzeigen. Anderenfalls
kommt bei Zuschlag der Vertrag mit ihm selbst zustande.
b) Schriftliche Gebote
Mit Zustimmung von Grisebach können Gebote auf einem dafür vorgesehenen
Formular auch schriftlich abgegeben werden. Sie müssen vom Bieter
unterzeichnet sein und unter Angabe der Los­Nummer, des Künstlers und
des Titels den für den Kunstgegenstand gebotenen Hammerpreis nennen.
Der Bieter muss die Versteigerungsbedingungen als verbindlich anerkennen.
Mit dem schriftlichen Gebot beauftragt der Bieter Grisebach, seine Gebote
unter Berücksichtigung seiner Weisungen abzugeben. Das schriftliche
Gebot wird von Grisebach nur mit dem Betrag in Anspruch genommen,
der erforderlich ist, um ein anderes Gebot zu überbieten.
Ein Vertrag auf der Grundlage eines schriftlichen Gebots kommt
mit dem Bieter durch den Zuschlag des Auktionators zustande.
Gehen mehrere gleich hohe schriftliche Gebote für denselben Kunstgegenstand
ein, erhält das zuerst eingetroffene Gebot den Zuschlag,
wenn kein höheres Gebot vorliegt oder abgegeben wird.
c) Telefonische Gebote
Telefonische Gebote sind zulässig, wenn der Bieter mindestens 24 Stunden
vor Beginn der Versteigerung dies schriftlich beantragt und Grisebach
zugestimmt hat. Der Bieter muss die Versteigerungs bedingungen als
verbindlich anerkennen.
Die telefonischen Gebote werden von einem während der Verstei gerung im
Saal anwesenden Mitarbeiter von Grisebach entgegen genommen und unter
Berücksichtigung der Weisungen des Bieters während der Versteigerung
abgegeben. Das von dem Bieter genannte Gebot bezieht sich ausschließlich
auf den Hammerpreis, umfasst also nicht Aufgeld, etwaige Umlagen und
Umsatzsteuer, die hinzukommen. Das Gebot muss den Kunstgegenstand,
auf den es sich bezieht, zweifelsfrei und möglichst unter Nennung der
Los­Nummer, des Künstlers und des Titels, benennen.
69

Telefonische Gebote können von Grisebach aufgezeichnet werden.
Mit dem Antrag zum telefonischen Bieten erklärt sich der Bieter mit der
Aufzeichnung einverstanden. Die Aufzeichnung wird spätestens nach drei
Monaten gelöscht, sofern sie nicht zu Beweiszwecken benötigt wird.
d) Gebote über das Internet
Gebote über das Internet sind nur zulässig, wenn der Bieter von Grisebach
zum Bieten über das Internet unter Verwendung eines Benutzernamens und
eines Passwortes zugelassen worden ist und die Versteigerungsbedingungen
als verbindlich anerkennt. Die Zulassung erfolgt ausschließlich für die Person
des Zugelassenen, ist also höchst persönlich. Der Benutzer ist verpflichtet,
seinen Benutzernamen und sein Passwort Dritten nicht zugänglich zu
machen. Bei schuldhafter Zuwiderhandlung haftet er Grisebach für daraus
entstandene Schäden.
Gebote über das Internet sind nur rechtswirksam, wenn sie hinreichend
bestimmt sind und durch Benutzernamen und Passwort zweifelsfrei dem
Bieter zuzuordnen sind. Die über das Internet übertragenen Gebote werden
elektronisch protokolliert. Die Richtigkeit der Protokolle wird vom Käufer
anerkannt, dem jedoch der Nachweis ihrer Unrichtig keit offensteht.
Grisebach behandelt Gebote, die vor der Versteigerung über das Inter net
abgegeben werden, rechtlich wie schriftliche Gebote. Internetgebote
während einer laufenden Versteigerung werden wie Gebote aus dem Saal
berücksichtigt.
4. Der Zuschlag
a) Der Zuschlag wird erteilt, wenn nach dreimaligem Aufruf eines Gebots kein
höheres Gebot abgegeben wird. Der Zuschlag verpflichtet den Bieter, der
unbenannt bleibt, zur Abnahme des Kunstgegenstandes und zur Zahlung
des Kaufpreises (§ 4 Ziff. 1).
b) Der Auktionator kann bei Nichterreichen des Limits einen Zuschlag unter
Vorbehalt erteilen. Ein Zuschlag unter Vorbehalt wird nur wirk sam, wenn
Grisebach das Gebot innerhalb von drei Wochen nach dem Tag der
Versteigerung schriftlich bestätigt. Sollte in der Zwischenzeit ein anderer
Bieter mindestens das Limit bieten, erhält dieser ohne Rücksprache mit
dem Bieter, der den Zuschlag unter Vorbehalt erhalten hat, den Zuschlag.
c) Der Auktionator hat das Recht, ohne Begründung ein Gebot abzulehnen
oder den Zuschlag zu verweigern. Wird ein Gebot abgelehnt oder der
Zuschlag verweigert, bleibt das vorangegangene Gebot wirksam.
d) Der Auktionator kann einen Zuschlag zurücknehmen und den Kunstgegenstand
innerhalb der Auktion neu ausbieten,
– wenn ein rechtzeitig abgegebenes höheres Gebot von ihm übersehen
und dies von dem übersehenen Bieter unverzüglich beanstandet
worden ist,
– wenn ein Bieter sein Gebot nicht gelten lassen will oder
– wenn sonst Zweifel über den Zuschlag bestehen.
Übt der Auktionator dieses Recht aus, wird ein bereits erteilter Zuschlag
unwirksam.
e) Der Auktionator ist berechtigt, ohne dies anzeigen zu müssen, bis zum
Erreichen eines mit dem Einlieferer vereinbarten Limits auch Gebote für
den Einlieferer abzugeben und den Kunstgegenstand dem Einlieferer unter
Benennung der Einlieferungsnummer zuzuschlagen. Der Kunstgegenstand
bleibt dann unverkauft.
§ 4 Kaufpreis, Zahlung, Verzug
1. Kaufpreis
Der Kaufpreis besteht aus dem Hammerpreis zuzüglich Aufgeld. Hinzukommen
können pauschale Gebühren sowie die gesetzliche Umsatz steuer.
A. Bei im Katalog mit dem Buchstaben „R“ hinter der Losnummer gekenn­
zeichneten Kunstgegenständen berechnet sich der Kaufpreis wie folgt:
a) Aufgeld
Auf den Hammerpreis berechnet Grisebach ein Aufgeld von 22 %.
Auf den Teil des Hammerpreises, der 1.000.000 EUR übersteigt
wird ein Aufgeld von 15 % berechnet.
b) Pauschale Gebühr für Folgerecht
Auf alle Originalwerke der bildenden Kunst und der Photographie,
deren Urheber noch nicht 70 Jahre vor dem Ende des Kalenderjahres
des Verkaufs verstorben ist, erhebt Grisebach eine pauschale Gebühr
in Höhe von 1,5 % des Hammerpreises, maximal 6.250,00 EUR.
c) Umsatzsteuer
Auf den Hammerpreis, das Aufgeld und die pauschale Gebühr für
das Folgerecht wird die jeweils gültige gesetzliche Umsatzsteuer
erhoben (Regelbesteuerung, mit „R“ gekennzeichnet). Sie beträgt
für Originalwerke der bildenden Kunst derzeit 7 %, bei Photographien
sowie Bild­ und Siebdrucken 19 %.
70
d) Umsatzsteuerbefreiung
Keine Umsatzsteuer wird für den Verkauf von Kunstgegenständen
berechnet, die in Staaten innerhalb des Gemeinschaftsgebietes
der Europäischen Union (EU) von Unternehmen er worben und aus
Deutschland exportiert werden, wenn diese bei Beantragung und
Erhalt ihrer Bieter nummer ihre Umsatzsteuer­Identifikations nummer
angegeben haben. Eine nachträgliche Be rücksichtigung, insbesondere
eine Korrektur nach Rechnungs stellung, ist nicht möglich.
Keine Umsatzsteuer wird für den Verkauf von Kunstgegen ständen
berechnet, die gemäß § 6 Abs. 4 UStG in Staaten außerhalb des
Gemeinschaftsgebietes der EU geliefert werden und deren Käufer
als ausländische Abnehmer gelten und dies entsprechend § 6
Abs. 2 UStG nachgewiesen haben. Im Ausland anfallende Einfuhrumsatz
steuer und Zölle trägt der Käufer.
Die vorgenannten Regelungen zur Umsatzsteuer entsprechen dem
Stand der Gesetzgebung und der Praxis der Finanzverwaltung.
Änderungen sind nicht ausgeschlossen.
B. Bei Kunstgegenständen ohne besondere Kennzeichnung im Katalog
berechnet sich der Kaufpreis wie folgt:
Bei Käufern mit Wohnsitz innerhalb der EU berechnet Grisebach auf den
Hammerpreis ein Aufgeld von 30 %. Auf den Teil des Hammer preises, der
1.000.000 EUR übersteigt wird ein Aufgeld von 20 % berechnet. In diesem
Aufgeld sind alle pauschalen Gebühren sowie die gesetzliche Umsatzsteuer
enthalten (Differenzbesteuerung nach § 25a UStG). Sie werden bei der
Rechnungstellung nicht einzeln ausgewiesen.
Käufern, denen nach dem Umsatzsteuergesetz (UStG) im Inland geliefert
wird und die zum Vorsteuerabzug berechtigt sind, kann auf Wunsch die
Rechnung nach der Regelbesteuerung gemäß Absatz A ausgestellt werden.
Dieser Wunsch ist bei Beantragung der Bieter nummer anzugeben.
Eine Korrektur nach Rechnungstellung ist nicht möglich.
2. Fälligkeit und Zahlung
Der Kaufpreis ist mit dem Zuschlag fällig.
Der Kaufpreis ist in Euro an Grisebach zu entrichten. Schecks und
andere unbare Zahlungen werden nur erfüllungshalber angenommen.
Eine Begleichung des Kaufpreises durch Aufrechnung ist nur mit
un bestrittenen oder rechtskräftig festgestellten Forderungen zulässig.
Bei Zahlung in ausländischer Währung gehen ein etwaiges Kursrisiko
sowie alle Bankspesen zulasten des Käufers.
3. Verzug
Ist der Kaufpreis innerhalb von zwei Wochen nach Zugang der Rechnung
noch nicht beglichen, tritt Verzug ein.
Ab Eintritt des Verzuges verzinst sich der Kaufpreis mit 1 % monatlich,
unbeschadet weiterer Schadensersatzansprüche.
Zwei Monate nach Eintritt des Verzuges ist Grisebach berechtigt und auf
Verlangen des Einlieferers verpflichtet, diesem Name und Anschrift des
Käufers zu nennen.
Ist der Käufer mit der Zahlung des Kaufpreises in Verzug, kann Grise bach
nach Setzung einer Nachfrist von zwei Wochen vom Vertrag zurücktreten.
Damit erlöschen alle Rechte des Käufers an dem erstei gerten
Kunstgegenstand.
Grisebach ist nach Erklärung des Rücktritts berechtigt, vom Käufer
Schadensersatz zu verlangen. Der Schadensersatz umfasst insbe sondere
das Grisebach entgangene Entgelt (Einliefererkommission und Aufgeld),
sowie angefallene Kosten für Katalogabbildungen und die bis zur Rückgabe
oder bis zur erneuten Versteigerung des Kunst gegen standes anfallenden
Transport­, Lager­ und Versicherungs kosten.
Wird der Kunstgegenstand an einen Unterbieter verkauft oder in der nächsten
oder übernächsten Auktion versteigert, haftet der Käufer außerdem
für jeglichen Mindererlös.
Grisebach hat das Recht, den säumigen Käufer von künftigen Versteigerungen
auszuschließen und seinen Namen und seine Adresse zu
Sperrzwecken an andere Auktionshäuser weiterzugeben.
§ 5 Nachverkauf
Während eines Zeitraums von zwei Monaten nach der Auktion können nicht
versteigerte Kunstgegenstände im Wege des Nachverkaufs erworben werden.
Der Nachverkauf gilt als Teil der Versteigerung. Der Interessent hat persönlich,
telefonisch, schriftlich oder über das Internet ein Gebot mit einem bestimmten
Betrag abzugeben und die Versteigerungsbedingungen als verbindlich anzu­
erkennen. Der Vertrag kommt zustande, wenn Grisebach das Gebot innerhalb
von drei Wochen nach Eingang schriftlich annimmt.
Die Bestimmungen über Kaufpreis, Zahlung, Verzug, Abholung und Haftung für
in der Versteigerung erworbene Kunstgegenstände gelten entsprechend.

§ 6 Entgegennahme des ersteigerten Kunstgegenstandes
1. Abholung
Der Käufer ist verpflichtet, den ersteigerten Kunstgegenstand spätestens
einen Monat nach Zuschlag abzuholen.
Grisebach ist jedoch nicht verpflichtet, den ersteigerten Kunst gegen stand
vor vollständiger Bezahlung des in der Rechnung ausgewiesenen Betrages
an den Käufer herauszugeben.
Das Eigentum geht auf den Käufer erst nach vollständiger Begleichung des
Kaufpreises über.
2. Lagerung
Bis zur Abholung lagert Grisebach für die Dauer eines Monats, gerech net
ab Zuschlag, den ersteigerten Kunstgegenstand und versichert ihn auf
eigene Kosten in Höhe des Kaufpreises. Danach hat Grisebach das Recht,
den Kunstgegenstand für Rechnung des Käufers bei einer Kunst spedition
einzulagern und versichern zu lassen. Wahlweise kann Grise bach statt
dessen den Kunstgegenstand in den eigenen Räumen ein lagern gegen
Berechnung einer monatlichen Pauschale von 0,1 % des Kaufpreises für
Lager­ und Versicherungskosten.
3. Versand
Beauftragt der Käufer Grisebach schriftlich, den Transport des ersteigerten
Kunstgegenstandes durchzuführen, sorgt Grisebach, sofern der Kaufpreis
vollständig bezahlt ist, für einen sachgerechten Transport des Werkes zum
Käufer oder dem von ihm benannten Em pfän ger durch eine Kunstspedition
und schließt eine entsprechende Transportversicherung ab. Die Kosten für
Verpackung, Versand und Versicherung trägt der Käufer.
4. Annahmeverzug
Holt der Käufer den Kunstgegenstand nicht innerhalb von einem Monat
ab (Ziffer 1) und erteilt er innerhalb dieser Frist auch keinen Auftrag zur
Versendung des Kunstgegenstandes (Ziffer 3), gerät er in Annahme verzug.
5. Anderweitige Veräußerung
Veräußert der Käufer den ersteigerten Kunstgegenstand seinerseits, bevor
er den Kaufpreis vollständig bezahlt hat, tritt er bereits jetzt erfüllungs­
halber sämtliche Forderungen, die ihm aus dem Weiter verkauf zustehen,
an Grisebach ab, welche die Abtretung hiermit annimmt. Soweit die
abgetretenen Forderungen die Grisebach zuste henden Ansprüche über­
steigen, ist Grisebach verpflichtet, den zur Erfüllung nicht benötigten Teil
der abgetretenen Forderung unverzüglich an den Käufer abzutreten.
§ 7 Haftung
1. Beschaffenheit des Kunstgegenstandes
Der Kunstgegenstand wird in der Beschaffenheit veräußert, in der er sich
bei Erteilung des Zuschlags befindet und vor der Versteigerung besichtigt
und geprüft werden konnte. Ergänzt wird diese Beschaffen heit durch die
Angaben im Katalog (§ 2 Ziff. 1) über Urheberschaft, Technik und Signatur
des Kunstgegenstandes. Sie beruhen auf den bis zum Zeitpunkt der
Versteigerung veröffentlichten oder sonst allgemein zugänglichen
Erkenntnissen sowie auf den Angaben des Einlieferers. Weitere
Beschaffenheitsmerkmale sind nicht verein bart, auch wenn sie im
Katalog beschrieben oder erwähnt sind oder sich aus schriftlichen
oder mündlichen Auskünften, aus einem Zustands bericht, Expertisen
oder aus den Abbildungen des Katalogs ergeben sollten. Eine Garantie
(§ 443 BGB) für die vereinbarte Beschaffenheit des Kunstgegenstandes
wird nicht übernommen.
2. Rechte des Käufers bei einem Rechtsmangel (§ 435 BGB)
Weist der erworbene Kunstgegenstand einen Rechtsmangel auf, weil an
ihm Rechte Dritter bestehen, kann der Käufer innerhalb einer Frist von
zwei Jahren (§ 438 Abs. 4 und 5 BGB) wegen dieses Rechts man gels vom
Vertrag zurücktreten oder den Kaufpreis mindern (§ 437 Nr. 2 BGB).
Im übrigen werden die Rechte des Käufers aus § 437 BGB, also das
Recht auf Nacherfüllung, auf Schadenersatz oder auf Ersatz ver geblicher
Aufwendungen ausgeschlossen, es sei denn, der Rechts mangel ist arglistig
verschwiegen worden.
3. Rechte des Käufers bei Sachmängeln (§ 434 BGB)
Weicht der Kunstgegenstand von der vereinbarten Beschaffenheit
(Urheberschaft, Technik, Signatur) ab, ist der Käufer berech tigt,
innerhalb von zwei Jahren ab Zuschlag (§ 438 Abs. 4 BGB) vom Vertrag
zurückzutreten. Er erhält den von ihm gezahlten Kaufpreis (§ 4 Ziff. 1
der Versteigerungsbedingungen) zurück, Zug um Zug gegen Rückgabe
des Kaufgegenstandes in unverändertem Zustand am Sitz von Grisebach.
Ansprüche auf Minderung des Kaufpreises (§ 437 Nr. 2 BGB), auf
Schadensersatz oder auf Ersatz vergeblicher Aufwendungen (§ 437
Nr. 3 BGB) sind ausgeschlossen. Dieser Haftungsausschluss gilt nicht,
soweit Grisebach den Mangel arglistig verschwiegen hat.
Das Rücktrittsrecht wegen Sachmangels ist ausgeschlossen, sofern
Grisebach den Kunstgegenstand für Rechnung des Einlieferers ver äußert
hat und die größte ihr mögliche Sorgfalt bei Ermittlung der im Katalog
genannten Urheberschaft, Technik und Signatur des Kunst gegenstandes
aufgewandt hat und keine Gründe vorlagen, an der Richtigkeit dieser
Angaben zu zweifeln. In diesem Falle verpflichtet sich Grisebach, dem
Käufer das Aufgeld, etwaige Umlagen und die Umsatz steuer zu erstatten.
Außerdem tritt Grisebach dem Käufer alle ihr gegen den Einlieferer, dessen
Name und Anschrift sie dem Käufer mitteilt, zustehenden Ansprüche wegen
der Mängel des Kunstgegenstandes ab. Sie wird ihn in jeder zulässigen und
ihr möglichen Weise bei der Geltendmachung dieser Ansprüche gegen den
Einlieferer unterstützen.
4. Fehler im Versteigerungsverfahren
Grisebach haftet nicht für Schäden im Zusammenhang mit der Abgabe
von mündlichen, schriftlichen, telefonischen oder Internetgeboten,
soweit ihr nicht Vorsatz oder grobe Fahrlässigkeit zur Last fällt. Dies gilt
insbesondere für das Zustandekommen oder den Bestand von Telefon­,
Fax­ oder Datenleitungen sowie für Übermittlungs­, Über tragungs­ oder
Übersetzungsfehler im Rahmen der eingesetzten Kommunikationsmittel oder
seitens der für die Entgegennahme und Weitergabe eingesetzten Mitarbeiter.
Für Missbrauch durch unbefugte Dritte wird nicht gehaftet. Die Haftungsbeschränkung
gilt nicht für Schäden an der Verletzung von Leben, Körper
oder Gesundheit.
5. Verjährung
Für die Verjährung der Mängelansprüche gelten die gesetzlichen
Verjährungsfristen des § 438 Abs. 1 Ziffer 3 BGB (2 Jahre).
§ 8 Schlussbestimmungen
1. Nebenabreden
Änderungen dieser Versteigerungsbedingungen im Einzelfall oder
Nebenabreden bedürfen zu ihrer Gültigkeit der Schriftform.
2. Fremdsprachige Fassung der Versteigerungsbedingungen
Soweit die Versteigerungsbedingungen in anderen Sprachen als der
deutschen Sprache vorliegen, ist stets die deutsche Fassung maßgebend.
3. Anwendbares Recht
Es gilt ausschließlich das Recht der Bundesrepublik Deutschland.
Das Abkommen der Vereinten Nationen über Verträge des internationalen
Warenkaufs (CISG) findet keine Anwendung.
4. Erfüllungsort
Erfüllungsort und Gerichtsstand ist, soweit dies rechtlich vereinbart
werden kann, Berlin.
5. Salvatorische Klausel
Sollte eine oder mehrere Bestimmungen dieser Versteigerungsbedingungen
unwirksam sein oder werden, bleibt die Gültigkeit der übrigen Bestimmungen
davon unberührt. Anstelle der unwirksamen Bestimmung gelten die entsprechenden
gesetzlichen Vorschriften.
71

Conditions of Sale
of Villa Grisebach Auktionen GmbH
Section 1 The Auction House
1. The auction will be implemented on behalf of Grisebach Auktionen GmbH –
referred to hereinbelow as “Grisebach”. The auctioneer will be acting as
Grisebach’s representative. The auctioneer is an expert who has been publicly
appointed in accordance with Section 34b paragraph 5 of the Gewerbeordnung
(GewO, German Industrial Code). Accordingly, the auction is a public auction
as defined by Section 474 paragraph 1 second sentence and Section 383
paragraph 3 of the Bürgerliches Gesetzbuch (BGB, German Civil Code).
2. As a general rule, the auction will be performed on behalf of the Consignor,
who will not be named. Solely those works of art owned by Grisebach shall
be sold at auction for the account of Grisebach. Such items will be marked
by an “E” in the catalogue.
3. The auction shall be performed on the basis of the present Conditions of Sale.
The Conditions of Sale are published in the catalogue of the auction and on the
internet; furthermore, they are posted in an easily accessible location in the
Grisebach spaces. By submitting a bid, the buyer acknowledges the Conditions
of Sale as being binding upon it.
Section 2 Catalogue, Pre-Sale Exhibition and Date of the Auction
1. Catalogue
Prior to the auction date, an auction catalogue will be published. This provides
general orientation in that it shows images of the works of art to be sold at auction
and describes them. Additionally, the catalogue will provide information on the
work’s creator(s), technique, and signature. These factors alone will define the
characteristic features of the work of art. In all other regards, the catalogue will
not govern as far as the characteristics of the work of art or its appearance are
concerned (color). The catalogue will provide estimated prices in EUR amounts,
which, however, serve solely as an indication of the fair market value of the work
of art, as does any such information that may be provided in other currencies.
Grisebach will prepare the catalogue to the best of its knowledge and belief, and
will exercise the greatest of care in doing so. The catalogue will be based on the
scholarly knowledge published up until the date of the auction, or otherwise
generally accessible, and on the information provided by the Consignor.
Seriously interested buyers have the opportunity to request that Grisebach
provide them with a report outlining the condition of the work of art (condition
report), and they may also review any expert appraisals that Grisebach may
have obtained.
The information and descriptions contained in the catalogue, in the condition
report or in expert appraisals are estimates; they do not constitute any
guarantees, in the sense as defined by Section 443 of the Bürgerliches
Gesetzbuch (BGB, German Civil Code), for the characteristics of the work of art.
Grisebach is entitled to correct or amend any information provided in the
catalogue by posting a notice at the auction venue and by having the auctioneer
make a corresponding statement immediately prior to calling the bids for the
work of art concerned.
2. Pre-sale exhibition
All of the works of art that are to be sold at auction will be exhibited prior to
the sale and may be viewed and inspected. The time and date of the pre-sale
exhibition, which will be determined by Grisebach, will be set out in the
catalogue. The works of art are used and will be sold “as is”, in other words
in the condition they are in at the time of the auction.
3. Grisebach will determine the venue and time at which the auction is to
be held. It is entitled to modify the venue and the time of the auction,
also in those cases in which the auction catalogue has already been sent out.
72
Section 3 Calling the Auction
1. Bidder number
Grisebach will issue a bidder number to each bidder. Each bidder is to
acknowledge the Conditions of Sale as being binding upon it.
At the latest twenty-four (24) hours prior to the start of the auction, bidders as
yet unknown to Grisebach must register in writing, providing a written bank
reference letter of recent date, so as to enable Grisebach to issue a bidder
number to them.
At the auction, only the bids submitted using a bidder number will be considered.
2. Item call-up
The auction of the individual work of art begins by its being called up by the
auctioneer. The auctioneer is entitled to call up the works of art in a different
sequence than that published in the catalogue, to join catalogue items to form a
lot, to separate a lot into individual items, and to pull an item from the auction
that has been given a lot number.
When the work of art is called up, its price will be determined by the auctioneer,
denominated in euros. Unless otherwise determined by the auctioneer, the bid
increments will amount to 10% of the respective previous bid.
3. Bids
a) Floor bids
Floor bids will be submitted using the bidder number. A sale and purchase
agreement will be concluded by the auctioneer bringing down the hammer to
end the bidding process.
Where a bidder wishes to submit bids in the name of a third party, it must
notify Grisebach of this fact at the latest twenty-four (24) hours prior to the
auction commencing, submitting a corresponding power of attorney from that
third party. In all other cases, once the work of art has been knocked down,
the sale and purchase agreement will be concluded with the person who has
placed the bid.
b) Written absentee bids
Subject to Grisebach consenting to this being done, bids may also be
submitted in writing using a specific form developed for this purpose.
The bidder must sign the form and must provide the lot number, the name
of the artist, the title of the work of art and the hammer price it wishes to
bid therefor. The bidder must acknowledge the Conditions of Sale as being
binding upon it.
By placing a written bid, the bidder instructs Grisebach to submit such bid in
accordance with its instructions. Grisebach shall use the amount specified in
the written bid only up to whatever amount may be required to outbid another
bidder.
Upon the auctioneer knocking down the work of art to a written bid, a sale
and purchase agreement shall be concluded on that basis with the bidder
who has submitted such written bid.
Where several written bids have been submitted in the same amount for the
same work of art, the bid received first shall be the winning bid, provided
that no higher bid has been otherwise submitted or is placed as a floor bid.
c) Phoned-in absentee bids
Bids may permissibly be phoned in, provided that the bidder applies in writing
to be admitted as a telephone bidder, and does so at the latest twenty-four
(24) hours prior to the auction commencing, and furthermore provided that
Grisebach has consented. The bidder must acknowledge the Conditions of
Sale as being binding upon it.
Bids phoned in will be taken by a Grisebach employee present at the auction
on the floor, and will be submitted in the course of the auction in keeping with
the instructions issued by the bidder. The bid so submitted by the bidder shall

cover exclusively the hammer price, and thus shall not comprise the buyer’s
premium, any allocated costs that may be charged, or turnover tax. The bid
must unambiguously designate the work of art to which it refers, and must
wherever possible provide the lot number, the artist and the title of the work.
Grisebach may make a recording of bids submitted by telephone. By filing the
application to be admitted as a telephone bidder, the bidder declares its
consent to the telephone conversation being recorded. Unless it is required
as evidence, the recording shall be deleted at the latest following the expiry
of three (3) months.
d) Absentee bids submitted via the internet
Bids may be admissibly submitted via the internet only if Grisebach has
registered the bidder for internet bidding, giving him a user name and
password, and if the bidder has acknowledged the Conditions of Sale as
being binding upon it. The registration shall be non-transferable and shall
apply exclusively to the registered party; it is thus entirely personal and
private. The user is under obligation to not disclose to third parties its user
name or password. Should the user culpably violate this obligation, it shall
be held liable by Grisebach for any damages resulting from such violation.
Bids submitted via the internet shall have legal validity only if they are
sufficiently determinate and if they can be traced back to the bidder by its
user name and password beyond any reasonable doubt. The bids transmitted
via the internet will be recorded electronically. The buyer acknowledges that
these records are correct, but it does have the option to prove that they are
incorrect.
In legal terms, Grisebach shall treat bids submitted via the internet at a point
in time prior to the auction as if they were bids submitted in writing. Bids
submitted via the internet while an auction is ongoing shall be taken into
account as if they were floor bids.
4. Knock down
a) The work of art is knocked down to the winning bidder if, following three calls
for a higher bid, no such higher bid is submitted. Upon the item being
knocked down to it, this will place the bidder under obligation to accept the
work of art and to pay the purchase price (Section 4 Clause 1). The bidder
shall not be named.
b) Should the bids not reach the reserve price set by the Consignor, the
auctioneer will knock down the work of art at a conditional hammer price.
This conditional hammer price shall be effective only if Grisebach confirms
this bid in writing within three (3) weeks of the day of the auction. Should
another bidder submit a bid in the meantime that is at least in the amount
of the reserve price, the work of art shall go to that bidder; there will be no
consultations with the bidder to whom the work of art has been knocked
down at a conditional hammer price.
c) The auctioneer is entitled to refuse to accept a bid, without providing any
reasons therefor, or to refuse to knock down a work of art to a bidder.
Where a bid is refused, or where a work of art is not knocked down to a
bidder, the prior bid shall continue to be valid.
d) The auctioneer may revoke any knock-down and may once again call up the
work of art in the course of the auction to ask for bids; the auctioneer may
do so in all cases in which
– The auctioneer has overlooked a higher bid that was submitted in a timely
fashion, provided the bidder so overlooked has immediately objected to this
oversight;
– A bidder does not wish to be bound by the bid submitted; or
– There are any other doubts regarding the knock-down of the work of art
concerned.
Where the auctioneer exercises this right, any knock-down of a work of art
that has occurred previously shall cease to be effective.
e) The auctioneer is authorized, without being under obligation of giving notice
thereof, to also submit bids on behalf of the Consignor until the reserve
price agreed with the Consignor has been reached, and the auctioneer is
furthermore authorized to knock down the work of art to the Consignor,
citing the consignment number. In such event, the work of art shall go unsold.
Section 4 Purchase Price, Payment, Default
1. Purchase price
The purchase price consists of the hammer price plus buyer’s premium.
Additionally, lump sum fees may be charged along with statutory turnover tax.
A. For works of art marked in the catalogue by the letter “R” behind the lot number,
the purchase price is calculated as follows:
a) Buyer’s premium
Grisebach will add a buyer’s premium of 22% to the hammer price. A buyer’s
premium of 15 % will be added to that part of the hammer price that is in
excess of EUR 1,000,000.
b) Lump sum fee for resale royalties
For all original works of art or photographs the creators of which have not
been dead for seventy (70) years prior to the end of that calendar year in
which the sale is made, Grisebach will charge a lump sum fee of 1.5% of
the hammer price, such fee being capped at EUR 6,250.00.
c) Turnover tax
The hammer price, the buyer’s premium and the lump sum fee for resale
royalties will all be subject to the statutory turnover tax in the respectively
applicable amount (standard taxation provisions, marked by the letter “R”).
For original works of art, the tax rate is currently 7 %, for photographs,
prints and screenprints, it is 19%.
d) Exemption from turnover tax
No turnover tax will be charged where works of art are sold that are
acquired in states within the community territory of the European Union
by corporations and exported outside of Germany, provided that such
corporations have provided their turnover tax ID number in applying for and
obtaining their bidder number. It is not possible to register this status after
the invoice has been issued, and more particularly, it is not possible to
perform a correction retroactively.
No turnover tax shall be charged for the sale of works of art that are
delivered, pursuant to Section 6 paragraph 4 of the Umsatzsteuer-
gesetz (UStG, German Turnover Tax Act), to destinations located in states
that are not a Member State of the EU, provided that their buyers are deemed
to be foreign purchasers and have proved this fact in accordance with Section
6 paragraph 2 of the German Turnover Tax Act. The buyer shall bear any
import turnover tax or duties that may accrue abroad.
The above provisions on turnover tax correspond to the legislative status quo
and are in line with the practice of the Tax and Revenue Authorities. They are
subject to change without notice.
B. For works of art that have not been specially marked in the catalogue, the
purchase price will be calculated as follows:
For buyers having their residence in states within the community territory of the
European Union, Grisebach will add a buyer’s premium of 30 % to the hammer
price. A buyer’s premium of 20 % will be added to that part of the hammer price
that is in excess of EUR 1,000,000. This buyer’s premium will include all lump
sum fees as well as the statutory turnover tax (margin scheme pursuant to
Section 25a of the German Turnover Tax Act). These taxes and fees will not be
itemized separately in the invoice.
Buyers to whom delivery is made within Germany, as defined by the German
Turnover Tax Act, and who are entitled to deduct input taxes, may have an
invoice issued to them that complies with the standard taxation provisions as
provided for hereinabove in paragraph A. Such invoice is to be requested when
applying for a bidder number. It is not possible to perform any correction
retroactively after the invoice has been issued.
2. Due date and payment
The purchase price shall be due for payment upon the work of art being
knocked down to the buyer.
The purchase price shall be paid in euros to Grisebach. Cheques and any other
forms of non-cash payment are accepted only on account of performance.
Payment of the purchase price by set-off is an option only where the claims
are not disputed or have been finally and conclusively determined by a court’s
declaratory judgment.
Where payment is made in a foreign currency, any exchange rate risk and any
and all bank charges shall be borne by the buyer.
3. Default
In cases in which the purchase price has not been paid within two (2) weeks of
the invoice having been received, the buyer shall be deemed to be defaulting on
the payment.
Upon the occurrence of such default, the purchase price shall accrue interest at
1% per month, notwithstanding any other claims to compensation of damages
that may exist.
Two (2) months after the buyer has defaulted on the purchase price, Grisebach
shall be entitled – and shall be under obligation to do so upon the Consignor’s
corresponding demand – to provide to the Consignor the buyer’s name and
address.
Where the buyer has defaulted on the purchase price, Grisebach may rescind
the agreement after having set a period of grace of two (2) weeks. Once
Grisebach has so rescinded the agreement, all rights of the buyer to the work
of art acquired at auction shall expire.
Upon having declared its rescission of the agreement, Grisebach shall be entitled
to demand that the buyer compensate it for its damages. Such compensation of
damages shall comprise in particular the remuneration that Grisebach has lost
(commission to be paid by the Consignor and buyer’s premium), as well as the
costs of picturing the work of art in the catalogue and the costs of shipping,
storing and insuring the work of art until it is returned or until it is once again
offered for sale at auction.
73

74
Where the work of art is sold to a bidder who has submitted a lower bid, or
where it is sold at the next auction or the auction after that, the original buyer
moreover shall be held liable for any amount by which the proceeds achieved
at that subsequent auction are lower than the price it had bid originally.
Grisebach has the right to exclude the defaulting buyer from future auctions and
to forward the name and address of that buyer to other auction houses so as to
enable them to exclude him from their auctions as well.
Section 5 Post Auction Sale
In the course of a two-month period following the auction, works of art that have gone
unsold at the auction may be acquired through post auction sales. The post auction
sale will be deemed to be part of the auction. The party interested in acquiring the
work of art is to submit a bid either in person, by telephone, in writing or via the
internet, citing a specific amount, and is to acknowledge the Conditions of Sale as
being binding upon it. The sale and purchase agreement shall come about if
Grisebach accepts the bid in writing within three weeks of its having been received.
The provisions regarding the purchase price, payment, default, pick-up and liability
for works of art acquired at auction shall apply mutatis mutandis.
Section 6 Acceptance of the Work of Art Purchased at Auction
1. Pick-up
The buyer is under obligation to pick up the work of art at the latest one (1)
month after it has been knocked down to the buyer.
However, Grisebach is not under obligation to surrender to the buyer the work of
art acquired at auction prior to the purchase price set out in the invoice having
been paid in full.
Title to the work of art shall devolve to the buyer only upon the purchase price
having been paid in full.
2. Storage
Grisebach shall store the work of art acquired at auction until it is picked up,
doing so at the longest for one (1) month, and shall insure it at its own cost, the
amount insured being equal to the purchase price. Thereafter, Grisebach shall
have the right to store the work of art with a specialized fine art shipping agent
and to insure it there. At its choice, Grisebach may instead store the work of art
in its own premises, charging a monthly lump-sum fee of 0.1 % of the purchase
price for the costs of storage and insurance.
3. Shipping
Where the buyer instructs Grisebach in writing to ship to it the work of art
acquired at auction, subject to the proviso that the purchase price has been paid
in full, Grisebach shall procure the appropriate shipment of the work of art to the
buyer, or to any recipient the buyer may specify, such shipment being performed
by a specialized fine art shipping agent; Grisebach shall take out corresponding
shipping insurance. The buyer shall bear the costs of packaging and shipping the
work of art as well as the insurance premium.
4. Default of acceptance
Where the buyer fails to pick up the work of art within one (1) month (Clause 1)
and fails to issue instructions for the work of art to be
shipped to it (Clause 3), it shall be deemed to be defaulting on acceptance.
5. Sale to other parties
Should the buyer, prior to having paid the purchase price in full, sell the work of
art it has acquired at auction, it hereby assigns to Grisebach, as early as at the
present time and on account of performance, the entirety of all claims to which
it is entitled under such onward sale, and Grisebach accepts such assignment.
Insofar as the claims so assigned are in excess of the claims to which Grisebach
is entitled, Grisebach shall be under obligation to immediately reassign to the
buyer that part of the claim assigned to it that is not required for meeting its claim.
Section 7 Liability
1. Characteristics of the work of art
The work of art is sold in the condition it is in at the time it is knocked down to
the buyer, and in which it was viewed and inspected. The other characteristic
features of the work of art are comprised of the statements made in the
catalogue (Section 2 Clause 1) regarding the work’s creator(s), technique and
signature. These statements are based on the scholarly knowledge published
up until the date of the auction, or otherwise generally accessible, and on the
information provided by the Consignor. No further characteristic features are
agreed among the parties, in spite of the fact that such features may be
described or mentioned in the catalogue, or that they may garnered from
information provided in writing or orally, from a condition report, an expert
appraisal or the images shown in the catalogue. No guarantee (Section 443
of the Bürgerliches Gesetzbuch (BGB, German Civil Code)) is provided for the
work of art having any characteristic features.
2. Buyer’s rights in the event of a defect of title being given (Section 435 of the
German Civil Code)
Should the work of art acquired be impaired by a defect of title because it is
encumbered by rights of third parties, the buyer may, within a period of two (2)
years (Section 438 paragraph 4 and 5 of the Bürgerliches Gesetzbuch (BGB,
German Civil Code)), rescind the agreement based on such defect of title, or it
may reduce the purchase price (Section 437 no. 2 of the German Civil Code).
In all other regards, the buyer’s rights as stipulated by Section 437 of the
German Civil Code are hereby contracted out, these being the right to demand
the retroactive performance of the agreement, the compensation of damages,
or the reimbursement of futile expenditure, unless the defect of title has been
fraudulently concealed.
3. Buyer’s rights in the event of a material defect being given (Section 434 of the
German Civil Code)
Should the work of art deviate from the characteristic features agreed (work’s
creator(s), technique, signature), the buyer shall be entitled to rescind the
agreement within a period of two (2) years after the work of art has been
knocked down to it (Section 438 paragraph 4 of the Bürgerliches Gesetzbuch
(BGB, German Civil Code)). The buyer shall be reimbursed for the purchase
price it has paid (Section 4 Clause 1 of the Conditions of Sale), concurrently
with the return of the purchased object in unaltered condition, such return
being effected at the registered seat of Grisebach.
Claims to any reduction of the purchase price (Section 437 no. 2 of the German
Civil Code), to the compensation of damages or the reimbursement of futile
expenditure (Section 437 no. 3 of the German Civil Code) are hereby contracted
out. This exclusion of liability shall not apply should Grisebach have fraudulently
concealed the defect.
The right to rescind the agreement for material defects shall be contracted out
wherever Grisebach has sold the work of art for the account of the Consignor
and has exercised, to the best of its ability, the greatest possible care in
identifying the work’s creator(s), technique and signature listed in the catalogue,
provided there was no cause to doubt these statements’ being correct. In such
event, Grisebach enters into obligation to reimburse the buyer for the buyer’s
premium, any allocated costs that may have been charged, and turnover tax.
Moreover, Grisebach shall assign to the buyer all of the claims vis-à-vis the
Consignor to which it is entitled as a result of the defects of the work of art,
providing the Consignor’s name and address to the buyer. Grisebach shall
support the buyer in any manner that is legally available to it and that it is
able to apply in enforcing such claims against the Consignor.
4. Errors in the auction proceedings
Grisebach shall not be held liable for any damages arising in connection with
bids that are submitted orally, in writing, by telephone or via the internet, unless
Grisebach is culpable of having acted with intent or grossly negligently. This shall
apply in particular to the telephone, fax or data connections being established
or continuing in service, as well as to any errors of transmission, transfer or
translation in the context of the means of communications used, or any errors
committed by the employees responsible for accepting and forwarding any
instructions. Grisebach shall not be held liable for any misuse by unauthorized
third parties. This limitation of liability shall not apply to any loss of life, limb or
health.
5. Statute of limitations
The statutory periods of limitation provided for by Section 438 paragraph 1
Clause 3 of the Bürgerliches Gesetzbuch (BGB, German Civil Code) (two years)
shall apply where the statute of limitations of claims for defects is concerned.
Section 8 Final provisions
1. Collateral agreements
Any modifications of the present Conditions of Sale that may be made in an
individual case, or any collateral agreements, must be made in writing in order
to be effective.
2. Translations of the Conditions of Sale
Insofar as the Conditions of Sale are available in other languages besides
German, the German version shall govern in each case.
3. Governing law
The laws of the Federal Republic of Germany shall exclusively apply. The United
Nations Convention on the International Sale of Goods shall not apply.
4. Place of performance
Insofar as it is possible to agree under law on the place of performance and
the place of jurisdiction, this shall be Berlin.
5. Severability clause
Should one or several provisions of the present Conditions of Sale be or become
invalid, this shall not affect the validity of the other provisions. Instead of the
invalid provision, the corresponding statutory regulations shall apply.

Impressum
Imprint
Herausgegeben von:
Villa Grisebach Auktionen GmbH,
Fasanenstraße 25, D-10719 Berlin
Geschäftsführer:
Bernd Schultz, Micaela Kapitzky, Florian Illies,
Dr. Markus Krause, Daniel von Schacky, Rigmor Stüssel
HRB 25 552, Erfüllungsort und Gerichtsstand Berlin
Katalogbearbeitung:
Daniel von Schacky, Dr. Martin Schmidt,
Friederike Valentien
Textbeiträge: Ulrich Clewing
Koordination American Academy: Jessica von Vitzthum
Photos: Photostudio Bartsch, Karen Bartsch
Photobearbeitung: Ulf Zschommler
© VG Bildkunst, Bonn 2012 (für vertretene Künstler)
© Mike Wolff, Berlin
© Emmet Malstrom (Los 907)
© American Academy, Berlin (Lose 908, 909, 926)
© Mike Minehan, Berlin (Los 921)
© Alex Katz Studio, New York (Los 928)
© Mayen Beckmann, Köln/Berlin
Trotz intensiver Recherche war es nicht in allen
Fällen möglich, die Rechteinhaber ausfindig zu machen.
Übersetzung (Text M. Beckmann):
Samson-Übersetzungen, Dr. Carmen von Schöning, Berlin
Graphik-Design: BOROS, Wuppertal
Produktion/DTP: Daniel Lamprecht
Database-Publishing: Digitale Werkstatt, J. Grützkau, Berlin
Herstellung & Lithographie: Königsdruck GmbH
Gedruckt auf Maxisatin, 150 g/qm
Schrift: Didot und Corporate S
Künstlerverzeichnis
Artist Index
Artschwager: 910
Baselitz: 914
Beckmann: 900
Bing: 916
Butzer: 903
Clemente: 918
Condo: 913
Curry: 904
Dahn: 927
Dean: 911
Demand: 901
Epstein: 909
Holzer: 921
Katz: 928
Kiefer: 917
Kruger: 920
Lawler: 919
Le Va: 923
Mehretu: 907
Mullican: 912
Neel: 915
Pettibon: 925
Pfeiffer: 906
Rankin: 902
Reyle: 905
Rosenquist: 908
Ruscha: 926
Uecker: 922
Ullman: 924
Cover illustrations:
Front cover: Thomas Demand · Lot 901
Photographed in the American Academy in September 2012
Back cover: Günther Uecker · Lot 922
Inside front cover: Julie Mehretu · Lot 907
Inside back cover: Raymond Pettibon · Lot 925 (detail)
Korr 75