Auktionsbedingungen
Auszug aus der Geschäftsordnung, Stand April 2022
Die Auktionen werden nach der Geschäftsordnung der Widder Auktionen der Kunsthandel Widder GmbH durchgeführt. Diese liegt mit genauem Wortlaut im Auktionshaus auf und kann auf www.widderauktionen.com abgerufen werden.
Schätzpreise, Ausrufpreis, Mindestverkaufspreis, Limit, Zuschlag
Bei Objektbeschreibungen wird ein oberer und unterer Schätzpreis in Euro angegeben. Innerhalb dieser Spanne wird das Meistbot erwartet. Online ist auch der Ausrufpreis angeführt. Der Ausrufpreis ist in der Regel der untere Schätzpreis, er kann jedoch höher oder niedriger angesetzt werden. Gesteigert wird um ca. 10%, wobei davon abgewichen werden kann. Das Meistbot erhält den Zuschlag, sofern der Mindestverkaufspreis erreicht wurde. Bestimmt der Verkäufer/die Verkäuferin das Objekt nicht unter einem festgesetzten Preis zu verkaufen, spricht man von Mindestverkaufspreis oder Limit. Wenn dieses nicht erreicht wird, gilt ein Zuschlag unter Vorbehalt. Meistbietende sind verpflichtet innerhalb von 7 Tagen nach Rechnungslegung den Kaufpreis zu zahlen.
Kaufpreis
Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Das Aufgeld beträgt 28% bei Differenzbesteuerung. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.
Bei Normalbesteuerung (im Katalog mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt bei Gemälden, Aquarellen, Zeichnungen sowie Skulpturen die gesetzliche Umsatzsteuer von 13%, für alle anderen Objekte 20% hinzu.
Folgerecht
Mit * gekennzeichnete Objekte unterliegen dem Folgerecht. Dieses wird in Form eines Zuschlags auf das Meistbot verrechnet. Es gilt erst ab einem Meistbot über 2.499,99 € und ist gestaffelt: für die ersten 50.000 € werden 4% verrechnet. Danach je weiterer 150.000 € 3% bzw. 1% und ab 500.000 € 0,25%. Die maximale Folgerechtsabgabe beträgt 12.500 €.
Echtheitsgarantie
Das Auktionshaus steht gegenüber dem Käufer/der Käuferin innerhalb von zwei Jahren für die Echtheit des Objekts ein und garantiert, dass das Objekt tatsächlich von dem genannten Künstler/der genannten Künstlerin stammt.
Katalogangaben und Beschreibung
Angaben von Technik, Signatur, Material, Zustand, Provenienz, etc. erfolgen durch ExpertInnen des Auktionshauses. Es wird jedoch keine Gewähr für die Richtigkeit dieser Angaben geleistet.
Die Beschreibungen der Objekte bedeuten: Vor- und Zuname des Künstlers/der Künstlerin mit Lebensdaten: ein sicheres Werk des Künstlers/der Künstlerin. „signiert“ oder „monogrammiert“: ein eindeutig zuordenbares Werk des Künstlers/der Künstlerin. „Zugeschrieben“: ein wahrscheinliches, aber nicht zwangsläufig authentisches Werk des Künstlers/der Künstlerin. „Umkreis“: ein im Einflussbereich des Künstlers/der Künstlerin entstandenes Werk. „Bezeichnet“: ein wahrscheinliches, aber nicht von der Hand des Künstlers/der Künstlerin signiertes Werk. „Werkstatt“: ein im unmittelbaren Umfeld des Künstlers/der Künstlerin entstandenes Werk. „Schule“: ein in zeitlicher und stilistischer Nähe zum Künstler/zur Künstlerin entstandenes Werk. „Nachfolge“: ein in der Nachfolge entstandenes, stilistisch verwandtes Werk des Künstlers/der Künstlerin.
Kaufaufträge
Interessenten können Kaufaufträge schriftlich und online abgeben oder telefonisch mitbieten. Ein ausgefülltes und unterfertigtes Gebotsformular muss zeitgerecht vor der Auktion eingehen. Das Auktionshaus bietet für schriftliche Gebote bis zum angegebenen Meistbot mit.
Telefonische Gebote
Interessenten haben die Möglichkeit telefonisch mitzubieten. Das Auktionshaus bemüht sich die angegebene Rufnummer zu erreichen. Kommt keine Telefonverbindung zu Stande, kann das Auktionshaus für die Interessenten bis zum unteren Schätzpreis des Objektes bieten. Das Auktionshaus ist in diesem Fall aber nicht verpflichtet, das Gebot auszuführen.
Online Bidding, Live Bidding
Bieter/Bieterinnen können auf www.widderauktionen.com sowie auf externen Auktionsplattformen Vorgebote abgeben und live mitbieten.
Versicherung
Kunstobjekte sind bis zum Ende der Abholfrist, in der Höhe des Meistbots, gegen Verlust und Beschädigung versichert. Danach ist das Kunstobjekt nur bis maximal 6 Monate nach Rechnungslegung versichert, wenn kein Zahlungsverzug besteht.
Gerichtsstand, Rechtswahl
Gerichtsstand und Erfüllungsort für alle Rechtsverhältnisse ist 1010 Wien. Es gilt österreichisches materielles Recht.
TERMS OF AUCTION
Extract from the Rules of Procedure, as of April 2022
The auctions are conducted in accordance with the Rules of Procedure of the Widder Auctions of Kunsthandel Widder GmbH. The exact wording of these rules is available at the auction house and can be downloaded from www.widderauktionen.com.
Estimated prices, starting price, minimum sale price, limit, hammer price
In object descriptions, an upper and lower estimated price is stated in euros. The highest bid is expected within this range. The starting price is also stated online. As a rule, the starting price is the lower estimated price, but it
can be set higher or lower. The auctioneer increases the price by steps of approx. 10%, although it is possible to deviate from this. The highest bid wins, provided that the minimum selling price has been reached. If the seller decides not to sell the object below a fixed price, this is called the minimum sale price or limit. If this is not reached, the sale is considered conditional. Highest bidders are obliged to pay the purchase price within 7 days after invoicing.
Purchase price
The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
In the case of normal taxation (marked ° in the catalog), a premium of 24% is added to the highest bid. For paintings, watercolors, drawings and sculptures, the statutory sales tax of 13% is added to the sum of the highest bid and the buyer's premium, for all other objects 20%.
Resale Right
Items marked * are subject to the resale right. This will be charged in the form of a surcharge on the highest bid. It only applies to highest bids over € 2,499.99 and is staggered: for the first € 50,000 4% will be charged. Thereafter, for each additional €150,000, 3% and 1% respectively, and for €500,000 and above, 0.25%. The maximum resale right charge is 12,500 €.
Authenticity guarantee
The auction house vouches for the authenticity of the object to the buyer within two years and guarantees that the object is indeed by the named artist.
Catalog information and description
Details of technique, signature, material, condition, provenance, etc. are provided by experts of the auction house. However, no guarantee is given for the correctness of this information.
The descriptions of the objects mean: first and last name of the artist with life data: an authentic work of the artist. "Signed" or "monogrammed": a clearly attributable work by the artist. "Attributed": a probably, but not necessarily authentic, work by the artist. "Circle": a work created within the artist's sphere of influence. "Inscribed": a probably authentic work, but not signed by the artist's hand. "Workshop": a work created in the artist's immediate environment. "School": a work created in temporal and stylistic proximity to the artist. "Succession": a stylistically related work created in the artist's succession.
Purchase orders
Interested parties may submit purchase orders in writing and online or bid by telephone. A completed and signed bid form must be received in a timely manner prior to the auction. The auction house will bid for written bids up to the stated highest bid.
Telephone Bids
Interested parties have the possibility to bid by telephone. The auction house will make every effort to reach the telephone number provided. If no telephone connection can be established, the auction house can bid for the interested parties up to the lower estimated price of the object. In this case, the auction house is not obliged to execute the bid.
Online Bidding, Live Bidding
Bidders can place pre-bids and bid live on www.widderauktionen.com as well as on external auction platforms.
Insurance
Objects of art are insured against loss and damage until the end of the collection period, up to the amount of the highest bid. Thereafter, the art object is insured only up to a maximum of 6 months after invoicing, if there is no delay in payment.
Place of jurisdiction, choice of law
Place of jurisdiction and place of performance for all legal relationships is 1010 Vienna. Austrian substantive law shall apply.
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LOS 46:
CARRY HAUSER* (Vienna 1895 - 1985 Rekawinkel)
Mehr...
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Startpreis:
€
4,000
Geschätzter Preis :
€4,000 - €8,000
Auktionshaus-Provision: 24%
Nähere Details
MwSt: 13% Auf den vollen Lospreis und die Provision
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CARRY HAUSER*
(Vienna 1895 - 1985 Rekawinkel)
White Demon, 1972
oil/wood, 52,5 x 41 cm
monogrammed CH and dated 72
depicted in Carry Hauser 2018, p. 120, N. 355, and in cat. raisonné Carry Hauser, Belvedere Vienna 2012, p. 496 with number 1972 M 5
Provenance: estate of the artist, Fine Arts Widder Vienna
ESTIMATE °€ 4.000 - 8.000
Austrian painter, stage designer, poet, writer of the 20th century. Studied at the School of Applied Arts in Vienna under Alfred Roller, Oskar Strnad, Anton von Kenner and Adolf Michael Boehm. In 1914 he volunteered for the First World War and returned as a pacifist. Befriended Franz Theodor Csokor and promoted by Arthur Roessler. Member of the artist group Freie Bewegung and from 1925 to 1938 member of the Hagenbund. Lived temporarily in Passau, together with Georg Philipp Wörlen, Reinhard Hilker, Fritz Fuhrken and Franz Bronstert in the artist group Der Fels. From 1922 married to the classical philologist Gertrude Herzog-Hauser. During the Second World War in exile in Switzerland, wife and son fled to the Netherlands. From 1947 again involved in cultural reconstruction in Vienna. Secretary General and Vice President of the P.E.N. Club, Honorary President of the New Hagenbund. Stylistic development from classical, academic training through early Expressionism to New Objectivity. Themes such as love, death, Eros, narrative representations, religious themes. From the mid-1960s, travels to Africa, increasingly African motifs. Man and nature away from Western civilization in the jungle, in the jungle. Originality and innocence of children and boys in the African bush.
Carry Hauser was born as Karl Maria Hauser on February 16, 1895 in Vienna. His father is an official in the Ministry of the Imperial House and Foreign Affairs, his mother Maria Hauser, née Linke, the daughter of a Moravian landowner. Carry Hauser and his brother Heinz, who is three years his senior, are initially taught at home by their mother, who is a teacher. Hauser grew up in an art-interested environment of the Viennese educated middle class, with frequent visits to the theater and exhibitions. From 1905 to 1910 he attended the Schottengymnasium in Vienna and then switched to the Graphic Teaching and Research Institute for two years. At the same time, he completed an evening course in ornamental form theory with Franz Cˇižek at the school of applied arts. 1912 Carry Hauser attended the school of applied arts for two years, first in general form theory with Oskar Strnad and in the second year in nature studies with Adolf Böhm. During this time he received basic artistic training in the general department under the direction of Alfred Roller, which was characterized by extensive practical workshop training using a wide variety of techniques. He also attends the evening nude class with Oskar Kokoschka, the class for nude studies with Anton von Kenner, ornamental form theory with Franz Cˇižek and writing and heraldry with Rudolf von Larisch. In November 1914 he left the School of Arts and Crafts early, after passing all the exams, and in the same month he volunteered in the army with the Deutschmeister Regiment as k. and k. Deutschmeister. After training as an officer, he was transferred to the First Infantry Regiment in Austria-Silesia, where he did his military service in present-day Poland, Ukraine and the Czech Republic. Towards the end of the war he stayed in Chernivtsi and worked on pictures for a regiment exhibition. The experiences of the war, the contact to intellectual and pacifist circles and above all the death of his brother Heinz shaped him and allowed him to emerge from the war as a pacifist. Back in Vienna after the end of the war, Hauser established contacts with the art historian, art critic and collector Arthur Roessler and the playwright Franz Theodor Csokor, for whom he designed stage sets and costumes. Hauser is a founding and executive member (until 1922) of the artists' association Die Freie Bewegungs (The Free Movement), which organizes exhibitions of international contemporary art. At the same time, he works as an artist for the Wiener Graphische Werkstätte publishing house, which mainly publishes modern Austrian literature. From the very beginning he devoted himself intensively to theater and literature in addition to the fine arts. In October 1919, Carry Hauser had his first personal exhibition in the house of the young artists. The modern art of the interwar period has fallen into oblivion and young artists orientate themselves towards international trends and the conservative taste in art of the National Socialists is increasingly harder to shake off. Hauser begins to campaign for the reconstruction of the modern art and cultural landscape of his homeland. He follows the events of the Art Club and is involved in the founding of the New Hagenbund. He intensified his collaboration with theater and literary circles and from 1947 to 1973 he was a member of the Austrian P.E.N. Clubs, of which he became general secretary in 1952 and where he also served as vice president until 1972. In 1947, a personal exhibition with 50 works from the period after 1938 took place in Lincoln, USA. In 1949 he received the City of Vienna Prize for Graphics and Applied Arts. In 1951 he resigned as President of the New Hagenbund due to internal disagreements. In 1952 he was a member of the professional association of Austrian resistance fighters and victims of fascism. Co-founder and temporarily vice-president of the professional association of Austrian visual artists, member of the board of trustees of the documentation archive of the Austrian resistance and president of the action against anti-Semitism as well as president of the Federation of Modern Visual Artists in Austria. In the 1950s he drew the illustrations for the book Das Weltbild der Moderne by Karl Renner and worked on several ceramic mosaics for the municipality of Vienna (including Voltagasse 1210 Vienna, Märzstraße 1150 Vienna, Theresienbad 1120 Vienna, Simonygasse 1180 Vienna). From the 1960s on, Carry Hauser regularly travels to Croatia, Israel and above all to Africa. Numerous sketches are created on these trips, in which he captures nature and the local people. At the same time he takes part in international exhibitions, in 1960 in the Kunstverein Braunschweig and in the Galerie de Bourgogne in Paris, in 1964 a personal exhibition in Jerusalem follows. One year later, in 1965, he received the Golden Medal of Honor and in 1985 the Ring of Honor of the City of Vienna. Until the end of his life, it was above all the experiences of his travels to Afrika that had the greatest impact on his artistic work. His love for Africa began in 1967 with a cruise on a cargo steamer via Gibraltar and the Suez Canal to South Africa. Several stays in East and West Africa followed, e.g. in Freetown in Sierra Leone, in Mombasa in Kenya, in Cameroon, on Zanzibar in Tanzania, on Djerba and in Tunis. Hauser finds something in Africa that he probably misses in his homeland and describes it in the following words: "...Africa has a substance - the Africans have a substance - that has grabbed me, so that everything I've written lately , what I painted has to do with Africa and came out of this African experience, because I see something here that I think is a view of the world..."
