345
„WILL/WE MUST“ BY ZHOU TIEHAI (BORN 1966 IN SHANGHAI, CHINA) Collage from ca. 90 single A4 pages
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„WILL/WE MUST“ BY ZHOU TIEHAI (BORN 1966 IN SHANGHAI, CHINA)
Collage from ca. 90 single A4 pages of the movie script to the black and white silent movie “Will/We Must”, mostly on newsprint, created between 1996 and 1997. Drawing in pencil, felt and ball pen above the collage.
Will/We Must consists of a black-and-white soundless video that Zhou Tiehai created in 1996 and a group of works on paper and canvas that he made based on it. The characteristically humorous video dramatically exposes the strange phenomena of the Chinese art world at the time. Its imitation of the style of silent movies exaggerates the absurdity of the content to the point of becoming satire. During the nineties, Chinese artists frequently participated in exhibitions abroad. Reflecting on this period of prosperity, Zhou Tiehai satirizes the overseas curators and collectors, as well as the Chinese artists themselves, in this footnote to the history of contemporary Chinese art.
Provenance: From the collection of Andreas Krüger, Germany. Acquired directly from the artist ca. 1998 via his gallery Lorenz Helbling, Shanghart.
Exhibited: Kunstverein Museum Schloss Morsbroich e.V. Leverkusen, Germany, October 17th – November 12th, 2000.
Published: “Zhou Tiehai / Met in Shanghai”, catalogue to the exhibition at Museum Schloss Morsbroich e.V. Leverkusen, Germany, page 23, published in October 2000. Scans of the respective catalogue pages are accompanying this lot.
Condition: Good condition with intentional creases, minor wear and losses, one tear of ca. 25 cm.
Dimensions: 273 x 194 cm
The movie Will/We Must has 9 independent soundless scenes. The first is a mock military meeting that dramatizes an artist’s need to establish his own status independently from museum directors, critics, and gallery owners. The second scene demonstrates an artist’s wish to befriend critics and media in order to have his works exhibited. In the third scene, we see one patient after another queuing to be examined by a “foreign expert”; this is a parody of the need for Chinese artists to be “treated” by foreign critics before successfully exhibiting abroad. The fourth scene is a conversation between a collector who has traveled to China from afar and a guide taking him to an artist’s studio; we witness the guide’s taste and the collector’s list of artists to visit. In the fifth scene, we see an artist calling five curators to say only, “Whatever show you curate I am willing to participate in.” In the sixth scene, a Qing-dynasty official receives a foreign emissary, who denigrates China for having only traditional medicine and witchcraft but no art. The Qing official snaps, “Must our art suit your taste?” Here Zhou Tiehai articulates the prejudices held by foreign critics about the Chinese art world. Following all these absurd and bizarre situations, the last scene features 10 desperate artists on a raft, unable to move forwards or backwards, embodying the embarrassment and anger Chinese artists felt as they attempted to interface with the outside world in the nineties. This scene—and the video as a whole—ends with a line filled with pathos: “Goodbye, Art!”
The series Will/We Must includes works that recreate important scenes from the video. Some of these are on newsprint, others on white paper. Will/We Must expresses Zhou Tiehai’s artistic philosophy and documents his creative direction. Satirizing the art system itself has become an important topic in his subsequent works, including the renowned Placebo and Tonic series.
Zhou Tiehai is a contemporary Chinese artist. Trained as a painter in his native Shanghai, Zhou co-founded Shanghai’s first international art fair, SH Contemporary, in 2007, assumed the directorship of the Minsheng Art Museum in 2010, and founded West Bund Art & Design in 2014. Zhou’s art often attempts to satirize modern Chinese art. He does not paint his own works, though he earned a M.F.A. from the School of Fine Arts at Shanghai University in 1989. He was quick to perceive the subtle colonialism that undergirded the Chinese art world of the early 1990s. Zhou takes on the role of both artist and patron, as many of his airbrush paintings are rendered by assistants under his supervision. A typical process for Zhou Tiehai is to conceptualize a work, realize it on the computer, then rely upon the help of assistants to physically create it. He is mostly known for appropriating the Camel advertising character that he calls Joe Camel (playing on his family name “Zhou”) and making large paintings that reference famous western motifs from art history. Even though Zhou’s work is exhibited widely in China and abroad, he does not produce any new work.
Auction result comparison: Compare with a related lot at Sotheby’s Hong Kong on October 6th, 2014, in Asian Contemporary Art, lot 800.
周鐵海（1966年出生於上海）《必須》
來自諷刺短片《必須》中約90頁拼貼畫，大多是新聞紙，創作于1996 及1997年。拼貼畫上使用鉛筆畫，毛氈及圓珠筆。
來源：德國Andreas Krüger收藏；1998年直接通過Lorenz Helbling的香格納畫廊在藝術家処購得。
展覽： 2000年10月17日-11月12日德國Morsbroich 宮博物館藝術展
出版： 2000年10月上述展覽目錄 《Zhou Tiehai / Met in Shanghai》，第23頁，隨附該頁複印件
品相：品相良好，一些摺痕，輕微磨損和缺失，約25厘米的水漬
尺寸：273 x 194 厘米
Collage from ca. 90 single A4 pages of the movie script to the black and white silent movie “Will/We Must”, mostly on newsprint, created between 1996 and 1997. Drawing in pencil, felt and ball pen above the collage.
Will/We Must consists of a black-and-white soundless video that Zhou Tiehai created in 1996 and a group of works on paper and canvas that he made based on it. The characteristically humorous video dramatically exposes the strange phenomena of the Chinese art world at the time. Its imitation of the style of silent movies exaggerates the absurdity of the content to the point of becoming satire. During the nineties, Chinese artists frequently participated in exhibitions abroad. Reflecting on this period of prosperity, Zhou Tiehai satirizes the overseas curators and collectors, as well as the Chinese artists themselves, in this footnote to the history of contemporary Chinese art.
Provenance: From the collection of Andreas Krüger, Germany. Acquired directly from the artist ca. 1998 via his gallery Lorenz Helbling, Shanghart.
Exhibited: Kunstverein Museum Schloss Morsbroich e.V. Leverkusen, Germany, October 17th – November 12th, 2000.
Published: “Zhou Tiehai / Met in Shanghai”, catalogue to the exhibition at Museum Schloss Morsbroich e.V. Leverkusen, Germany, page 23, published in October 2000. Scans of the respective catalogue pages are accompanying this lot.
Condition: Good condition with intentional creases, minor wear and losses, one tear of ca. 25 cm.
Dimensions: 273 x 194 cm
The movie Will/We Must has 9 independent soundless scenes. The first is a mock military meeting that dramatizes an artist’s need to establish his own status independently from museum directors, critics, and gallery owners. The second scene demonstrates an artist’s wish to befriend critics and media in order to have his works exhibited. In the third scene, we see one patient after another queuing to be examined by a “foreign expert”; this is a parody of the need for Chinese artists to be “treated” by foreign critics before successfully exhibiting abroad. The fourth scene is a conversation between a collector who has traveled to China from afar and a guide taking him to an artist’s studio; we witness the guide’s taste and the collector’s list of artists to visit. In the fifth scene, we see an artist calling five curators to say only, “Whatever show you curate I am willing to participate in.” In the sixth scene, a Qing-dynasty official receives a foreign emissary, who denigrates China for having only traditional medicine and witchcraft but no art. The Qing official snaps, “Must our art suit your taste?” Here Zhou Tiehai articulates the prejudices held by foreign critics about the Chinese art world. Following all these absurd and bizarre situations, the last scene features 10 desperate artists on a raft, unable to move forwards or backwards, embodying the embarrassment and anger Chinese artists felt as they attempted to interface with the outside world in the nineties. This scene—and the video as a whole—ends with a line filled with pathos: “Goodbye, Art!”
The series Will/We Must includes works that recreate important scenes from the video. Some of these are on newsprint, others on white paper. Will/We Must expresses Zhou Tiehai’s artistic philosophy and documents his creative direction. Satirizing the art system itself has become an important topic in his subsequent works, including the renowned Placebo and Tonic series.
Zhou Tiehai is a contemporary Chinese artist. Trained as a painter in his native Shanghai, Zhou co-founded Shanghai’s first international art fair, SH Contemporary, in 2007, assumed the directorship of the Minsheng Art Museum in 2010, and founded West Bund Art & Design in 2014. Zhou’s art often attempts to satirize modern Chinese art. He does not paint his own works, though he earned a M.F.A. from the School of Fine Arts at Shanghai University in 1989. He was quick to perceive the subtle colonialism that undergirded the Chinese art world of the early 1990s. Zhou takes on the role of both artist and patron, as many of his airbrush paintings are rendered by assistants under his supervision. A typical process for Zhou Tiehai is to conceptualize a work, realize it on the computer, then rely upon the help of assistants to physically create it. He is mostly known for appropriating the Camel advertising character that he calls Joe Camel (playing on his family name “Zhou”) and making large paintings that reference famous western motifs from art history. Even though Zhou’s work is exhibited widely in China and abroad, he does not produce any new work.
Auction result comparison: Compare with a related lot at Sotheby’s Hong Kong on October 6th, 2014, in Asian Contemporary Art, lot 800.
周鐵海（1966年出生於上海）《必須》
來自諷刺短片《必須》中約90頁拼貼畫，大多是新聞紙，創作于1996 及1997年。拼貼畫上使用鉛筆畫，毛氈及圓珠筆。
來源：德國Andreas Krüger收藏；1998年直接通過Lorenz Helbling的香格納畫廊在藝術家処購得。
展覽： 2000年10月17日-11月12日德國Morsbroich 宮博物館藝術展
出版： 2000年10月上述展覽目錄 《Zhou Tiehai / Met in Shanghai》，第23頁，隨附該頁複印件
品相：品相良好，一些摺痕，輕微磨損和缺失，約25厘米的水漬
尺寸：273 x 194 厘米
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„WILL/WE MUST“ BY ZHOU TIEHAI (BORN 1966 IN SHANGHAI, CHINA)
Collage from ca. 90 single A4 pages of the movie script to the black and white silent movie “Will/We Must”, mostly on newsprint, created between 1996 and 1997. Drawing in pencil, felt and ball pen above the collage.
Will/We Must consists of a black-and-white soundless video that Zhou Tiehai created in 1996 and a group of works on paper and canvas that he made based on it. The characteristically humorous video dramatically exposes the strange phenomena of the Chinese art world at the time. Its imitation of the style of silent movies exaggerates the absurdity of the content to the point of becoming satire. During the nineties, Chinese artists frequently participated in exhibitions abroad. Reflecting on this period of prosperity, Zhou Tiehai satirizes the overseas curators and collectors, as well as the Chinese artists themselves, in this footnote to the history of contemporary Chinese art.
Provenance: From the collection of Andreas Krüger, Germany. Acquired directly from the artist ca. 1998 via his gallery Lorenz Helbling, Shanghart.
Exhibited: Kunstverein Museum Schloss Morsbroich e.V. Leverkusen, Germany, October 17th – November 12th, 2000.
Published: “Zhou Tiehai / Met in Shanghai”, catalogue to the exhibition at Museum Schloss Morsbroich e.V. Leverkusen, Germany, page 23, published in October 2000. Scans of the respective catalogue pages are accompanying this lot.
Condition: Good condition with intentional creases, minor wear and losses, one tear of ca. 25 cm.
Dimensions: 273 x 194 cm
The movie Will/We Must has 9 independent soundless scenes. The first is a mock military meeting that dramatizes an artist’s need to establish his own status independently from museum directors, critics, and gallery owners. The second scene demonstrates an artist’s wish to befriend critics and media in order to have his works exhibited. In the third scene, we see one patient after another queuing to be examined by a “foreign expert”; this is a parody of the need for Chinese artists to be “treated” by foreign critics before successfully exhibiting abroad. The fourth scene is a conversation between a collector who has traveled to China from afar and a guide taking him to an artist’s studio; we witness the guide’s taste and the collector’s list of artists to visit. In the fifth scene, we see an artist calling five curators to say only, “Whatever show you curate I am willing to participate in.” In the sixth scene, a Qing-dynasty official receives a foreign emissary, who denigrates China for having only traditional medicine and witchcraft but no art. The Qing official snaps, “Must our art suit your taste?” Here Zhou Tiehai articulates the prejudices held by foreign critics about the Chinese art world. Following all these absurd and bizarre situations, the last scene features 10 desperate artists on a raft, unable to move forwards or backwards, embodying the embarrassment and anger Chinese artists felt as they attempted to interface with the outside world in the nineties. This scene—and the video as a whole—ends with a line filled with pathos: “Goodbye, Art!”
The series Will/We Must includes works that recreate important scenes from the video. Some of these are on newsprint, others on white paper. Will/We Must expresses Zhou Tiehai’s artistic philosophy and documents his creative direction. Satirizing the art system itself has become an important topic in his subsequent works, including the renowned Placebo and Tonic series.
Zhou Tiehai is a contemporary Chinese artist. Trained as a painter in his native Shanghai, Zhou co-founded Shanghai’s first international art fair, SH Contemporary, in 2007, assumed the directorship of the Minsheng Art Museum in 2010, and founded West Bund Art & Design in 2014. Zhou’s art often attempts to satirize modern Chinese art. He does not paint his own works, though he earned a M.F.A. from the School of Fine Arts at Shanghai University in 1989. He was quick to perceive the subtle colonialism that undergirded the Chinese art world of the early 1990s. Zhou takes on the role of both artist and patron, as many of his airbrush paintings are rendered by assistants under his supervision. A typical process for Zhou Tiehai is to conceptualize a work, realize it on the computer, then rely upon the help of assistants to physically create it. He is mostly known for appropriating the Camel advertising character that he calls Joe Camel (playing on his family name “Zhou”) and making large paintings that reference famous western motifs from art history. Even though Zhou’s work is exhibited widely in China and abroad, he does not produce any new work.
Auction result comparison: Compare with a related lot at Sotheby’s Hong Kong on October 6th, 2014, in Asian Contemporary Art, lot 800.
周鐵海（1966年出生於上海）《必須》
來自諷刺短片《必須》中約90頁拼貼畫，大多是新聞紙，創作于1996 及1997年。拼貼畫上使用鉛筆畫，毛氈及圓珠筆。
來源：德國Andreas Krüger收藏；1998年直接通過Lorenz Helbling的香格納畫廊在藝術家処購得。
展覽： 2000年10月17日-11月12日德國Morsbroich 宮博物館藝術展
出版： 2000年10月上述展覽目錄 《Zhou Tiehai / Met in Shanghai》，第23頁，隨附該頁複印件
品相：品相良好，一些摺痕，輕微磨損和缺失，約25厘米的水漬
尺寸：273 x 194 厘米
Collage from ca. 90 single A4 pages of the movie script to the black and white silent movie “Will/We Must”, mostly on newsprint, created between 1996 and 1997. Drawing in pencil, felt and ball pen above the collage.
Will/We Must consists of a black-and-white soundless video that Zhou Tiehai created in 1996 and a group of works on paper and canvas that he made based on it. The characteristically humorous video dramatically exposes the strange phenomena of the Chinese art world at the time. Its imitation of the style of silent movies exaggerates the absurdity of the content to the point of becoming satire. During the nineties, Chinese artists frequently participated in exhibitions abroad. Reflecting on this period of prosperity, Zhou Tiehai satirizes the overseas curators and collectors, as well as the Chinese artists themselves, in this footnote to the history of contemporary Chinese art.
Provenance: From the collection of Andreas Krüger, Germany. Acquired directly from the artist ca. 1998 via his gallery Lorenz Helbling, Shanghart.
Exhibited: Kunstverein Museum Schloss Morsbroich e.V. Leverkusen, Germany, October 17th – November 12th, 2000.
Published: “Zhou Tiehai / Met in Shanghai”, catalogue to the exhibition at Museum Schloss Morsbroich e.V. Leverkusen, Germany, page 23, published in October 2000. Scans of the respective catalogue pages are accompanying this lot.
Condition: Good condition with intentional creases, minor wear and losses, one tear of ca. 25 cm.
Dimensions: 273 x 194 cm
The movie Will/We Must has 9 independent soundless scenes. The first is a mock military meeting that dramatizes an artist’s need to establish his own status independently from museum directors, critics, and gallery owners. The second scene demonstrates an artist’s wish to befriend critics and media in order to have his works exhibited. In the third scene, we see one patient after another queuing to be examined by a “foreign expert”; this is a parody of the need for Chinese artists to be “treated” by foreign critics before successfully exhibiting abroad. The fourth scene is a conversation between a collector who has traveled to China from afar and a guide taking him to an artist’s studio; we witness the guide’s taste and the collector’s list of artists to visit. In the fifth scene, we see an artist calling five curators to say only, “Whatever show you curate I am willing to participate in.” In the sixth scene, a Qing-dynasty official receives a foreign emissary, who denigrates China for having only traditional medicine and witchcraft but no art. The Qing official snaps, “Must our art suit your taste?” Here Zhou Tiehai articulates the prejudices held by foreign critics about the Chinese art world. Following all these absurd and bizarre situations, the last scene features 10 desperate artists on a raft, unable to move forwards or backwards, embodying the embarrassment and anger Chinese artists felt as they attempted to interface with the outside world in the nineties. This scene—and the video as a whole—ends with a line filled with pathos: “Goodbye, Art!”
The series Will/We Must includes works that recreate important scenes from the video. Some of these are on newsprint, others on white paper. Will/We Must expresses Zhou Tiehai’s artistic philosophy and documents his creative direction. Satirizing the art system itself has become an important topic in his subsequent works, including the renowned Placebo and Tonic series.
Zhou Tiehai is a contemporary Chinese artist. Trained as a painter in his native Shanghai, Zhou co-founded Shanghai’s first international art fair, SH Contemporary, in 2007, assumed the directorship of the Minsheng Art Museum in 2010, and founded West Bund Art & Design in 2014. Zhou’s art often attempts to satirize modern Chinese art. He does not paint his own works, though he earned a M.F.A. from the School of Fine Arts at Shanghai University in 1989. He was quick to perceive the subtle colonialism that undergirded the Chinese art world of the early 1990s. Zhou takes on the role of both artist and patron, as many of his airbrush paintings are rendered by assistants under his supervision. A typical process for Zhou Tiehai is to conceptualize a work, realize it on the computer, then rely upon the help of assistants to physically create it. He is mostly known for appropriating the Camel advertising character that he calls Joe Camel (playing on his family name “Zhou”) and making large paintings that reference famous western motifs from art history. Even though Zhou’s work is exhibited widely in China and abroad, he does not produce any new work.
Auction result comparison: Compare with a related lot at Sotheby’s Hong Kong on October 6th, 2014, in Asian Contemporary Art, lot 800.
周鐵海（1966年出生於上海）《必須》
來自諷刺短片《必須》中約90頁拼貼畫，大多是新聞紙，創作于1996 及1997年。拼貼畫上使用鉛筆畫，毛氈及圓珠筆。
來源：德國Andreas Krüger收藏；1998年直接通過Lorenz Helbling的香格納畫廊在藝術家処購得。
展覽： 2000年10月17日-11月12日德國Morsbroich 宮博物館藝術展
出版： 2000年10月上述展覽目錄 《Zhou Tiehai / Met in Shanghai》，第23頁，隨附該頁複印件
品相：品相良好，一些摺痕，輕微磨損和缺失，約25厘米的水漬
尺寸：273 x 194 厘米
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§ 1) The auction shall be carried out in accordance with the provisions of the rules of procedure of GALERIE ZACKE ©, SZA VERSTEIGERUNGS UND VERTRIEBS GMBH, MARIAHILFERSTRASSE 112, 1070 WIEN (hereinafter referred to as the company) as well as in accordance with sections 244-246 of the GEWERBEORDNUNG [Industrial Code] of 1994. The auction shall be carried out on commission. The auctioneer shall be entitled to withdraw lots exceptionally, to conduct the auction deviating from the order of the catalogue numbers and to offer lots jointly. In the event of any dispute concerning a double bid or if the auctioneer has missed a bid, the auctioneer shall be entitled to revoke acceptance of a bid and to continue auctioning the item. The figures stated in the catalogue shall be the highest bid in Euro expected by the respective expert. As a rule, the bid shall be increased by 10% of the last bid. (See table of the bidding increments).
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§ 15) In the case of mixed lots with a starting price of less than EUR 350.00, the company shall not warrant for the completeness or correctness of the individual items within a mixed lot.
§ 16) A registration for a bid by telephone for one or several items shall automatically represent a bid at the starting prices for these items. If the company cannot reach the bidder by telephone, it will bid on behalf of the bidder by phone up to the starting price when the respective auction lot is called.
§ 17) Payments made to the company by mistake (through the payer´s fault) (e.g. due to miscalculation of the exchange rate by the payer) or payments made to the company for the same invoice several times shall be compensated in form of a credit note for goods for an indefinite period of time. The repayment of such payments in cash shall be excluded.
§ 18) In the case of individual auction lots, it may happen that they are delivered several times. In such a case, the auctioneer may accept a second or third etc. bid from the underbidder(s) In this case, the text om the catalogue and not the illustration in the catalogue shall also be exclusively binding with regard to the warranty (relating to these auction lots).
§ 19) When making a bid, whether personally, in writing or by telephone, the bidder shall acknowledge these terms of auction, the AGB (General Terms and Conditions) as well as the rules of procedure and the schedule of fees (as amended) of the company.
§ 20) The place of performance of the contract brought about between the company on the one hand and the seller as well as the buyer on the other hand shall be the place of business of the company. The legal relationships and contracts existing between the company, the sellers and the buyers shall be subject to the Austrian substantive law. The company, the sellers and the buyers shall agree to settle all disputes resulting from, concerning and in connection with this contract before the territorially competent court of Vienna.
§ 21) The export of art objects from Austria, when indicated, shall require a permit from the Bundesdenkmalamt [Federal Monuments Office]. In any event, the company shall orally provide information about art objects for which an export permit will probably not be granted at the beginning of the auction.
§ 22) The company reserves the right to assign to the customer all rights and obligations resulting from the contractual relationship between the company and the contributor by a way of a respective declaration, as well to assign to the contributor all rights and obligations resulting from the contractual relationship between the company and the customer by way of a respective declaration, in each case in terms of a complete assignment of contract with the result that the contractual relationship-following the submission of the aforementioned declarations by the company shall exclusively be between the contributor and the customer, which is in accordance with the basic model of the commission agreement. Customers and contributors shall already now give their explicit consent to this contract assignment.
IMPORTANT INFORMATION:
(According to the general terms and conditions of business of Galerie Zacke Vienna, Founded 1968, SZA Versteigerungs & Vertriebs GmbH, 1070 Wien, online at www.zacke.at)
Absentee Bidding
Absentee bids are carried out under the regulations of the terms of business of Galerie Zacke, SZA Versteigerungs & Vertriebs GmbH, which requires written submission of your purchase limit.
Orders without purchase limits cannot be processed.
Only the submitted lot number of the purchase object is binding for the processing of the absentee bid. The place of jurisdiction is Vienna, Austrian Law and Austrian jurisdiction are exclusively applicable for all legal questions arising from the business relationship.
Absentee bids for this auction will be accepted until the day of auction by 8:00 a.m. We regret that absentee bids received after the time stated above will not be processed until after the auction.
Please send absentee bid for this auction to:
Fax: +43 1 532 04 52 20 or
Email: office@zacke.at or
Telephone: +43 1 532 04 52
Mail: Galerie Zacke, Mariahilferstrasse 112, Stiege 1, 2. Stock, 1070 Wien, Austria, Europe
We accept the following methods of payments:
°Cash
°Bank transfer (please inquire to receive our bank account information)
°Credit card (Visa, MasterCard, Amex, Diners Club) – service charge of 3% will be added (for debit and credit cards)
Telephone Bidding
It is generally possible to bid by telephone during the auction. Please fill out the absentee bidding from enclosed in this catalogue and include your telephone number at which you can be reached during the auction. In the bid in euro column please write TEL and then send us the completed absentee bidding form. We will contact you by telephone during the auction, whereby you will be able to bid directly. Please keep in mind that such telephone bids are always classified as a bid equivalent to the estimate. Should no other person bid for the specified lot, you will automatically win the bidding and the respective lot will knocked down at the estimate price.
Estimates and Starting Prices
The auction will begin with the starting price and written bids will be accepted only with a minimum amount equivalent to the starting price.
Shipping and Transport Insurance
For domestic shipping Galerie Zacke (hereinafter called the company) charges in average EUR 15,- to EUR 50,- per item, depending on size and weight. These fees cover the costs of packing and shipping. Fees for bulky or fragile items, or international shipping will be quoted upon request.
The purchased goods are transported at the risk of the customer following handover of the packaged item to the post office or another carrier which the customer agrees to through his/her submission of the purchase order. According to the specific wish of the customer, the auctioned goods may be insured for the value of the purchase price (highest bid and all surcharges). This insurance fee is 3% of the purchase price. For any lots with purchase prices exceeding EUR 350,- the transport insurance will be automatically arranged by the company if it does not expressively receive the purchaser´s written denial of this service. Payments due to the company under the insurance contract will be charged to the customer. The company is also entitled to assign claims under the insurance contract to the customer providing the terms of the insurance contract do not prevent this.
In any case, the company is only required to make payment to the customer specifically if payment has effectively been received from the insurance company.
Color and Condition
Auction lots will be exhibited for viewing prior to the auction, thus offering all interested customers the opportunity to examine the quality and condition of the works exhibited. The catalogue illustrations are intended to assist customers during such preview. In illustrations, printed colors do not correspond exactly to the originals. The printed catalogue images are not representative for the condition of the illustrated pieces. Flaws and damages are therefore always indicated in the catalogue. The illustrations in the online catalogue can be strongly magnified, so that damages and restorations are usually well recognizable.
Endangered Species / CITES Information
Some items in this catalogue may consist of material such as for example ivory, rhinoceros-horn, tortoise shell, coral or any rare types of tropical wood, and are therefore subject to the Convention on International Trade in Endangered Species of Wild Fauna and Flora [CITES]. Such items may only be exported outside the European Union after an export permit in accordance with CITES has been granted by the Austrian authorities. Zacke Gallery cannot and does not guarantee that such export permit may or will be obtained, but will by order of the winning bidder, once and exclusively after the item in question has been pain in full, apply to obtain such a permit at a fixed administrative fee of euro 500,- per application.
Complaints
At its auctions, Galerie Zacke sells consigned lots on behalf of third-party consignors. For this reason, any complaints related to purchased lots must be reported to Galerie Zacke within 6 weeks after the receipt of such lot. Our complete general terms and conditions of business can be found on our website www.zacke.at.
THE ART LOSS REGISTER
All items starting above 2.000,- EUR have been checked by the Art Loss Register.
Further Images
More images of all lots can be found at: www.zacke.at
