Christie’s charges a premium to the buyer on the Hammer Price of each lot sold at the following rates: 29.75% of the Hammer Price of each lot up to and including €5,000, plus 23.8% of the Hammer Price between €5,001 and €400,000, plus 14.28% of any amount in excess of €400,001. Buyer’s premium is calculated on the basis of each lot individually.
A COLLECTION OF WORKS BY AD DEKKERS FROM A GERMAN COLLECTOR
The work of Ad Dekkers (1938-1974) is intelligent and sensitive. He often stressed in interviews how he longed for the achievement of the poetic in the 'simple things', which runs through his oeuvre like a continuous thread.
Dekkers stated about his work: "The two very different objects, relief and wall, ought to be more closely integrated, in my opinion. The present situation is that a painting or a drawing is often hung on a wall with which it has nothing whatsoever in common. This affects the wall's intrinsic character. A wall, however, is independent: it has a function, a mass, a surface, a length, a width, a duration and so forth. (...)
My intention was for both the wall and the relief to retain their character - that is why I broke up the surface of my reliefs. I felt that a boundary that might still refer to a surface was too much of an intermediate phase in the problem. I therefore sought a form of demarcation that would act solely as the materialisation of a line. That is why I started using round tubes; despite their mass they represent the abstract concept of a line. These reliefs were prompted by the contradiction between surface (wall) and line (demarcation). Sometimes they consist of two identical forms which, when combined, becomes a form defining boundary - while they themselves are metamorphosed. (...) For the reliefs I used the same methods as in my recent transparent drawings: the front and back of the form-defining boundary are so interdependent that their difference is eliminated. The front and back are read as one entity." (Dekkers quoted in: Exh.cat., Als Golfslag op het strand... Ad Dekkers in zijn tijd, Stedelijk Museum Amsterdam 1998, p. 27-31).