Impressionist/Modern Works On Paper

IMPRESSIONIST/MODERN
WORKS ON PAPER
THURSDAY 5 FEBRUARY 2015
INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

MODERN BRITISH AND CONTEMPORARY ART AUCTIONS
AUCTION CALENDAR 2015
TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE.
CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.
4 FEBRUARY
IMPRESSIONIST/MODERN ART EVENING
AUCTION
LONDON, KING STREET
4 FEBRUARY
ART OF THE SURREAL EVENING
AUCTION
LONDON, KING STREET
5 FEBRUARY
WORKS ON PAPER AUCTION
LONDON, KING STREET
5 FEBRUARY
IMPRESSIONIST/MODERN ART
DAY AUCTION
LONDON, KING STREET
6 FEBRUARY
IMPRESSIONIST/MODERN ART AND
PICASSO CERAMICS
LONDON, SOUTH KENSINGTON
11 FEBRUARY
POST-WAR AND CONTEMPORARY ART
EVENING AUCTION
LONDON, KING STREET
12 FEBRUARY
DAY AUCTION
LONDON, KING STREET
18 MARCH
INTERNATIONAL MODERN ART
DUBAI
18 MARCH
PRINTS & MULTIPLES
LONDON, KING STREET
19 MARCH
MODERN BRITISH & IRISH ART
24 MARCH
PARIS
25 MARCH
EXCEPTIONAL WORKS ON PAPER FROM
THE TRITON COLLECTION FOUNDATION
PARIS
26 MARCH
MODERN WORKS ON PAPER
PARIS
26 MARCH
FIRST OPEN
14 & 15 APRIL
AMSTERDAM
17 APRIL - 1 MAY
PICASSO CERAMICS ONLINE ONLY
NEW YORK
28 & 29 APRIL
MILAN MODERN & CONTEMPORARY
MILAN
4 MAY
SWISS ART
ZURICH
TBD
AUCTION
NEW YORK
TBD
NEW YORK
TBD
DAY AUCTION
NEW YORK
2 & 3 JUNE
ART DAPRS-GUERRE ET
CONTEMPORAIN
PARIS
15 OCTOBER
EVENING AUCTION
LONDON, KING STREET
15 OCTOBER
THE ITALIAN SALE
LONDON, KING STREET
16 OCTOBER
DAY AUCTION
LONDON, KING STREET
22 & 23 OCTOBER
PARIS
23 OCTOBER
SHANGHAI SALES
SHANGHAI
3 NOVEMBER
AUCTION
NEW YORK
16 JUNE
MODERN ART
AMSTERDAM
4 NOVEMBER
NEW YORK
22 JUNE
MODERN BRITISH & IRISH ART EVENING
AUCTION
LONDON, KING STREET
4 NOVEMBER
DAY AUCTION
NEW YORK
23 JUNE
MODERN BRITISH & IRISH ART DAY
AUCTION
LONDON, KING STREET
25 NOVEMBER
MODERN BRITISH & IRISH ART EVENING
AUCTION
LONDON, KING STREET
23 JUNE
AUCTION
LONDON, KING STREET
26 NOVEMBER
MODERN BRITISH & IRISH ART DAY
AUCTION
LONDON, KING STREET
24 JUNE
LONDON, KING STREET
7 DECEMBER
SWISS ART
ZURICH
24 JUNE
DAY AUCTION
LONDON, KING STREET
25 JUNE
PICASSO CERAMICS
26 JUNE
30 JUNE
EVENING AUCTION
LONDON, KING STREET
22 APRIL
PRINTS & MULTIPLES
1 JULY
DAY AUCTION
LONDON, KING STREET
24 APRIL
SHANGHAI SALES
SHANGHAI
15 JULY
8 DECEMBER
MODERN ART
AMSTERDAM
8 & 9 DECEMBER
ART DAPRS-GUERRE ET
CONTEMPORAIN
PARIS
10 DECEMBER
OLD MASTER, MODERN &
CONTEMPORARY PRINTS
11 DECEMBER
Subject to change
22/12/14
WORKS ON PAPER
THURSDAY 5 FEBRUARY 2015
PROPERTIES FROM THE

COLLECTION OF
Dr Carl Hagemann
AUCTION
Thursday 5 February 2015

at 10.30 am (lots 201-300)
8 King Street, St. Jamess
London SW1Y 6QT
VIEWING
Friday
Saturday
Sunday
Monday
Tuesday
Wednesday
30 January
31 January
1 February
2 February
3 February
4 February
10.ooam - 4.30pm
12.00 noon - 5.00pm
12.00 noon - 5.00pm
9.ooam - 4.30pm
9.ooam - 4.30pm
9.ooam - 3.30pm
AUCTIONEER
Andreas Rumbler
AUCTION CODE AND NUMBER
CONDITIONS OF SALE
In sending absentee bids or making

enquiries, this sale should be referred
to as J E V G E N I J A - 1 0 3 3 5
This auction is subject to

Important Notices,
Conditions of Sale and
to reserves.
[30]
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CONTENTS
Calendar of Auctions
Auction Information
Christies International Impressionist, 20th Century, Modern British

and Contemporary Art Departments
Specialists and Services for this Auction
10
Property for Sale
130
Important Notices and Explanation of Cataloguing Practice
131
Buying at Christies
132
Storage and Collection
133
Conditions of Sale and Limited Warranty
135
Salerooms and Offices Worldwide
137
Christies Specialist Departments and Services
143
Absentee Bids Form
144
Catalogue Subscriptions
IBC
Index
front cover:
Lot 271
Succession Picasso/DACS, London 2014
inside front cover:
Lot 216
page two-three:
Lot 224 & 232

opposite:
Lot 218
inside back cover:
Lot 242
back cover:
Lot 250
Successi Mir/ADAGP, Paris and DACS London 2014
christies.com
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LONDON (SOUTH KENSINGTON)
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POST-WAR AND
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POST-WAR AND
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22/12/14
Email. First initial followed by last name@christies.com (eg. Martha Baer = mbaer@christies.com)
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SPECIALISTS FOR THIS SALE, LONDON
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9
THE PROPERTY OF A LADY
l201
AUGUSTE ELISE
CHABAUD (1882-1955)
La lampe et le damier
stamped with the initials AC (lower right)
gouache, brush and India ink and pencil on paper
5 x 7 (13 x 18.4 cm.)
Executed circa 1900
400-600
$630-940
510-760
PROVENANCE:
Galerie Hopkins-Thomas, Paris.

Acquired from the above by the present owner
in 1989.
Patrice Leoni-Chabaud has confrmed the

authenticity of this work.
THE PROPERTY OF A LADY
l202
AUGUSTE ELISE
CHABAUD (1882-1955)
Le grand caf
signed with the initials A.C. (lower left)
gouache, brush and pen and India ink on paper
3 x 5 2/8 (8.5 x 13.4 cm.)
Executed in 1909
500-700
$790-1,100
630-880
PROVENANCE:

Acquired from the above by the present owner
in 1989.
Patrice Leoni-Chabaud has confrmed the

10
THE PROPERTY OF A GENTLEMAN
l203
PABLO PICASSO (1881-1973)
EXHIBITED:
Munich, Haus der Kunst, Pablo Picasso, Werke aus der Sammlung Marina
Picasso, February April 1981, no. 16.12 (illustrated p. 207; dated Madrid
1901); travelling exhibition.
Danseur espagnole
black crayon and pencil on paper
5 x 8 in. (12.7 x 21.7 cm.)
Drawn in Madrid in 1901
35,000-45,000
LITERATURE:
$56,000-71,000
45,000-57,000
PROVENANCE:
The artists estate.

Marina Picasso, by descent from the above (with her collectors stamp on
the reverse).
Anonymous sale, Sothebys, London, 28 November 1995, lot 195.
The Picasso Project (ed.), Picassos Paintings, Watercolors, Drawings

and Sculpture, Turn of the Century, 1900 1901, San Francisco, 2010,
no. 1900/01-016, p. 93 (illustrated; dated 1900/1901).
Maya Widmaier-Picasso has confrmed the authenticity of this work.

Claude Picasso has confrmed the authenticity of this work.
This drawing stems from Carnet 96, a sketch book of 24 dawings that
the artist executed in Madrid in 1901. Returning from Paris where he
had spent the autumn of 1900, the infuence of Toulouse-Lautrec and
Picassos adventures in the demi-monde of Montmartre is evident in
the artists treatment of typically Spanish subjects, including a woman
in a mantilla, a torero and the present work, a famenco dancer.
11
l204
Homme et femme
signed Picasso (lower right)
charcoal and pencil on paper
25 x 19 in. (64.1 x 49 cm.)
Executed circa 1923
200,000-300,000
$320,000-470,000
260,000-380,000
PROVENANCE:
Galerie Louise Leiris, Paris (nos. 17220 & 6H953).

Galerie Paul Rosenberg (no. PP605).
Galerie Cazeau-Braudire, Paris.
Acquired from the above by the present owner in 2003.
EXHIBITED:
New York, C&M Arts, Picasso, The Classical Period, no. 17 (n.p.).

Animated by a gentle sense of hesitation, Homme et femme depicts a
mannered, restrained embrace. A woman distractively leans against the leg
of a man, who timidly poses one of his hands on her arm, encircling her
from behind with a protective intent. Picasso frst sketched the two fgures
in pencil, gaging the relationship of the two bodies in space: the man
was frst drawn in a more domineering pose, towering over the woman
more prominently. Picasso then adjusted his composition with incredible
assurance, outlining the fgures with a single charcoal line, harmoniously
determining their pose and mass. Although apparently simple, the pose
of Homme et femme achieves the sophisticated harmony characteristic of
Classical Antiquity. Juxtaposed at the centre of the sheet, the bent legs of
the fgures create a muscular arabesque, symmetrically fanked by the two
standing legs and crowned by the mirroring pose of the arms. Although
colossal in their stature, these man and woman display the grace and
elegance of Classical statuary, attaining in their idealistic perfection a sense
of universality.
The Classical spirit of Homme et femme and the monumental simplicity of
Picassos lines situate the drawing in the early 1920s, at the time when the
artist was exploring a Neo-Classical style. Moving away from Synthetic
Cubism, the artist had resorted to weighty, sculptural fgures, bearing the
serious stare and dignifed elegance of the Classical Age. Questioned as to
why he had stopped dedicating himself wholeheartedly to Cubism, Picasso
had replied:
A man does not live by, cannot live by a single invention, a single
discovery. Its not that he could not make do with it, but exhaustion
would rapidly create public indifference. And its not necessarily that
he actively wants to make new progress in the researches he has
undertaken; it is, on the contrary, that anyone of above-average
sensibility is driven by the propensity to renew himself. Only
mediocrity can endure a succession of days which are all the same.
(quoted in E. Cowling, Picasso: Style and Meaning, New York, 2002,
p. 392-393).
Signalling a new departure in Picassos career, drawings such as Homme

et femme witness to the artists necessity to explore new paths and to his
growing interest in the human form that, in the 1920s, would absorb all
his attention.
In its style and subject matter, Homme et femme seems to relate to a
series of drawings Picasso executed in 1923, during a summer spent at
Antibes. The series explored the theme of a bucolic concert improvised
by Pan under the auspices of Cupid in honour of a couple, portrayed in
a pose similar to that illustrated in Homme et femme (Zervos, vol. 5, 114,
118-124 & 130). Picasso explored this subject over a number of drawings,
resorting to different graphic techniques. Relating to the group, Homme
et femme appears to be a focused study of the couple visible in those
compositions. Indeed, Picasso seemed to have explored the duo into two
further sheets (The Picasso Project, 23-178, 23-179), in which he tilted the
womans head towards the man to create a more conventional image of
amorous union.
Homme et femme seems thus to have been part of Picassos exploration
of a subject which, that same year, would culminate into the seminal
painting Jeune homme et joueur de fute de Pan (1923, Muse Picasso,
Paris). In that important work, which Picasso would keep with him until
the end of his life, the couple has actually disappeared, and so has
Cupid: Pan has been left playing to an impassive, vigorous young bather.
Discussing this change, William Rubin noted: What makes The Pipes of
Pan unique among Picassos monumental paintings is that its initial idea
an aubade, a lovers serenade entirely disappears in favour of a pastoral
scene, particularly at odds in terms both humour and meaning (William
Rubin, quoted in A. Baldassari, Pompeian Fantasy: a Photographic Source
of Picassos Neoclassicism, pp. 79-86, Picasso: The Italian Journey 1917
1924, exh. cat., London, 1998, p. 82).
It has been hinted that in the features of the woman depicted in the Pans
concert series one could perceive the indirect portrait of Sara Murphy, a
joyous, interesting American who, according to Pierre Daix, had provoked
a creative fever in Picasso that summer of 1923 in Antibes, signalling the
departure of Olga, from the artists art and, soon afterwards, from his
life too (P. Daix, Picasso: Life and Art, New York, 1993, p.183). Part of
an important series of drawings and perhaps commemorating Picassos
transitory fascination for Sara Murphy, Homme et femme commemorates
the Classical fugues the artist composed during the summer of 1923.
205
HENRY SOMM (1844-1907)
Brune ou Blonde?
signed Henry Somm (lower centre) and signed and inscribed Au plus gob
des prsidents Octave Pradels Henry Somm (within the composition)
gouache, watercolour, brush and pen and India ink on paper
9 x 8 in. (25 x 21.2 cm.)
1,500-2,000
$2,400-3,100
1,900-2,500
PROVENANCE:
Emmanuel Moatti, Paris.

Acquired from the above by the present owner circa 1999.
206
GEORGE BOTTINI (1874-1907)
La loge
signed and dated George Bottini 1901 (lower right)
gouache, watercolour, wax crayon and wash on paper
17 x 12 in. (44.5 x 31.8 cm.)
Executed in 1901
1,500-2,000
$2,400-3,100
1,900-2,500
PROVENANCE:
Galerie de la Scala, Paris.

14
207
THOPHILE ALEXANDRE STEINLEN
(1859-1923)
Autoportrait aux chats
signed with the artists monogram St. (lower right) and inscribed
(lower centre)
gouache, watercolour and pen and brown ink on paper
6 x 4 in. (17.6 x 12 cm.)
1,000-1,500
$1,600-2,400
1,300-1,900
PROVENANCE:

Acquired from the above by the present owner in the 1980s.
Madame Claude Orset has confrmed the authenticity of this work.
l*208
EDVARD MUNCH (1863-1944)
Couple with dog
signed with the initials and dated EM 86. (lower right; the date
possibly by another hand); with an inscription Ingers poesialbum.
(lower left; probably by the artists sister)
pen and ink on paper
7 x 4 in. (18.7 x 11.6 cm.)
Drawn circa 1885
5,000-7,000
$7,900-11,000
6,400-8,800
PROVENANCE:
Inger Munch, Oslo (the artists sister).

Mrs Berta Folkedal, Oslo and thence to her estate; her sale,
Christies, London, 1 July 1980, lot 124.
Nichido Gallery, Tokyo, 1981.
This work is registered in the archives of the Munch Museum in Oslo.
15
209
HENRI LEBASQUE (1865-1937)
La joueuse de raquette
signed H Lebasque (lower left)
gouache, watercolour and pencil on paper
11 x 12 in. (29.1 x 32.5 cm.)
Executed in Saint-Jean-De-Monts circa 1919
5,000-8,000
$7,900-13,000
6,400-10,000
Christine Lenoir and Maria de la Ville Fromoit have confrmed the

16
*210
AUGUSTE RODIN (1840-1917)
Danseuse cambodgienne
gouache and watercolour on paper
11 x 7 in. (30 x 20 cm.)
Executed in 1906-1907
20,000-30,000
$32,000-47,000
26,000-38,000
PROVENANCE:
Acquired by the family of the present owner in Paris in the 1930s-1940s, and
thence by descent.
Christina Buley-Uribe will include this drawing in her forthcoming

August Rodin Catalogue raisonn des dessins et peintures.
According to Christina Buley-Uribe, the present watercolour belongs

to a small series of approximately six drawings of Cambodian dancers
wearing blue Sampot dress, the national garment of Cambodia, that
were completed by Rodin in 1906-1907. In July 1906 in the Pr-Catelan,
Paris, Rodin attended for the frst time a performance given by the Royal
Khmer Ballet. The dancers were accompanying King Sisowath on his
offcial visit to the Colonial Exhibition of Marseilles. During their stay in
France they spent a few days in Paris, where Rodin followed them. He
later told the art critic Louis Vauxcelles:
I contemplated and admired the dancers in their ecstasy. When they
fnished I was left feeling empty, in the shadow and cold. It was as
if they took the beauty of the world with them... I followed them to
Marseilles; I would have followed them to Cairo!
*211
PAUL GAUGUIN (1848-1903)
Te fare Hymenee (Copy for Monfreid)
watercolour on paper
3 x 5 in. (8.7 x 12.7 cm.)
40,000-60,000
$63,000-94,000
51,000-76,000
PROVENANCE:
Georges Daniel de Monfreid, France, by whom acquired from the artist.

Galerie M. Rousso, Paris.
Dr. Harold S. Lipschutz, Illinois, and thence by descent to his estate.
Private Collection, Maryland, by whom acquired from the above.
This work will be included in the forthcoming Paul Gauguin catalogue

critique, currently being prepared under the sponsorship of the
Wildenstein Institute.
This work is the only recorded copy that Paul Gauguin executed of Te
fare Hymenee, or The House of Songs, the watercolour that the artist
included in the original manuscript for his travel journal Noa Noa, 18931897 (p. 63; Muse du Louvre, Paris). Noa Noa was the artists account
of his time in Tahiti, consisting of writings and illustrations in different
media that he collated after returning to France from his frst journey to
the South Seas in 1893.
This visit to Tahiti was the inspiration for many of Gauguins fnest
paintings, and the watercolour included in the Noa Noa manuscript is
a study for the oil of the same title, painted there in 1892 (Wildenstein
no. 477; Christies, New York, 6 May, 2008, lot 28). The sleeping
fgure which is seen in both the oil and watercolour is also depicted in
the engraving Intrieur de Case, circa 1898-1899 (Mongan, Kornfeld,
Joachim no. 41).
18
Accompanying the watercolour in Noa Noa is a text by Gauguin

describing the scene it depicts of his neighbours on the island meeting
to sing the Tahitian songs, the himenes:
Sometimes in order to sing or converse they assemble in a sort of
communal hut. They always begin with a prayer. An old man frst recites
it conscientiously, and then all those present take it up like a refrain.
Then they sing, or tell humorous stories. The theme of these recitals is
very tenuous, almost unseizable. It is the details, broidered into the woof
and made subtle by their very navet, which amuse them. More rarely,
they discourse on serious questions or put forth wise proposals.
(P. Gauguin, Noa Noa, tr. O.F. Theis, New York, 1919, p. 37).
During his time in Tahiti, Gauguin sent sketches of his works in progress
to Georges Daniel de Monfried, a patron and fellow artist in Paris,
and he is also known to have executed a small number of copies of
his works. Referring to this practice, the correspondence between the
two records: So I have fnished a philosophical Work on a theme
comparable to that of the Gospel. I think it is good; if I have the strength
I will copy it and send it to you (The Letters of Paul Gauguin to Georges
Daniel de Monfreid, tr. R. Pielkovo, New York, 1922, no. 95). Originally
part of the Monfried collection, the present work is one of this small
group of copies.
Sometimes in order to sing or converse they assemble in a

sort of communal hut. They always begin with a prayer. An
old man frst recites it conscientiously, and then all those
present take it up like a refrain. Then they sing, or tell
humorous stories.
(P. Gauguin, Noa Noa, tr. O.F. Theis, New York, 1919, p. 37)
l212
CARLO CARR (1881-1966)
La trapezista
signed and dated C.Carr 913 (lower right)
6 x 4 in. (16.9 x 10.3 cm.)
Drawn in 1913
5,000-7,000
$7,900-11,000
6,400-8,800
PROVENANCE:
La Casa dellArte, Bologna.

Private collection, Milan.
LITERATURE:
F. Russoli & M. Carr (ed.), Carr, Disegni, Bologna, 1977,

no. 83, p. 57 (illustrated p. 148).
l213
JOAN MIR (1893-1983)
Sans titre
signed and dated Mir 1919 (lower left)
pencil on paper
6 x 7 in. (16 x 18.6 cm.)
Drawn in 1919
3,500-4,500
$5,600-7,100
4,500-5,700
LITERATURE:
Joan Sacs, Vell I Nou, LIstil, vol. V, no. 92, Barcelona,

1 June 1919, pp. 209-214 (illustrated p. 213).
This work is sold with a photo-certifcate from

ADOM (Association pour la dfense de loeuvre
de Joan Mir).
20
Dl214
HENRI MATISSE (1869-1954)
PROVENANCE:
The artists estate.

Pierre Matisse, New York, by descent from the above.
Pierre-Nol Matisse, Paris, by descent from the above, and thence by descent.
Portrait de Marguerite
signed with the initials HM. (lower right)
pencil on paper
10 x 8 in. (26.8 x 21 cm.)
Drawn in Nice in 1922
8,000-12,000
Wanda de Gubriant has confrmed the authenticity of this work.
$13,000-19,000
11,000-15,000
21
THE PROPERTY OF A PRIVATE SPANISH COLLECTOR
l215
Le mousquetaire
signed, dated, numbered and inscribed
25.10.71.I 6HS pour le Dr. Sthelin Picasso (upper right)
wax crayon, brush and ink and wash, felt-tip pen and pencil on paper
12 x 9 in. (31.2 x 24.5 cm.)
Executed on 25 October 1971
100,000-150,000
$160,000-240,000
130,000-190,000
PROVENANCE:
Dr. Jean Sthelin, Paris, a gift from the artist in 1971.

Anonymous sale, Sothebys, London, 23 June 1993, lot 349.
Acquired at the above sale by the present owner.
LITERATURE:
The Picasso Project (ed.), Picassos Paintings, Watercolors, Drawings and

Sculpture, The Final Years, 1970-1973, San Francisco, 2004, no. 71-328
(illustrated p. 231).

What fabulous monsters they are, these musketeers! Preposterous,

to be sure, yet quite as believable as Picassos most grimly distorted
portraits of real people. And distorted they are. Their wide-brimmed
hats hardly manage to contain faces in which giddy eyes dance under
eyebrows shaped like ears of corn, and a bearded chin is appended like
a tassel to a twisted nose (Gert Schiff, The Musketeer and His Theatrum
Mundi, pp. 11-69, in Picasso: The Last Years, 1963-1973, exh. cat.,
New York, 1983, p. 30).
In its subject, Le mousquetaire belongs to a series of works paintings,

etchings and drawings that Picasso devoted to the musketeer. By
the late 1960s and early 1970s, this fgure had become an ubiquitous
character in the artists world. Overemphasized and comical, in Picassos
work the musketeer played an array of roles: voyeur and lover, artist
and pipe smoker, it expressed the energetic, intrepid spirit with which
Picassos approached his old age. The artists last wife Jacqueline Roque
later explained that Picasso had grasped the potential of the musketeer
Exuding that Baroque exuberance that characterised much of Picassos

work during the last triumphal years of his career, Le mousquetaire
conveys all the energy, humour and inventiveness the artist professed
at the time. At play in the drawing one fnds the two forces which
propelled Picassos colossal artistic output in the late 1960s and early
1970s: speed of execution and vigorous expression. Swirls, scribbles
and scrawls compellingly evoke the frills and curls of a Rembrandtesque
character, moustached and bearded. Picasso drew the fgure in a single
sweep of creativity, conjuring its features through his unmistakable
animated graphic style. The artist subsequently used a dark wash to
lend density to the work, evoking the dramatic sombre tones of offcial
Seventeenth Century portraiture. Picasso dedicated the work to his
friend, the Doctor Jean Sthelin, to whom he would offer a number of
works at the time.
fgure while perusing a Rembrandt book during a period of illness and

convalescence in 1965-1966.
22
The present drawing is dated 25-10-71. At the time the artist was
ninety-one. The previous year he had baffed the world with a bold
exhibition at the Palais des Papes in Avignon, where he exhibited a
famboyant series of colourful, exuberant musketeers, which, hunging
together, seemed to propose a sort of Picassian, delirious version of
Rembrandts The Night Watch. Proposing a further exploration of a
theme that, at the end of his life, Picasso would turn into countless
renditions, Le mousquetaire captures the artistic vitality and fearless
comic inventions that would characterise his last great triumph.
THE PROPERTY OF A PRIVATE SCANDINAVIAN COLLECTOR
l216
Nu couch et tte dhomme
signed and dated Picasso 13.1.70. (upper left)
pencil, wash and gouache on paper
8 x 11 (22.7 x 30.2 cm.)
Executed on 13 January 1970
200,000-300,000
$320,000-470,000
260,000-380,000
PROVENANCE:
Marlborough Gallery, Zurich.

Saidenberg Gallery, New York.
Anonymous sale, Christies, New York, 15 May 1986, lot 208.
Acquired by the present owner circa 1992.
EXHIBITED:
Paris, Galerie Louise Leiris, Picasso: Dessins en noir et en couleurs,

December 1969 January 1971, no. 12 (illustrated p.14).
LITERATURE:
C. Zervos, Pablo Picasso, vol. 32, Oeuvres de 1970, Paris 1977, no. 23
(illustrated pl. 16).
Sculpture, The Final Years, 1970-1973, San Francisco, 2004, no. 70-024
Whenever I meet a friend, my frst reaction is to search in my pocket for

a pack of Gauloises, in order to offer him one, just as I always used to.
Even though I know very well that neither of us smoke anymore. In vain,
old age forces us to give up some things; the desire remains. Its the
same with love. We cant make love anymore, but the desire is still there.
I still reach into my pocket (Picasso, speaking with his biographer-friend
Pierre Cabanne (quoted in J. Hoffeld, Picassos Endgame, in Picasso,
The Late Drawings, exh. cat, New York, 1981, p. 13).
Depicting a scene of lustful contemplation, Nu couch et tte dhomme
exemplifes the lascivious imagery into which Picasso channeled, at the
end of his career, the extraordinary force of his creative inventiveness.
Lying over a geometric blanket, a woman seems to be offering herself
to the eager looks of a man: her sex prominently exhibited and her hand
holding one of her breast like some fragrant fruit, she appears as a willing
and enticing lover. The swelling lines and voluptuous curves that Picasso
used to describe the fgures sublimate their desire in visual terms, while
demonstrating the artists prodigious mastery of the medium. In 1970, at
the time Nu couch et tte dhomme was executed, Picasso was turning
ninety. Yet, nothing in the erotic joy expressed in the drawing and in the
consummated eloquence of its lines let us guess at the artists old age. On
the contrary, vigorous and energetic, the drawing rather appears as a bold
claim to youth, to its charm and to its pleasure.
24
It is not diffcult to guess, in the broad nose of the man and the
distinctive profle of the woman, the presence of Picasso and Jacqueline
themselves. At the time Nu couch et tte dhomme was executed,
Picasso had almost entirely retired in his villa Notre-Dame-de-Vie with
Jacqueline Roque, whom he had married in 1961. Forty-six years his
junior, Jacqueline would dominate the artists last years, providing
Picasso with comfort and support, but also with enduring inspiration.
Works such as Nu couch et tte dhomme abounded in Picassos late
years, and formed an ever-fowing narrative inhabited by sensually
awaken characters, spying on each other, embracing and making
love. These erotically more explicit works had followed from a large
series Picasso began in 1963 on the subject of the artist and the
model. Adopting a less ambiguous stance, works such as Nu couch
et tte dhomme have been interpreted as the artists desperate cry for
youth, force and pleasure. They served, Jeffrey Hoffeld would argue,
a sublimating role: Contortionist sexual gymnastics, if only portrayed
rather than actually lived, vicariously restore confdence, relive despair,
and provide recollected moments of orgasmic oblivion (J. Hoffeld,
Picassos Endgame, pp. 5-15, in Picasso: The Late Drawings, exh. cat.,
New York, 1988, p. 13). Above all, however, works such as Nu couch
et tte dhomme are moving declarations of a genius at ninety, affrming
in his art the ever-young force and power of his creative spirit.
the collection of
carl hagemann
Dr Carl Hagemann was born in Essen on 9 April 1867. After studying
chemistry in Tbingen, Hannover and then Leipzig, Hagemann began
his professional life at Bayer & Co. in Elberfeld (today Bayer Leverkusen).
Thanks to royalties from several patents Hagemann swiftly made his
fortune and started collecting art as early as 1903, turning his attention to
German Expressionism a decade later when he purchased his first works
by Emil Nolde. Hagemann had met Ernst Gosebruch, the Director of the
Kunstmuseum Essen, a few years earlier and the two men were to become
lifelong friends. It was Gosebruch who, together with Karl Ernst Osthaus,
the founder of the Museum Folkwang in Essen, and Kirchner's great friend
the art historian Botho Graef, introduced Hagemann to Ernst Ludwig
Kirchner and Erich Heckel, and later to Otto Mller and Karl SchmidtRottluff. Hagemann corresponded regularly with these artists, especially
with Kirchner, to whom he made regular payments in return for his choice
of pictures and prints. Hagemann was a regular visitor to Kirchner in Davos and maintained a lifelong friendship, not, according to
contemporaries, an easy task with an artist who was highly sensitive and difficult at this stage of his life. One cannot imagine two
more contrasting personalities; the troubled, bohemian artist and the rather formal chemist and businessman. This personal and
prolonged contact with the artists themselves was a major factor in Hagemanns success in creating such a coherent and cohesive
collection. At the time Hagemann was collecting these artists, few had attained the recognition they eventually would and the
bold avant-garde nature of his collection seems surprisingly at odds with his understated, retiring nature. There is no doubt that
Hagemann's vision and philanthropy in nurturing and supporting these artists, together with his influential position within the art
establishment both in Essen and Frankfurt, in no small way contributed to the growing reputation of these artists; throughout the
1920s and 1930s he showed an extraordinary willingness to loan major works from his collection.
Carl Hagemann retired in 1932, a year before his friend Gosebruch had to abandon his position at the Museum Folkwang,
under pressure from the Nazi party. Hagemanns plans to donate his collection to a public museum had to be abandonned
due to the cultural policies of the Nazis, and
when Hagemann died on 20 November 1940,
his entire collection (some 90 paintings, 220
watercolours, 30 sculptures and 1500 drawings
and prints) was concealed from the Nazis in
the vaults of the Stdel Museum in Frankfurt
at the suggestion of Ernst Holzinger, the then
Director. The Hagemann collection survived
the war intact and emerged to be exhibited
at the Stdel in 1948. Since then many of the
outstanding works in the collection, including
the works offered in this sale, have been
loaned to major public collections in Germany
and works from the Hagemann Collection
continue to be celebrated and enjoyed in
the context in which Dr Hagemann originally
intended, most recently returning to the Stdel
in Frankfurt in late 2004 before travelling on to
the Museum Folkwang, Essen.
Poster for the Hagemann exhibition at the Stdelmuseum, Frankfurt, 1948.
PROPERTY FROM THE COLLECTION OF CARL HAGEMANN
217
ERNST LUDWIG KIRCHNER (1880-1938)
Unterhaltung
PROVENANCE:
Dr Carl Hagemann, Frankfurt, by 1940, and thence by descent to

the present owner.
signed EL Kirchner (lower right); signed and dated

Kirchner 1920 (on the reverse)
watercolour and wax crayon on paper
23 x 17 (58.3 x 44.7 cm.)
Executed in 1920
50,000-80,000

$79,000-130,000
64,000-100,000
27
218
Negertanz
signed and dated EL Kirchner 09 (upper right);
signed EL Kirchne[r] (lower right)
watercolour and pencil on paper
14 x 11 in. (36.2 x 28.2 cm.)
Executed circa 1911
100,000-150,000
$160,000-240,000
130,000-190,000
PROVENANCE:
Manfred Schames, Frankfurt.

Dr Carl Hagemann, by 1927, and thence by descent to the present owner.
EXHIBITED:
Frankfurt, Stdelsches Kunstinstitut und Stdtische Galerie, Sammlung

Hagemann, September 1948 November 1948.
Executed circa 1911, long before the jazz craze swept through Europe in
the 1920s, this watercolour is a dramatic pictorial expression of the raw
energy and excitement that such music provoked and the wild, energetic
and thrilling dancing that it gave rise to. For the Die Brcke artists, as for
their philosophical mentor, Friedrich Nietzsche, dancing, as an elemental
and primordial human expression, was one of the most important of the
arts. As in painting, it was especially to tribal, folk and primitive forms of
dance, as opposed to overcomplicated, restrained and classically derived
forms of dance that these artists were drawn, for it was in these forms
that, as it was for Nietzsche, dance became a truly undiluted, joyous and
instinctive outward bodily expression of inner human emotion and was to
manifest itself in its true Dionysian form.
Formerly in the collection of Dr Carl Hagemann one of the great patrons
of Die Brcke art Negertanz is one of the earliest Expressionist depictions
of such dancing. Most probably painted in Berlin, it depicts two black
dancers wildly dancing in front of group of suited men, possibly members of
a band or orchestra. With its swiftly drawn lines and bold sweeps of colour
hastily rendered, the watercolour deliberately captures the atmosphere of
immediacy and excitement generated by the dance. Its composition is such
that it also seems to sway along with the music. Indeed so successful is the
composition of this work which may well have grown from a sketch in
front of the spectacle into this watercolour rendering that it is this work
that forms the blueprint for Kirchners large 1911 painting of the same
subject: the oil painting Negertanz now in the Kunstsammlung Nordrhein
Westfalen in Dusseldorf.
28
l219
ERICH HECKEL (1883-1970)
PROVENANCE:
Dr Carl Hagemann, Frankfurt, by whom acquired from the artist in 1937,

and thence by descent to the present owner.
Gruppe
signed, dated and inscribed Gruppe Erich Heckel 25 (lower right); inscribed
Herrn Dr. Hagemann zum 9. April 1937 in herzlicher Verbundenheit
gewidmet. (lower left)
gouache, watercolour and wax crayon on paper
26 x 20 in. (66 x 52.5 cm.)
Executed in 1925
40,000-60,000
$63,000-94,000
51,000-76,000
30
Renate Ebner (Erich Heckel Estate, Hemmenhofen, Germany) has

confrmed the authenticity of this work.
l220
ERICH HECKEL (1883-1970)
PROVENANCE:
Bucht
signed, dated and inscribed Bucht Erich Heckel 21 (lower right)
gouache, watercolour and pencil on paper
18 x 23 in. (47 x 60 cm.)
Executed in 1921
20,000-30,000
Ludwig Schames, Frankfurt.

Dr Carl Hagemann, Frankfurt, by whom acquired in 1921, and thence by
descent to the present owner.
Renate Ebner (Erich Heckel Estate, Hemmenhofen, Germany) has

$32,000-47,000
26,000-38,000
31
l221
EMIL NOLDE (1867-1956)
Phantasie
signed Nolde. (lower right)
watercolour and pen and ink on Japan paper
17 x 23 in. (45 x 60.5 cm.)
150,000-250,000
$240,000-390,000
190,000-320,000
PROVENANCE:
Dr Carl Hagemann, Frankfurt, and thence by descent to the present owner.

EXHIBITED:
Frankfurt, Stdelsches Kunstinstitut und Stdtische Galerie,

Sammlung Hagemann, September 1948 November 1948.
Essen, Museum Folkwang, Gemlde und Aquarelle aus Sammlung Hagemann,
October 1950.
This work is sold with a photo-certifcate from Professor Dr. Manfred

Reuther of the Nolde Stiftung, Seebll.
On 13 May 1933 the President of the Prussian Academy of Arts called on
ten members, all elected as recently as 1931, to tender their voluntary
resignation. Emil Nolde was asked but refused, and from this time on
suffered censorship and persecution from the National Socialist Party.
During the period of the worst persecutions, when he was actually
forbidden to paint, he preserved his inner freedom by secretly executing
hundreds of watercolors in his studio in Seebll. These he called his
Ungemalte Bilder, in which he used the technique of wet on wet as
in his earlier watercolors, allowing wet paint to fow over wet paper,
in order to create spontaneous, evocative images in fuid, transparent
colors. Most of these works resemble illustrations of some invented
story-line, spawned as they were from the artists fertile imagination.
Almost all are fgurative, including the cycle of Phantasien to which the
present work belongs.
Letting the brush freely merge and expand the colours on the paper,
in the Phantasien Nolde let chance guide his imagination. Images and
fgures would emerge from the iridescent surface of the watercolours,
evoking a world dominated by bizarre creatures, mysterious fgures
32
and stories from German folklore. Peter Selz writes, By this time Nolde
had learned more about human relationships, and in this great cycle
he gave a passionate visual form to his wisdom. There are fgures that
appeal, reject, wail, smile and contemplate... This world is peopled
with beautiful and desirable young women, blindly groping old men,
grimacing gnomes and compassionate demons... The imagination
often here recalls the dramatis personae of The Tempest, Peer Gynt, or
Munchs anxious fantasies, although it is much less perturbed than that
of Munch. Indeed, Noldes private world has been transfgured into a
serene realm of human actors whose chief function is their subservience
to the color which gave them birth (Emil Nolde, New York, 1963,
pp. 72-73).
A favorite theme of Noldes Phantasien is the relationship between men
and women. In the present work, the overlaying of the faces and the
blend of colors creates an extremely mystical conception. Through this
composition we can see how he developed the medium of watercolor,
making the most of its evocative qualities, creating unique images with
informality and spontaneity.
l222
KARL SCHMIDT-ROTTLUFF (1884-1976)
See und Wolken
signed with the artists initials and inscribed Herrn Dr. Hagemann zum 9.4.39
mit herzlichem Glckwunsch SR (lower right)
21 x 16 in. (54 x 40.5 cm.)
Executed in 1938
10,000-15,000
$16,000-24,000
13,000-19,000
34
PROVENANCE:
Dr Carl Hagemann, Frankfurt, by whom acquired directly from the artist

in 1939, and thence by descent to the present owner.
EXHIBITED:
Kiel, Kunstwerke aus Kieler Privatbesitz, Gemlde, Zeichnungen, Graphik,

Plastik, January February 1955, no. 68 (n.p.).
l223
KARL SCHMIDT-ROTTLUFF (1884-1976)
Weckglser
signed S.Rottluff (upper right)
19 x 25 in. (49.5 x 64.5 cm.)
Executed in 1928
12,000-18,000
PROVENANCE:
Dr Carl Hagemann, Frankfurt, by 1940, and thence by descent to the

present owner.
EXHIBITED:
Amsterdam, Stedelijk Museum, Expressionisme, van Gogh tot Picasso,

July 1949 September 1949, no. 153 (n.p.).
$19,000-28,000
16,000-23,000
35
l224
Bildnis einer Sdseeinsulanerin (en face)
signed Nolde. (lower right)
gouache and watercolour on rice straw paper
19 x 13 in. (48.5 x 34 cm.)
Executed in New Guinea in 1914
50,000-80,000
$79,000-130,000
64,000-100,000
PROVENANCE:
Acquired by the grandparents of the present owner for Christmas 1921,

and thence by descent.
This work is sold with a photo-certifcate from Professor Dr. Manfred

Reuther of the Nolde Stiftung, Seebll.
The present work in a family photograph from Christmas 1921
Das war Neuguinea: Du wildes, schnes Land!

(Nolde, Welt und Heimat, Die Sdseereise 1913-1918, Cologne, 1936, p. 107)
36
PROPERTY FROM A EUROPEAN PRIVATE COLLECTION
*225
LESSER URY (1861-1931)
Unter den Linden im Regen
signed L.Ury. (lower left)
pastel on board
14 x 20 in. (35.7 x 50.7 cm.)
Executed in the 1920s
80,000-120,000
$130,000-190,000
110,000-150,000
PROVENANCE:
Anonymous sale, Leo Spik, Berlin, 8-9 November 1956, lot 175 (illustrated).
Alfred Steeger, Berlin.
Private collection, Switzerland, by whom acquired from the above, and
thence by descent; their sale, Christies, London, 22 June 2011, lot 187.
This work is sold with a photo-certifcate from Dr. Sybille Gross.
The German Impressionist artist Lesser Ury found himself in rivalry

with fellow artist and president of the Berlin Academy of Art, Max
Liebermann, for most of his life. Having returned to Berlin after years
of studying in Dusseldorf, Brussels, Paris and Munich, Ury nevertheless
built a reputation as a painter of the sunlit landscapes, street scenes
and interiors of Berlin. In his paintings and pastels, he played with the
effects of dazzling light on trees at a lake, rainy streets or artifcial light
in nocturnal scenes in cafes and theatres.
At the time he executed this pastel, Lesser Ury showed his works at
two major exhibitions with the Berliner Sezession, in which the more
progressive artists were organized. Ury was one of the frst artists
in Germany to take hectic modern city life, with its traffc and busy
nightlife in theatres and bars, as a topic for art. As in the present pastel,
Berlin and its streets with horse-drawn carriages later with the newly
developed cars plays a prominent role in his work. The artist depicts
the mood of the fast developing metropolis with its hustle and bustle, in
which the viewer is occasionally involved, when, as in Unter den Linden
im Regen, a street scene is depicted in a glimpse of a hectic moment, as
if caught in a snap shot by a photographer.
38
PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION
226
Liegende unter dem Japanschirm
signed and dated EKirchner 05 (on the reverse)
gouache and pastel on paper
17 x 13 in. (43.2 x 34.7 cm.)
200,000-300,000
$320,000-470,000
260,000-380,000
PROVENANCE:
The artists estate (with the Nachlass stamp and number ADre/Bg6
on the reverse).
Roman Norbert Ketterer, Lugano.
Acquired from the above in 1961, and thence by descent to the present owner.
A dramatic and masterfully painted sketch that was to give rise to one of
Kirchners best-known paintings, this gouache and pastel sketch depicts a
reclining nude lying under a Japanese umbrella in the corner of Kirchners
studio. It is dated on the reverse by Kirchner as being a work from 1905, but
in all other respects, in its subject matter and confdent free-form execution,
it is a picture typical of Kirchners work around 1909. Indeed, it appears to
be a sketch for Kirchners great painting of his mistress Dodo lying under
a Japanese umbrella now in the Kunstsammlung Nordrhein-Westfalen in
Dusseldorf. A compositional mirror-image of this gouache, Kirchner dated
this famously bold and colourful oil painting as being from 1906 even
though it is now known to have been painted in 1909.
A major exhibition of Henri Matisses work held in Berlin at the beginning
of 1909 prompted a radical change in Kirchners art, enlivening his use
of fat planes of colour, freeing his graphic impulse in the use of outline
and emboldening his expressive use of non-naturalistic colour to heighten
the sense of emotional engagement with the subject matter. Although
Matisses infuence had nothing but a positive effect on Kirchners art, the
German artist was initially fearful of acknowledging his debt to the French
master and often sought to pre-date some of his more heavily Matisseinspired works to before the date of the Berlin exhibition.
With its bold sweeping colour and swiftly executed line capturing the
essence of Kirchners 1909 painting of Dodo with an umbrella - a work
which with its patterned walls, decorative parasol and complete lack of
outline, is all about colour this gouache sketch reveals not only the
impact of Matisse but also the complete command over form, colour and
composition that Kirchner clearly shared with the great French artist.
40
l227
Weisse und rote Dahlien
signed Nolde. (lower right; faded)
watercolour on Japan paper
9 x 10 in. (22.8 x 26.5 cm.)
Executed circa 1925
40,000-60,000
$63,000-94,000
51,000-76,000
PROVENANCE:
Anonymous sale, Ketterer Kunst, Stuttgart, 20-21 May 1960, lot 462.
Acquired at the above sale, and thence by descent to the present owner.
42
228
AUGUST MACKE (1887-1914)
EXHIBITED:
Bielefeld, Stdtisches Kunsthaus, Macke, Aquarell-Ausstellung, 1957, no. 393.

Mnster, Westflisches Landesmuseum fr Kunst und Kulturgeschichte,
August Macke, Gemlde, Aquarelle, Zeichnungen, 1986, no. 156 (illustrated
p. 304); this exhibition later travelled to Bonn, Stdtisches Kunstmuseum and
Munich, Stdtisches Gallery im Lenbachhaus.
Mdchen am Wasser I
8 x 9 in. (22 x 24.5 cm.)
Executed in Bonn in 1913
20,000-30,000
$32,000-47,000
26,000-38,000
PROVENANCE:
LITERATURE:
G. Vriesen, August Macke, Stuttgart, 1957, no. 393.

U. Heiderich, August Macke, Aquarelle, Werkverzeichnis, Ostfldern-Ruit,
1997, no. 305, p. 280 (illustrated p. 281).
The artists estate (with the Nachlass stamp and no. FT34a on the reverse).
Roman Norbert Ketterer, Stuttgart, 21-22 November 1958, lot 616.
Acquired at the above sale, and thence by descent to the present owner.
43
229
FRANZ MARC (1880-1916)
Abstrakte Komposition
signed with the artists initial M. (lower left)
gouache on silver prepared paper
image: 6 x 10 in. (15.5 x 26 cm)
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
Heinrich Campendonk, Seeshaupt.

Private collection, Germany, and thence by descent to the present owner.
EXHIBITED:
Dresden, Galerie Neue Kunst Fides, Ausstellung Franz Marc: Aquarelle,

Zeichnungen, Graphik, October November 1927, no. 97.
Berlin, Haus am Waldsee, Kunst des 20. Jahrhunderts aus Berliner
Privatbesitz, February March 1960, no. 78 (illustrated p. 78).
Berlin, Nationalgalerie in der Orangerie des Schlosses Charlottenburg,
Der Sturm, Herwarth Walden und die Europische Avantgarde,
Berlin 1912-1932, September November 1961, no. 30 (dated 1913).
LITERATURE:
A. J. Schardt, Franz Marc, Berlin, 1936, no. 39, p.168.

K. Lankheit, Franz Marc, Katalog der Werke, Kln, 1970, no. 493,
p. 161 (illustrated).
A. Hoberg & I. Jansen, Franc Marc, The Complete Works, vol. II, Works on
Paper, Postcards, Decorative Arts and Sculpture, Munich, 2004, no. 257
By late 1913 Franz Marcs painting was beginning to take on an

increasingly abstract form. Under the infuence of his friend and
colleague Kandinsky, the window paintings of Robert Delaunay that
Marc had seen in Paris, and the dynamic energy of Italian Futurist
paining which he had also recently experienced in Berlin, Marc began to
consistently pursue a new vision in his art. It was a vision that he hoped
would herald in a new world order of the spirit.
44
Formerly in the collection of Marcs Blaue Reiter colleague, Heinrich

Campendonk, Abstrakte Komposition is one of the frst of Marcs truly
abstract paintings. Executed in tempera on a silver-grounded paper it
is a stunningly original, fully-completed composition that both refects
and articulates Marcs visionary aims for his work. The painting is
one of a series of works made between 1913 and 1914 in which the
animal, previously so central to Marcs spiritualized vision of the world,
has been abandoned in favour of a completely abstract rendering
form as energy. These forms, which are here rendered as an elegant
constructive geometry were, nevertheless, still rooted in a fundamental
sense of nature. They are intended as formal approximations of what
Marc believed were Natures elemental rhythms, energies and its
always coalescing tendency towards the establishment of an underlying
harmony or unity something that Marc believed was both echoed in
and intrinsic to the art of picture-making itself.
Forging ahead, alongside Kandinsky, into what would be a completely
new realm in the history of painting, abstraction appealed to Marc
because it was, he believed, a means of expressing the existence of
what he saw as a single unifying creative law of the universe. His
aim, in a work such as Abstrakte Komposition was, through the laws
of painting through its colour harmony, structure and a freeform,
intuitively arrived-at design to articulate a vision of the world as a
single harmonious and universal feld of primal forces. Such works were
to express, what Marc once described as the overall structure of the
universe, and it was this inherent structure that was to become the
subject of all of Marcs later paintings, abstract or otherwise (Franz Marc
quoted in M. Rosenthal, Franz Marc, Munich, 1989, p. 36).
l230
JEAN POUGNY (1892-1956)
PROVENANCE:
The artists estate (no. 363 B).

Madame X. Pougny, Paris, by descent from the above.
Anonymous sale, Christies, London, 4 July 1969, lot 97.
Anonymous sale, Htel Drouot, Paris, 8 April 1994, lot 81.
Galerie Zlotowski, Paris.
Le petit chemin
stamped with the signature Pougny (lower right)
brush and India ink and wash and pencil on paper
10 x 8 in. (27.6 x 20.7 cm.)
Executed in Petrograd in 1916
5,000-7,000
$7,900-11,000
6,400-8,800
EXHIBITED:
Turin, Galleria Civica dArte Moderna, Jean Pougny,

November 1962 January 1963, no. 236.
LITERATURE:
H. Berninger & J. A. Cartier, Jean Pougny (Iwan Puni) 1892-1956,

Catalogue de loeuvre, vol. I, Les Annes davant-garde, Russie-Berlin,
1910-1923, Zurich, 1972, no. 167 (illustrated p. 212).
46
l231
RUDOLF BAUER (1889-1953)
PROVENANCE:
Andante
signed and inscribed Rudolf Bauer Baut (lower right)
gouache, watercolour, pastel, wax crayon, India ink, Spritztechnik, charcoal
and pencil on paper
19 x 12 in. (48.9 x 32.7 cm.)
Executed in 1923
12,000-18,000
$19,000-28,000
16,000-23,000
Das Geistreich, Berlin.

The Solomon R. Guggenheim Foundation, New York, by 1938.
Connaught Brown, London.
Acquired from the above by the present owner circa 2000.
EXHIBITED:
Charleston, South Carolina, Gibbes Memorial Art Gallery, Third Enlarged

Catalogue of the Solomon R. Guggenheim Collection of Non-Objective
Paintings, March - April 1938, no. 13 (illustrated p.17).
New York, The Solomon R. Guggenheim Foundation, Art of Tomorrow,
Fifth Catalogue of The Solomon R. Guggenheim Collection of Non-Objective
Paintings, June 1939, no. 60 (illustrated p. 84).
London, Connaught Brown, The Art of Rudolf Bauer, From Berlin to
New York 1919-1940, September - October 2000.
Rowland Weinstein has confrmed that this work is recorded in the

Bauer archives.
47
l232
KURT SCHWITTERS (1887-1948)
Mz 193
signed with the initials, dated and inscribed Mz 193 K Sch.21.
(on the artists mount)
fabric, netting and paper collage on paper attached to the artists
window mount
image: 6 x 4 in. (15.3 x 12.1 cm.)
artists window mount: 10 x 8 in. (26 x 21.3 cm.)
Executed in 1921
120,000-180,000
$190,000-280,000
160,000-230,000
PROVENANCE:
Galerie Der Sturm, Berlin, 1921.

(possibly) Rudolf Ebach, Barmen, acquired from the above.
Heinz Rasch, Germany, and thence by descent.
EXHIBITED:
Berlin, Galerie Der Sturm, 96. Ausstellung, Kurt Schwitters, Merzbilder,

Merzzeichnungen, Gesamtschau, April 1921, no. 58.
LITERATURE:
K. Orchard & I. Schulz, Kurt Schwitters, Catalogue raisonn, vol. 1,

1905-1922, Hanover, 2000, no. 811 (illustrated p. 389).
I felt myself freed and had to shout my jubilation out to the world. Out of
parsimony I took whatever I found to do this, because we were now a poor
country. One can even shout out through refuse, and this is what I did,
nailing and gluing it together. I called it Merz, it was a prayer about the
victorious end of the war, victorious as once again peace had won in the
end; everything had broken down in any case and new things had to be
made out of fragments: and this is Merz. I painted, nailed, glued, composed
At the end of 1918 I realized that all values only exist in relationship to
each other and that restriction to a single material is one-sided and smallminded, Schwitters wrote. From this insight I formed Merz, above all as the
sum of individual art forms, Merz painting, Merz poetry. (Kurt Schwitters,
Sturmbilderbuch, 1920, cited in J. Elderfeld, Kurt Schwitters, New York,
1985, p. 49)
poems, and experienced the world in Berlin.

(Kurt Schwitters, 1930, quoted in W. Schmalenbach, Kurt Schwitters,
New York, 1967, p. 96)
during this period Schwitters was frequently to be seen on the streets of

Hannover, a crazy, original genius-character, carelessly dressed, absorbed
in his own thoughts, picking up all sorts of curious stuff in the streets...
always getting down from his bike to pick up some colourful piece of
paper that somebody had thrown away (Kate Trauman Steinitz, Kurt
Schwitters A Portrait from Life Berkeley, 1968, p. 68). From these fragments
Schwitters constructed poetic and miraculous constellations that expressed
a new formal language and seemed to hint at a hidden order amongst the
apparent chaos of the times.
One of a series of Merz pictures that Kurts Schwitters exhibited at Herwarth

Waldens Der Sturm Gallery in Berlin in 1921, Merz 193 is an early Merz
collage made at a time of hyper-infation, revolution and counter-revolution
in Germany following the end of the First World War. In this era of complete
moral, political and fnancial bankruptcy, when paper currency had lost
its value and only food, work or lodging remained commodities of real
value, other than gold or foreign currency, Schwitters, alone in Hannover,
established his own one-man avant-garde and cure for the current age
which he declared to be the Merz revolution.
Merz, which took its name from a fragment of the words Kommerz
und Privatbank was an artistic revolution in which art and life were to be
merged through the business of assembling fragments and detritus of
modern life into new glorifed forms and expressions of the triumph of
the human spirit.
48
As Schwitters friend and neighbour in Hannover, Kate Steinitz recalled,
In poetry, words and sentences are nothing but parts, Schwitters explained,
their relation to one another is not the customary one of everyday speech,
which after all has a different purpose: to express something. In poetry,
words are torn from their former context, dissociated and brought into
a new artistic context, they become formal parts of the poem, nothing
more (Kurt Schwitters, quoted in Elderfeld, op. cit. p. 43). As a work like
Merz 193 with its torn tickets and material fragments of modern daily life
illustrates, the same logic applied to Schwitters revolutionary Merz pictures.
PROPERTY FROM AN IMPORTANT SWISS COLLECTION
*233
PAUL KLEE (1879-1940)
Forellenbach Miniatrartig (Trout Brook Miniature-like)
signed Klee (lower right)
watercolour and pen and ink on paper attached to the remnants of the
artists mount
sheet: 4 x 9 in. (11.5 x 24 cm.)
Executed in 1916
80,000-120,000
$130,000-190,000
110,000-150,000
PROVENANCE:
LITERATURE:
Dr. Hermann Probst.

Branka Musulin; sale, Stuttgart, Kunstkabinett, 18-20 October 1950, lot 2182.
Galerie dArt Moderne, Basel.
The Lefevre Gallery (Alex Reid & Lefevre, Ltd.), London.
Herbert Einstein, London.
Lady Nika Hulton, London, by 1955.
Galerie Beyeler, Basel.
Acquired from the above by the present owner.
M. Brion, Klee, Paris, 1955 (illustrated n.p.)

O. K. Werckmeister, Versuche ber Paul Klee, Frankfurt, 1981 (illustrated p. 48).
W. Kersten, Paul Klee, Zerstrung, der Konstruktion zuliebe?, Marburg,
1987, p. 50.
S. L. Henry, Paul Klees Pictorial Mechanics from Physics to the Picture Plane,
in Pantheon, vol. 47, 1989, p. 158.
O. K. Werckmeister, The Making of Paul Klees Career 1914-1920, London,
1989 (illustrated p. 98).
The Paul Klee Foundation (ed.), Paul Klee, Catalogue raisonn, vol. 2,
1913-1918, Bern, 2000, no. 1668 (illustrated p. 363).
EXHIBITED:
Munich, Neue Mnchner Secession, 1917, no. 99.

Munich, Galerie Neue Kunst Hans Goltz, Paul Klee, May June 1920, no. 120.
London, The Tate Gallery, Works by Paul Klee from the Collection of Mrs
Edward Hulton, May June 1955, no. 10; this exhibition later travelled to
Wuppertal, Kunst- und Museumsverein, Rotterdam, Museum Boijmans
van Beuningen, Frankfurt, Kunstverein, Munich, Stdtische Galerie im
Lenbachhaus, and Dortmund, Museum am Ostwall.
Munich, Haus der Kunst, Paul Klee, October 1970 - January 1971,
no. 24 (illustrated).
*234
PAUL KLEE (1879-1940)
PROVENANCE:
Knappe Schilderung eines Passberganges

signed Klee (lower right); dated, numbered and titled
1924 165 Knappe Schilderung eines Passberganges. (on the artists mount)
gouache, watercolour and pen and India ink on paper laid down on the
artists mount
sheet: 6 x 5 in. (17.3 x 13.8 cm.)
artists mount: 9 x 7 in. (24.9 x 19 cm.)
Executed in 1924
70,000-100,000
$120,000-160,000
89,000-130,000
Private collection, Bern, until 1953.

Galerie Rosengart, Lucerne.
Robert F. Windfohr, Fort Worth, by 1954, and thence by descent to
Anne Burnett Windfohr Tandy, Fort Worth, in October 1964; her sale,
Sothebys, New York, 6 November 1981, lot 570.
Brett-Mitchell Collection, Inc., Lyndhurst, Ohio, by whom acquired at the
above sale.
Private collection, Detroit, by whom acquired from the above in April 1982.
EXHIBITED:
Munich, Galerie Neue Kunst (Hans Goltz), Paul Klee, Zweite

Gesamtausstellung 1920-1925, May June 1925, no. 161.
LITERATURE:
W. Kersten & O. Okuda, Paul Klee, Im Zeichen der Teilung, exh. cat.,
Kunstsammlung Nordrhein-Westfalen, Dsseldorf, 1995, p. 351 (illustrated).
The Paul Klee Foundation, (ed.), Paul Klee, Catalogue raisonn, vol. 4,
52
PROPERTY FROM A DISTINGUISHED BRITISH COLLECTION
l235
KURT SCHWITTERS (1887-1948)
Mz 427. fackern
signed, dated and inscribed K Schwitters 22.Mz 427.fackern.
(on the artists mount)
oil on paper collage on paper attached to the artists window mount
sheet: 5 x 4 in. (15 x 12.1 cm.)
artists window mount: 7 x 5 (18.6 x 14.7 cm.)
Executed in 1922
60,000-80,000
$95,000-130,000
76,000-100,000
PROVENANCE:
Max Leon Flemming, Hamburg & Berlin, by whom acquired directly from
the artist.
Galerie Rudolf Springer, Berlin, by whom acquired from the above in 1958.
E. & G. Kaplan, London.
Acquired from the above in 1959.
LITERATURE:
K. Orchard & I. Schulz, Kurt Schwitters, Catalogue raisonn, vol. 1, 1905-1922,

Hanover, 2000, no. 1290 (illustrated p. 486).
According to Orchard and Schulz, the indistinct inscription in the lower

left probably reads Fr Herrn Konsul Flemming, a written dedication
from the artist to his patron, the Hamburg merchant who was one of
the most important collectors of modern art in Germany at that time.
The technique that Schwitters has employed of engraving his signature
and subsequently shading it seems to be unique in the artists oeuvre.
PROPERTY FROM A PRIVATE COLLECTION
236
PAUL KLEE (1879-1940)
Frisst aus der Hand Zweite Fassung
(Eats out of the Hand Second Version)
signed Klee (upper left); dated, numbered and inscribed
1920/171 Frisst aus d. Hand Zweite Fassung (on the artists mount)
oil transfer drawing and watercolour on paper attached to the artists mount
sheet: 12 x 9 in. (30.4 x 24 cm.)
artists mount: 15 x 12 in. (40.1 x 32.5 cm.)
Executed in 1920
100,000-150,000
$160,000-240,000
130,000-190,000
PROVENANCE:
Lily Klee, Bern, from 1940 to 1946.

Klee-Gesellschaft, Bern, from 1946 to 1947.
Karl Nierendorf, Cologne, Berlin & New York, 1947.
Galerie Feilchenfeldt, Zurich.
EXHIBITED:
Berlin, Nationalgalerie, Kronprinzenpalais, Paul Klee, February 1923 (n.n.).

London, The Tate Gallery, Paul Klee, December 1945 February 1946, no. 41.
Wuppertal, Kunst- und Museumsverein, Paul Klee, January February 1956,
no. 20.
Bern, Kunstmuseum, Paul Klee, August November 1956, no. 439.
Hamburg, Kunsthalle, Paul Klee, December 1956 January 1957, no. 96.
Brussels, Palais des Beaux Arts, Paul Klee, March May 1957, no. 26.
Cologne, Kunsthalle, Weltkunst aus Privatbesitz, May August 1968, no. G8.
LITERATURE:
J. Glaesemer, Paul Klee, Handzeichnungen I, Kindheit bis 1920, Bern, 1973,

pp. 259-260 (illustrated).
This is Paul Klees second version of the work currently in the Heinz
Berggruen collection in Berlin (PKS 2350). There is a related pencil
drawing in the Paul-Klee-Stiftung (PKS 2392).
54
l*237
WASSILY KANDINSKY (1866-1944)
Der kleine Punkt
signed with the monogram and dated 39 (lower left)
gouache on black paper
15 x 19 in. (38 x 48.5 cm.)
Executed in February 1939
150,000-200,000
$240,000-310,000
190,000-250,000
PROVENANCE:
Nina Kandinsky, Paris.

Galerie Maeght, Paris.
Private Collection, Geneva.
Anonymous sale, Sothebys, London, 3 December 1980, lot 157a.
Galerie Thomas, Munich.
Acquired from the above by the present owner in July 2009.
EXHIBITED:
Paris, Galerie Maeght, Kandinsky, Aquarelles et gouaches, Collection prive

de Madame W. Kandinsky, September November 1957, no. 42.
Cologne, Wallraf-Richartz-Museum, Kandinsky, September November 1958,
no. 91.
Nantes, Muse des Beaux-Arts, Aquarelles et gouaches de W. Kandinsky,
April May 1959, no. 26.
LITERATURE:
J. Cassou, Wassily Kandinsky, Interfrences, Aquarelles et dessins, Paris,

1960, pp. 21 & 50 (illustrated).
H.K. Rthel, Kandinsky, Das graphische Werk, Cologne, 1970, no. 50
(illustrated n.p.).
V. Endicott Barnett, Kandinsky, Watercolours, Catalogue raisonn, vol. II,
1922-1944, London, 1994, no. 1251 (illustrated p. 457).
56
Der kleine Punkt is one of a number of gouaches on black paper that

Wassily Kandinsky created during his last years in Paris. Executed in
February 1939, a time of immense uncertainty and tension, as Europe
moved closer towards war, Der kleine Punkt reveals nothing of the angst
and hardships that Kandinsky and his wife, Nina, experienced while living
in Neuilly-sur-Seine, outside Paris at this time. Instead, this work presents
the artist revelling in his unique, abstract language of forms that he had
created throughout his career. With thin lines, the variety of forms in Der
kleine Punkt appears weightless, foating against the black background. A
sense of lightness pervades as forms are delicately balanced on top of one
another. The fnely applied, bright colours appear all the more luminous
against the black background; the little, white dot, to which the title Der
kleine Punkt alludes, resonates in the very centre of the image, acting as a
point of stasis around which the foating forms are arrayed.
In contrast to the rigid, geometric structure and straight lines of Kandinskys
Bauhaus abstract works, Der kleine Punkt exemplifes the increasingly lyrical,
and often organic-based nature of the artists Parisian works. The crescent
shapes suggest semi-eclipsed moons, while the planes of individual,
coloured dots also appear to have an organic, natural quality. Throughout
the 1930s, Kandinsky had become interested in the similarities between
the structures in art and in nature, becoming fascinated by the biomorphic
and stylised forms of molecular biology for example, which were themselves
simultaneously abstract and fgurative. His interest in the microscopic
analysis of these forms is illustrated in an essay he wrote in 1935, entitled
Two Directions, in which he describes an internal eye, that penetrates
the hard shell, the external form, goes deep into the object and lets us feel
with all out senses its internal pulse. (W. Kandinsky, Two Directions, in K.
C. Lindsay and P. Vergo (eds.), Kandinsky: Complete Writings on Art, Paris,
1982, p. 777). The minute detail of the lines and coloured dots in Der kleine
Punkt is illustrative of the new organic, pictorial vocabulary that Kandinsky
had introduced into his work of the time, demonstrating, with exquisite
detail, the internal pulse and rhythm of his carefully chosen pictorial forms.
THE PROPERTY OF A SWISS PRIVATE COLLECTOR
*238
PAUL KLEE (1879-1940)
PROVENANCE:
Entspringendes Kind I (Child Running Away I)
Kamakura, The Museum of Modern Art, Paul Klee and His Travels, February
March 2002, no. 148, p. 247 (illustrated p. 127); travelling exhibition.
(probably) Bern, Zentrum, Paul Klee, Die Tunisreise 1914, Paul Klee, August
Macke, Louis Moilliet, March June 2014.
Acquired by the grandfather of the present owner, and thence by descent.

EXHIBITED:
signed Klee (upper centre); dated, numbered and inscribed

1926 G 6 entspringendes Kind I (on the artists mount)
pencil on squared paper attached to the artists mount
sheet: 8 x 6 in. (21.7 x 15.1 cm.)
Drawn in 1926
20,000-30,000
$32,000-47,000
26,000-38,000
58
LITERATURE:
W. Grohmann, Paul Klee, Handzeichnungen 1921-1930, Berlin, 1934, no. 88.

239
PAUL KLEE (1879-1940)
PROVENANCE:
Klein und Gross (Small and Large)

signed Klee (lower right); dated, numbered and inscribed
1929 E.4.Klein und Gross (on the artists mount)
reed pen and ink on paper
sheet: 17 x 12 in. (45.1 x 30.4 cm.)
artists mount: 21 x 14 in. (55 x 36.5 cm.)
Drawn in 1929
Werner Allenbach, Bern.

Berggruen & Cie, Paris, by whom acquired from the above in 1958.
Anonymous sale, Sothebys, London, 28 March 1973, lot 142.
Waddington Galleries Ltd., London.
EXHIBITED:
Washington, The Obelisk Gallery, Paul Klee, March April 1962, no. 15.
LITERATURE:
40,000-60,000
$63,000-94,000
51,000-76,000
W. Grohmann, Paul Klee, Handzeichnungen 1921-1930, Berlin, 1934, no. 77.

The Paul Klee Foundation (ed.), Paul Klee, Catalogue raisonn, vol. V,
59
PROPERTY FROM A PRIVATE COLLECTION
240
PAUL KLEE (1879-1940)
EXHIBITED:
Geister des Theaters (Spirits of the Theatre)

signed Klee (upper right); dated, numbered and inscribed
1939 J 19 Geister des Theaters (on the artists mount)
watercolour on paper attached to the artists mount
sheet: 10 x 8 in. (27 x 21 cm.)
Executed in 1939
50,000-70,000
$79,000-110,000
64,000-88,000
PROVENANCE:

Karl Nierendorf, Cologne, Berlin & New York, by 1947.
60
Wuppertal, Kunst- und Museumsverein, Paul Klee, January - February 1956,

no. 76.
Hamburg, Kunsthalle, Paul Klee, February 1956 January 1957, no. 357.
Cologne, Kunsthalle, Weltkunst aus Privatbesitz, May August 1968, no. 31.
Munich, Haus der Kunst, Paul Klee, October 1970 January 1971, no. 243.
Munich, Haus der Kunst, Elan Vital oder das Auge des Eros, May August 1994,
LITERATURE:
C. Krll, Die Bildtitel Paul Klees, Eine Studie zur Beziehung von Bild und
Sprache in der Kunst des zwanzigsten Jahrhunderts, dissertation, Bonn,
1968, p. 36.
The Paul Klee Foundation (ed.), Paul Klee, Catalogue raisonn, vol. 8, 1939,
Bern, 2004, no. 7783 (illustrated p. 65).
PROPERTY FROM A PRIVATE GERMAN COLLECTION
241
PAUL KLEE (1879-1940)
EXHIBITED:
Will zu Schiff
signed Klee (upper left); dated, numbered and inscribed
1939 x 17 Will zu Schiff (on the artistss mount)
watercolor on paper attached to the artists mount
sheet: 19 x 14 in. (50 x 35.5 cm)
artists mount: 25 x 19 in. (65.5 x 50.3 cm)
Executed in 1939
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:

Felix Klee, Bern, from 1953 to 1964.
Galerie Beyeler, Basel.
Dsseldorf, Hetjens-Museum, Spte Werke von Paul Klee, Leihgaben der

Paul-Klee-Gesellschaft, Bern, November December 1948, no. 16; this
exhibition later travelled to Mannheim, Kunsthalle and Freiburg, Kunstverein.
St. Gallen, Kunstmuseum, Klee, Werke aus dem Familienbesitz,
January March 1955, no. 324.
Amsterdam, Stedelijk Museum, Paul Klee, September November 1963, no. 100.
Basel, Galerie Beyeler, Klee, Sptwerke, June August 1965, no. 27
(illustrated).
LITERATURE:
G. di San Lazzaro, Klee, La vie et loeuvre, Paris, 1957 (illustrated).

S. Cordulack, Navigating Klee, in Pantheon, vol. 56, 1998, p.151.
The Paul Klee Foundation (ed.), Paul Klee, Catalogue raisonn, vol. 8, 1939,
Bern, 2004, no. 8041 (illustrated p. 175).
61
l*242
WASSILY KANDINSKY (1866-1944)
Stufen (Steps)
signed with the monogram and dated 30 (lower left); signed, dated,
numbered and inscribed No.373/1930 - Stufen = Marches Madame
M.Vauret comme souvenir au Mars 1930 la Galerie de France,
sincerement, Kandinsky (on the back of the artists mount)
gouache and watercolour on blue paper attached to the artists mount
7 x 11 in. (19.5 x 28.2 cm.)
Executed in March 1930
Executed in March 1930, Stufen or Steps exemplifes the predominant

traits of Wassily Kandinskys work at the Bauhaus. Ordered and precise,
with sharp, distinct lines and forms, Stufen embodies the geometrical form
of abstraction that Kandinsky practiced throughout his time as a teacher
250,000-350,000
It was during his time at the Bauhaus that Kandinskys approach to his art
became increasingly more technical and scientifc, regulated and considered.
In Stufen, rectangles, triangles, regular lines, and a circle are arranged in an
abstract interplay of forms, and colour is confned by the edges of the
various shapes. Central to Kandinskys artistic theory was the relationship
between form and colour, and this led him to experiment with the spatial
tensions between geometric shapes. Stufen is, as the title suggests, a study
of the stacked rectangular forms that dominate the composition, placed
on top of one another like steps. The interrelation of forms is further seen
in the juxtaposition of the curved edge of the circle, a form that intrigued
Kandinsky due to its embodiment of the greatest oppositions, with the
pointed tip of the triangle below it. Kandinsky recorded his theories of this
time in his famous treatise, Punkt und Linie zur Flche (Point and Line to
Plane). Published in 1926, four years before Stufen was executed, in this
text Kandinsky outlined the function and purpose of art, explaining the
emotive power of the individual elements of picture making. At the same
time, Kandinsky asserted that the principles of artistic construction should
always be counterbalanced by the impulses of the painters intuition, fusing
the constructivist aesthetic with creative instinct. In this way, Kandinsky
created a geometrical language that was imbued with a spiritual, mystic
$400,000-550,000
320,000-440,000
PROVENANCE:
Mme Vauret, Paris, a gift from the artist in 1930.

Pierre Matisse Gallery, New York.
Private collection, New York.
Private collection, Switzerland.
LITERATURE:
V. Endicott Barnett, Kandinsky, Watercolours, Catalogue raisonn, vol. 2,

1922-1944, London, 1994, no. 965, p. 275.
V. Endicott Barnett, Kandinsky, Drawings, Catalogue raisonn, vol. 2,
Sketchbooks, London, 2007, p. 326 (illustrated p. 249).
or, Master, at the Bauhaus, which had moved in 1925, from its original
location in Weimar to a new site in Dessau.
quality that he believed was the defning concept in the creation of art.
62
THE PROPERTY OF AN IMPORTANT TEXAS COLLECTOR
*243
SOPHIE TAEUBER-ARP (1889-1943)
Collage (Etude pour LAubette)
stamped with the signature (on the back of the artists mount)
watercolour and paper collage on paper attached to the artists mount
sheet: 6 x 2 in. (16.3 x 7.1 cm.)
Executed in 1928
8,000-12,000
$13,000-19,000
11,000-15,000
64
PROVENANCE:
The artists estate (with the stamp and Oeuvre no. 1928/24g).
Galerie BelArt, Stockholm.
Galerie 1900-2000, Paris.
The Stiftung Hans Arp und Sophie Taeuber-Arp has confrmed the
According to the Stiftung, the work is part of the Serie de collages
originales that Taeuber-Arp executed in the context of the Aubette
in 1928. There are seven known works in the series, numbered from
a to g.
*244
KAY SAGE (1898-1963)
l*245
ANDR BRETON (1896-1966);
VALENTINE HUGO (1887-1968)
Design for a Tarot card

with an inscription by Andr Breton Kay Sage 1941 (in the sheet margin)
gouache and brush and pen and India ink on paper
image: 9 x 5 in. (23.5 x 13.5 cm.)
Executed in 1941
2,000-3,000
$3,200-4,700
2,600-3,800
Cadavre exquis
colour crayon on black paper
12 x 9 in. (31.5 x 23.7 cm.)
Executed circa 1930
12,000-18,000
16,000-23,000
PROVENANCE:
PROVENANCE:
Andr Breton, Paris.

Andr Breton, Paris.

Manou Pouderoux, Paris.
LITERATURE:
$19,000-28,000
S. Robeson Miller, Kay Sage, The Biographical Chronology and Four Surrealist
One-Act Plays, New York, 2011, p. 41.
This work will be included in the forthcoming Catalogue raisonn

of the Surrealist work of Kay Sage being prepared by
Stephen Robeson Miller.
65
*246
KAY SAGE (1898-1963)
EXHIBITED:
Milan, Palazzo Reale, The Other Half of the Avant-Garde, 1910-1940,

Women Painters and Sculptors in Historical Avant-Garde Movements,
February April 1980; this exhibition later travelled to Stockholm, Kulturhuset.
Study for The Hidden Letter

signed and dated Kay Sage 43 (lower left)
12 x 9 in. (31 x 25 cm.)
Drawn in 1943
2,000-3,000
LITERATURE:
$3,200-4,700
2,600-3,800
PROVENANCE:
Andr Breton, Paris.

D. Hare (ed.), VVV Magazine, New York, March 1943, nos. 2-3
J. Marcel, The History of Surrealist Painting, New York, 1960 (illustrated p. 310).
S. Robeson Miller, Illustrated Catalogue Raisonn of the Surrealist Art of Kay
Sage, Washington D.C., 1983, (microflm reels nos. 2996-2888.)
J. D. Suther, A House of Her Own, Kay Sage, Solitary Surrealist, Lincoln,
1997 (illustrated).
S. Robeson Miller, Kay Sage, The Biographical Chronology and Four Surrealist
One-Act Plays, New York, 2011, p. 47.
This work will be included in the forthcoming Catalogue raisonn of the

Surrealist work of Kay Sage being prepared by Stephen Robeson Miller.
66
l*247
FRANCIS PICABIA (1879-1953)
What men have on their minds
signed Francis Picabia (lower left)
black crayon on paper
12 x 8 in. (30.7 x 22.5 cm.)
Drawn circa 1928-1929
PROVENANCE:
Pierre Mabille, Antibes.

Galerie Schmela, Dusseldorf.
Private collection, by whom acquired from the above in 1978; sale,
Christies, London, 5 February 2009, lot 149.
Acquired from the above sale by the present owner.
This work is sold with a photo-certifcate from the Comit Picabia.
12,000-18,000
$19,000-28,000
16,000-23,000
67
l248
JOAN MIR (1893-1983)
PROVENANCE:
A gift from the artist to the present owner in 1978.
Portrait de Nen
signed, dated and inscribed a Nen, afectuosamente Mir.25/X.78. (within
the composition)
felt-tip pen on the frontispiece of an exhibition catalogue
11 x 7 in. (29.5 x 20 cm.)
Executed on 25 October 1978
20,000-30,000
$32,000-47,000
26,000-38,000
68
ADOM (Association pour la dfense de loeuvre de Joan Mir) has

l*249
JOAN MIR (1893-1983)
PROVENANCE:
Personnages
signed Mir (lower right); dated and titled 24 II.79 Personnages
(on the reverse)
wax crayon, charcoal and frottage on paper
34 x 26 in. (88 x 68 cm.)
Executed on 24 February 1979
50,000-70,000
$79,000-110,000
64,000-88,000
Private collection, France; sale; Christies, London, 27 June 2002, lot 412.
Anonymous sale, Christies, New York, 4 November 2010, lot 148.
ADOM (Association pour la dfense de loeuvre de Joan Mir) has

l*250
JOAN MIR (1893-1983)
Executed in 1975, Personnage, oiseau displays the sense of urgency

and the buoyant creativity that characterised Joan Mirs enthusiastic
embracement of drawing towards the end of his career. Conjuring
Personnage, oiseau
signed Mir (lower right); inscribed and dated
16/VIII/75. Personnage, oiseau (on the reverse)
gouache, brush and India ink and wax crayon on creased paper
47 x 31 in. (120 x 80 cm.)
Executed on 16 August 1975
500,000-800,000
$790,000-1,300,000
640,000-1,000,000
PROVENANCE:
Galerie Maeght, Paris.

Acquired from the above in the 1980s; sale, Christies, New York,
2 November 2005, lot 231.
EXHIBITED:
Fondation Maeght, Saint-Paul de Vence, Joan Mir, 1956-1979,

July September 1979, no. 82, p. 176.
LITERATURE:
J. Dupin & A. Lelong-Mainaud, Joan Mir, Catalogue raisonn, Drawings,

vol. IV, 1973-1976, Paris, 2013, no. 2754 (illustrated p. 184).
70
the presence of two of Mirs most recurrent themes a fantastical

character and a bird the drawing combines enveloping, black
gestural brushstrokes and vibrant, colourful notes of colour. A few
months before executing Personnage, oiseau, Mir had completed a
vast painting for the ceiling of the newly built Mir Foundation. Over
six meters wide, that composition expressed a very similar artistic
idea to that of Personnage, oiseau, uniting explosive, sweeping black
brushstrokes to areas of vivid yellow, red, green and blue. Composed
only three months later, Personnage, oiseau seems to present a more
intimate, diverse rendition of the artistic ambition that had been at the
core of Mirs last mural.
In the years that followed Personnage, oiseau, drawings acquired more
and more importance in Mirs artistic production. Commenting on
the period, Mirs friend and authority Jacques Dupin would describe
the atmosphere from which drawings such as Personnage, oiseau
emerged as follows: The room was furnished with little more than a
board laid across two trestles, a stool, and a sofa. Mirs tools were
pencils, brushes, ink, several tubes of paint and reams of paper placed
on the sofa. These were Mirs last years: drawing, drawing without
end, drawing to hold on. Mirs surfaces became any paper beneath
his hand: letters, envelopes, junk mail, wrapping paper, newspaper,
cardboard boxes, along with fne paper from Auvergne, Japan, China or
Madagascar. Mirs voracious appetite for paper, and his accompanying
drawing frenzy were fed by the paper from his mail and from the
kitchen. Hundreds of scattered sheets spelled a fnal, exceptional
moment in Mirs creative activity (J. Dupin, Mir, Paris, 2012, p. 354).
Property from a Private European Collection
Salvador Dals
Odyssey
From the frescos in the Library of the Vatican showing The Laestrygonians Attacking Ulyssess Ships dating from
40-30BC, to Henry Moores Odyssey from 1944, the story of Odysseus and his long journey home at the end of the
Trojan War has captured the imagination of artists from the ancient world to the present day. Commissioned from
the artist by the family of the present owner in the 1960s, Salvador Dals Odyssey now joins this artistic canon.
The commission for this series closely followed the completion of Dals masterpiece Tuna Fishing (Descharnes
1267; Ile de Bendor, Fondation Paul Ricard), which he completed in the summer of 1967. This painting combined
all the styles he had worked in: Surrealism, refned Pompierism, pointillism, action painting, tachism, geometrical
abstraction, Pop art, Op art and psychedelic art (R. Descharnes, Salvador Dal, The Paintings 1904-1989, Cologne,
1994, p. 567).
Indeed the present group of works refects the same formal and conceptual concerns, which the artist himself
described as a revival of representational art, which was underestimated by everyone except the Surrealists
throughout the period of so-called avant-garde art (Dal, quoted in op.cit.).
Throughout his career, Dal executed illustrations for editions of classical literature, including Don Quixotte, The
Divine Comedy and Macbeth. However unlike these, his Odyssey has remained a private commission and has
not been published. Thus this group of works offers new and exceptional insight into Dals original and fecund
relationship with classical and literary tradition, and his constant search for an avant-garde re-interpretation of
myths and iconographies.
l251
SALVADOR DAL (1904-1989)
Lpreuve de larc
$130,000-190,000
110,000-150,000
72
Acquired directly from the artist, and thence by descent to the present owner.
EXHIBITED:
signed Dal (lower centre); and G Dal (within the composition)

gouache, watercolour and pen and ink on paper
17 x 15 in. (45 x 38.3 cm.)
Executed circa 1970
80,000-120,000
PROVENANCE:
Turin, Palazzo Bricherasio, Salvador Dal, la vita sogno,

November 1996 March 1997.
Bruges, Stichting Sint-Jan, Salvador Dal, Doeken & Aquarellen,
July November 1997, no. 57 (illustrated p. 135).
Salvador Dals Odyssey
l252
Leucothea
signed G. Salvador Dal (lower centre)
watercolour, colour pencil and pen and ink on paper
17 x 15 in. (45.1 x 38.6 cm.)
Executed circa 1970
100,000-150,000
$160,000-230,000
130,000-190,000
PROVENANCE:
EXHIBITED:

Augsburg, Rmisches Museum, Dal, Mara e Beppe, Bilder einer
Freundschaft, September November 2000.
74
l253
Argos
$130,000-190,000
110,000-150,000
76
EXHIBITED:
signed and dated Dal 1970 (lower left)

gouache, watercolour, colour pencil and pen and ink on paper
17 x 15 in. (45 x 38.8 cm.)
Executed in 1970
80,000-120,000
PROVENANCE:

l254
Scylla et Charybde
EXHIBITED:
signed and dated Dal 1970 (upper centre)

17 x 15 in. (45 x 38.6 cm.)
Executed in 1970
80,000-120,000
PROVENANCE:
$130,000-190,000

110,000-150,000
77
l255
Le Bain
signed and dated Dal 1968 (lower left)
22 x 30 in. (56.3 x 76.4 cm.)
Executed in 1968
100,000-150,000
$160,000-230,000
130,000-190,000
PROVENANCE:
EXHIBITED:

Augsburg, Rmisches Museum, Dal, Mara e Beppe, Bilder einer Freundschaft,
September November 2000.
78
l256
Circe

$110,000-160,000
90,000-130,000
80
EXHIBITED:
signed and dated Dal 1970 (upper right)

watercolour, colour pencil, pen and India ink on paper
17 x 15 in. (45 x 38.8 cm.)
Executed in 1970
70,000-100,000
PROVENANCE:
l257
Nausicaa
EXHIBITED:
signed Dal (lower right)

gouache, watercolour, colour pencil and pen and ink on paper
17 x 15 in. (45 x 38.8 cm.)
Executed circa 1970
70,000-100,000
PROVENANCE:

$110,000-160,000
90,000-130,000
81
l*258
JOAN MIR (1893-1983)
Graphisme concret
signed Mir (lower right); signed again, dated and titled
Mir 1952 Graphisme concret (on the reverse)
watercolour, brush and pen and India ink on paper
28 x 39 in. (72.3 x 100 cm.)
Executed in 1952
280,000-350,000
$450,000-550,000
360,000-440,000
PROVENANCE:
Pierre Matisse Gallery, New York.

Acquavella Galleries, New York.
Anonymous sale, Christies, New York, 5 November 2003, lot 128.
Acquired from the above by the previous owner.
EXHIBITED:
Yokohama, Yokohama Museum of Art, Joan Mir, Centennial Exhibition,

The Pierre Matisse Collection, January March 1992, no. 69 (illustrated p. 105).
LITERATURE:
J. Dupin and A. Lelong-Mainaud, Joan Mir, Catalogue raisonn, Drawings,

vol. II, 1938-1959, Paris, 2010, no. 1280 (illustrated p. 226).
Executed in 1952, the present drawing belongs to a series of works

Mir enigmatically titled graphisme concret. Commenting on the
group, the artists friend and authority Jacques Dupin explained: From
1951 to 1953, nearly all of Mirs drawings are entitled graphisme
concret (concrete graphics/handwriting). I never was able to obtain
from the painter a clear explanation of this title. For him, the term
concret allowed for the exclusion and condemnation of the word
abstrait (abstract), which people tended to associate with him and which
infuriated him. He forcefully and steadfastly insisted on beginning from
the real and ending with the real. But I do not why, for three years
beginning in 1951, he insisted on qualifying his drawings as graphisme
concrets. Nothing seemingly distinguishes them from his early works
or those that followed. Mir always avoided giving me the key, all the
while maintaining this label (J. Dupin, Joan Mir: Catalogue raisonn.
Drawings, vol. II 1938-1959, 2010, p. 10).
Humorous and irreverent, Graphisme concret expresses Joan Mirs
spontaneous, eclectic style of the 1950s. Combining a sort of personal
calligraphic poem with what resembles the playful doodle of a naughty
student, the work is injected with a captivating sense of self-irony.
In its form, it expresses both Mirs deeply fascination for the art of
calligraphy and his amused surrender to the innocent directness of a
childs drawing. In Graphisme concret, the solemn smoothness of the
broad brushstrokes is disrupted by the comical, mischievous passage
of a pen. In the 1960s, Mir would repeat such irreverent attack onto
one of his most prestigious works: in a radical gesture, the artist would
overdraw a cartoonish head over a meticulous, minute self-portrait he
had executed in the late 1930s (Self-Portrait, 1937/38-1960, Fundaci
Joan Mir, Barcelona).
82
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
l259
l260
Dessin rotique
Dessin rotique
signed and inscribed Dal pour mon grad ami Albaretto (sic; lower right)
ball-point pen on paper
6 x 4 in. (16.4 x 12 cm.)
Drawn circa 1960
signed and dated Dal 1960 (centre right); inscribed

Amigo founiseur extraordinaire de uris durolong (sic; lower centre)
ball-point pen on paper
6 x 4 in. (16.2 x 12.1 cm.)
Drawn in 1960
4,000-6,000
$6,300-9,400
5,100-7,600
5,000-7,000
6,400-8,800
PROVENANCE:
EXHIBITED:

84
$7,900-11,000
PROVENANCE:
EXHIBITED:

l261
Etude pour La pche au thons
gouache and watercolour on card
8 x 17 in. (21.3 x 43 cm.)
Executed in 1966
60,000-80,000
$95,000-130,000
76,000-100,000
PROVENANCE:
EXHIBITED:

This work is a study for the oil La pche au thons, 1966-1967 a

monumental canvas widely regarded as one of the artists great late
masterpieces (Descharnes no. 1272; Fondation Paul Ricard). Dal
dedicated it to Jean-Louis-Ernest Meissonier, a nineteenth century
French Academic painter, who specialized in monumental battle scenes.
The works subject derives from Dals fascination with the myth of
the Dioscuri, and draws on a rich repertoire of references ranging
from ancient and classical art, such as Thodore Gricaults The Raft
of Medusa, 1818-1819 (Muse de Louvre) through to stories about
the bloody tuna fshing in the Mediterranean Dal heard as a child.
It is the most ambitious picture I have ever painted. It is a revival of
representational art, which synthesizes virtually every artistic style into
one formidable canvas: realism, abstraction, pop-art, op-art, cubism,
surrealism. [] All those fsh and all the people busy killing them are
personifcations of the fnite universe that is to say, all the components
of the picture achieve a maximum of hyper-aesthetic energy in it (ibid.
p. 567 577). The paintings epic subject, hyper-realist aesthetic and
alarming energy represented for the artist a quintessential view of the
universe, defned by coexistence of mysticism and modern science,
physics and metaphysics.
85
PROPERTY FROM A
PRIVATE EUROPEAN COLLECTION
l262
SALVADOR DAL
(1904-1989)
Souvenir du satyre
signed, dated and inscribed Pour Albaretto avec
toute lAmiti de Dal 1962 (on the left page);
inscribed Subenir du satire qui viola la petite flle
de ier Soir (sic; on the right page)
ball-point pen across two pages of a book
12 x 19 in. (30 x 49 cm.)
Drawn in 1962
4,000-6,000
$6,300-9,400
5,100-7,600
PROVENANCE:
Acquired directly from the artist,

and thence by descent to the present owner.
PROPERTY FROM A
PRIVATE EUROPEAN COLLECTION
l263
SALVADOR DAL
(1904-1989)
Premire ide pour Le Twist
signed, dated and inscribed premire idee pour
le Twist Pour mon Ami Albaretto Hommage
Salvador Dal 1962 (within the composition)
red ball-point pen and colour pencil on
printed paper
7 x 5 in. (18.6 x 13.9 cm.)
Executed in 1962
5,000-7,000
$7,900-11,000
6,400-8,800
PROVENANCE:
Acquired directly from the artist, and thence by

descent to the present owner.
86
264
ALBERTO GIACOMETTI (1901-1966)
Tte dhomme et femme debout
blue ballpoint pen on joined buff paper
5 x 4 in. (12.8 x 10 cm.)
18,000-25,000
PROVENANCE:
Galerie P.Y. Gabus, Geneva.

Private Collection, by whom acquired from the above;
sale, Christies, London, 23 June 2005, lot 458.
LITERATURE:
$29,000-39,000
23,000-32,000
The Fondation Alberto et Annette Giacometti Database no. AGD 810.

The Association Alberto et Annette Giacometti Database.
87
PROPERTY FROM AN IMPORTANT COLLECTION
*265
PIERRE-AUGUSTE RENOIR (1841-1919)
Portrait de Madame Renoir
sanguine on paper
11 x 11 in. (30.2 x 30.1 cm.)
Drawn circa 1885
12,000-18,000
$19,000-28,000
16,000-23,000
PROVENANCE:
Jean Renoir, Paris.

Galerie Renou et Poyet, Paris.
Marcel Gurin, Paris.
Anonymous sale, Htel Drouot, Paris, 9 December 1932, lot 64.
Pasadena Art Museum; their sale, Sothebys, London, 22 April 1971, lot 24.
Mrs H. Bier.
Arthur Kauffman, London.
Ian Woodner, New York, by whom acquired from the above in July 1972.
Acquired from the above; sale, Christies, New York, 7 November 2008, lot 530.
LITERATURE:
G.-P. & M. Dauberville, Catalogue raisonn des tableaux, pastels, dessins,

et aquarelles, vol. II, 1882-1894, Paris, 2009, no. 1543, p. 526 (illustrated).
88
266
GUSTAV KLIMT (1862-1918)
PROVENANCE:
The artists estate.

Anonymous sale, Karl und Faber, Munich, 28-29 November 1975, lot 1106.
Anonymous sale, Sothebys, London, 7 December 1983, lot 322a.
Liegende Frau
with the Nachlass stamp (Lugt 1575; lower right, faded)
red crayon on simili Japan paper
13 x 21 in. (35.1 x 55.6 cm.)
Drawn in 1914-1915
30,000-50,000
LITERATURE:
A. Strobl, Gustav Klimt, Die Zeichnungen, 1912-1918, Salzburg, 1984,

no. 2397 (illustrated p. 69).
$48,000-79,000
38,000-63,000
89
*267
EDGAR DEGAS (1834-1917)
Femme nue assise
stamped with the signature Degas (lower left; Lugt 658); with the atelier
stamp (on the reverse; Lugt 657bis)
charcoal on tracing paper laid down on board
43 x 31 in. (109.9 x 79.4 cm.)
Executed in 1899
100,000-150,000
$160,000-230,000
130,000-190,000
PROVENANCE:
The artists estate; third sale, Galerie Georges Petit, Paris, 7-9 April 1919,
lot 292 (illustrated p. 215).
Gustav Knauer, Berlin.
W. H. Koenenkamp, by 1954, and thence by descent.
Private collection, acquired from the above circa 1960, and thence by
descent; their sale, Christies, New York, 10 May 2007, lot 116.
In the last two decades of his career, Degas depictions of bathers were
among his favourite subjects, second only in frequency to his studies of
dancers. Both series enabled the artist to evoke the expressiveness of the
human fgure and specifcally to render the female body in a variety of
poses and environments, from public performances on stage to private
moments after the bath.
The theme of women at their toilette appealed to Degas as both an
opportunity to engage in methodical studies of an individual subject
and an occasion to present distinctly modern women in domestic
environments. This work exemplifes a statement made in 1886 by art
critic Thodore Duret, who wrote that Degas has found new situations
for the nude, in interiors, among rich fabrics and cushioned furniture. He
has no goddesses to offer, none of the legendary heroines of tradition,
but the woman as she is, occupied with her ordinary habits of life or
of the Toilette... (quoted in R. Kendall, Degas: Beyond Impressionism,
exh. cat., The Art Institute of Chicago, 1996, p. 150).
90
The present drawing serves as a study for the pastel, Femme sessuyant,
1899 (Lemoisne no. 1342). In both works the woman is captured in a
seemingly undisturbed moment of solitude, leaning forward with her
left arm raised as she wraps her other arm around her mid-section
to towel off after a bath. She gazes downward, her upswept hair
accentuating the nape of her neck, creating a sinuous line down her
slightly curved back. The present work is also closely related to two other
pastels (Lemoisne nos. 1341 & 1343) of women drying off after a bath,
where Degas plays with the highlights along their backs and translates
the sensual movement of the bather manoeuvring the towel across her
body, cropping the composition with the bathtub in the background.
*268
PROVENANCE:
Mr Mario Tazzoli.
Private collection, by whom acquired from the above in the 1960s;
his sale, Christies, London, 5 February 2008, lot 552.
Zwei liegende Mdchen

with the Nachlass stamp (lower left; faded)
pencil on simili Japan paper
12 x 22 in. (31.7 x 57 cm.)
Drawn circa 1905-1906
40,000-60,000
$63,000-94,000
51,000-76,000
92
Dr Marian Bisanz-Prakken has confrmed the authenticity of this

work, which will be included in her forthcoming addition to the Klimt
Catalogue raisonn.
The present drawing probably belongs to the group of studies which
Klimt made for Wasserschlangen II. These studies (Strobl nos. 15101518) have been dated by Alice Strobl 1905-1906.
*269
PROVENANCE:
The artists estate.

Anonymous sale, Neumeister, Munich, 17 September 1986, lot 854.
Private collection, Vienna.
Private collection, Italy, by whom acquired from the above circa 1988; sale,
Sothebys, London, 26 June 2008, lot 111.
Rckenhalbakt nach links

with the Nachlass stamp (lower right)
pencil on paper
22 x 14 in. (56 x 36.6 cm.)
Drawn in 1913
30,000-50,000
LITERATURE:
$47,000-78,000
39,000-64,000
Rckblick 1986 in Beilage zur Weltkunst, vol. 57, no.2, 15 January 1987
(illustrated).
A. Strobl, Gustav Klimt, Die Zeichnungen, vol. IV, Nachtrag, 1878-1918,
Salzburg, 1989, no. 3656, p. 178 (illustrated p. 179).
93
l*270
HENRI MATISSE (1869-1954)
Femme endormi
signed and dated Henri Matisse oct.1932 (lower right)
pencil on paper
12 x 9 in. (32.5 x 25.2 cm.)
Drawn in Nice in October 1932
80,000-120,000
$130,000-190,000
110,000-150,000
PROVENANCE:
William H. Schab Gallery, New York.

Samuel C. Karlan, New York, by whom acquired from the above in 1965,
and thence by descent; sale, Sothebys, New York, 7 November 2012, lot 235.
EXHIBITED:
New York, William H. Schab Gallery, Six Centuries of Graphic Arts, Prints &
Drawings by Great Masters, 1965, no. 187, p.186 (illustrated p. 187).
Mathildenhhe, Stadt Darmstadt, 3. Internationale der Zeichnung, 1970,
Wanda de Gubriant has confrmed the authenticity of this work.
94
l*271
Tte appuye sur les mains
dated and numbered 9.1.62.II (upper left)
wax crayon on paper
12 x 9 in. (32 x 24 cm.)
Drawn on 9 January 1962
250,000-350,000
$400,000-550,000
320,000-440,000
PROVENANCE:
The artists estate.

Marina Picasso, by descent from the above.
EXHIBITED:
Miami, Centre for the Fine Arts, Picasso At Work At Home, Selections from the
Marina Picasso Collection, November 1985 March 1986 (illustrated p. 138).
LITERATURE:
C. Zervos, Pablo Picasso, vol. 20, Oeuvres de 1961 1962, Paris, 1968,
no. 187 (illustrated pl. 92).
A. & M. Glimcher (eds.), Je suis le cahier, The Sketchbooks of Picasso,
London, 1986, no. 166, p. 344 (illustrated).
Sculpture, The Sixties I, 1960-1963, San Francisco, 2002, no. 62-007,
Tte appuye sur les mains II belongs to a series of three heads Picasso
drew on the 9th of January 1962 and which he carefully dated and
numbered (Zervos, 186-188). Executed in brown wax crayon and bright
primary colours, the series explored the idea of two facing profles
constituting a frontal head. In all three works, Picasso used yellow
and blue to enliven each of the profles, joining them with a red line.
Of the three, Tte appuye sur les mains II is the one in which Picasso
emphasised the most the idea of the two profles: he mirrored the use
of colour in the two halves and visibly depicted both eyes in profle.
Yet, the pose of the hands, sustaining a single head, help to create
the effect of a double image, in which kissing profles give form to a
frontal portrait. Picasso would later use the drawing as a preparation
for a tapestry.
The almond-shaped eyes and straight nose of Tte appuye sur les mains
II evoke the striking lineaments of Jacqueline Roque, whom Picasso had
married the previous year and who, from that moment onwards, would
watch over him until his last day. As the previous women in Picassos
life had done, Jacquelines presence invaded his work. Only in 1962
the year Tte appuye sur les mains II was executed Picasso painted
seventy portraits of her.
Expressing a vivid interest for the possibility of composing a face out of
two profles, Tte appuye sur les mains II relates to a series of portraits
of Jacqueline which Picasso started painting just before executing
96
the drawing: on the 3rd of January the artist began Femme au grand
chapeau (Zervos, 185; The Museum of Fine Arts, Houston) while on
the 4th he simultaneously started composing Buste de femme au
chapeau (Les Dames de Mougins) (Zervos, 180; Private Collection). In
both paintings, Picasso formed the head out of two profles and it is
possible that Tte appuye sur les mains II and the other related
drawings served Picasso to experiment and develop this idea while
working on the paintings.
In its inclusion of profles in the frontal depiction of a head, Tte
appuye sur les mains II exemplifes the liberal, candid way in which, in
the 1960s, Picasso incorporated into his works the multiple perspectives
he had frst explored decades earlier with Cubism. In a more immediate
timeframe, however, the drawing may have followed an idea Picasso
could have had the previous year, while working on a series of
dcoupages, frst executed in paper, then in metal. In three-dimensional
works such as Tte de femme (1961, Fondation Beyeler), for instance,
Picasso had given volume to the head by simply folding a sheet of metal
along the line of the nose, diving the face into two distinct fat profle
plans. Such spatial division of the head might have inspired Picasso to
explore the idea further onto the two-dimensional surface of drawing
and consequently painting. Illustrating Picassos restless inventiveness,
Tte appuye sur les mains II captures the fervour of invention which
Jacquelines strong features had inspired in Picasso.
PROPERTY FROM A DISTINGUISHED PRIVATE ENGLISH COLLECTION
l272
RAOUL DUFY (1877-1953)
PROVENANCE:
Berthe Reysz (with her collectors stamp and numbered 54 on the reverse).
Anonymous sale, Christies, London, 1 December 1981, lot 327.
Nu dans latelier rouge de Vence

signed Raoul Dufy (lower right)
19 x 25 in. (50.2 x 65.6 cm.)
Executed in 1945
30,000-50,000
LITERATURE:
F. Guillon-Laffaille, Raoul Dufy, Catalogue raisonn des aquarelles, gouaches

et pastels, vol. II, Paris, 1982, no. 1784 (illustrated p. 263).
$48,000-79,000
38,000-63,000
98
l273
PROVENANCE:
Galerie Louis Carr et Cie., Paris.

Acquired by the family of the present owner in the 1950s.
LOpra au rideaux rouges

signed and dated Raoul Dufy 1941 (lower right)
20 x 26 in. (50.7 x 66.5 cm.)
Executed in 1941
40,000-70,000
EXHIBITED:
$63,000-110,000
51,000-88,000
Brussels, Galerie Manteau, 20 peintures de matres franais contemporains,

April 1944.
Charleroi, Cercle Royal Artistique et Littraire, Hommage Raoul Dufy,
March April 1954, no. 11, p. 21.
LITERATURE:

99
l274
Le paddock, Ascot
signed Raoul Dufy (lower left)
20 x 26 in. (51.6 x 66.5 cm.)
100,000-150,000
$160,000-240,000
130,000-190,000
PROVENANCE:
Galeries Louis Manteau, Brussels.

EXHIBITED:

Fanny Guillon-Laffaille has confrmed the authenticity of this work.
Dufys fascination with horse racing was initially prompted by his

collaboration with the couturier Paul Poiret, who in 1909 commissioned
the artist to design the stationary for his fashion house, and the textile
patterns for its fabrics and garments. Poirets signature styles were
famboyantly sported by the ladies attending the races at Deauville,
Longchamp, Chantilly, and of course, the even more fashionable English
race courses at Epsom, Goodwood and Ascot. The designer urged Dufy
to study the elegant silhouettes, fashionable attire and interactions of
the dazzling crowd of spectators, encouraging his interest in society life,
luxury and pleasure.
Dufy was immediately drawn to the exhilarating atmosphere surrounding
the race itself and began to experiment with the subject of horse races as
early as 1913. He executed numerous paintings and watercolours of the
elegant women, dandies and jockeys in the spectator area, the horses
captured in mid-race and of paddock scenes. These works demonstrated
his close attention to detail as well as conveying the special atmosphere
of the racecourses and the luxurious lifestyle of the beau monde.
100
Dufy became an unwitting chronicler of society by painting these scenes.

Jacques de Laprade wrote that, Dufy portrayed twenty-fve years of our
amusements with the same urbane humour and magnifcent sense of
draughtsmanship (M. Brion, Raoul Dufy, London, 1958, p. 18).
With his discovery of Epsom and Ascot during his stays in England in
the 1930s, Dufys compositions became more ambitious as he started
depicting the whole course as seen from birds-eye view, resulting in
grand, somewhat theatrical compositions, such as the present work. It
was around this time that Dufy started developing his couleur-lumire
theory - a method that emphasized colour over the shading properties
of black and white and allowed the artist to convey light in a distinct
way. Treating volumes as fat areas of paint and dissociating the outline
of a fgure from the colour that defnes it, Dufy achieved extraordinary
fuency, grace and refnement of composition. The bright colours, vivid
contrasts and subtle tone changes in this paddock scene at Ascot reveal
Dufys remarkable ability to convey the vivacious atmosphere that
pervades the spectacle and social event of horse racing.
THE PROPERTY OF A EUROPEAN LADY
l275
PROVENANCE:
Galerie Louise Leiris, Paris (nos. 09258 & 60723).

Galleria Cadario, Milan.
Avant la pique
signed and dated Picasso 18.12.59. (upper right)
brush and ink and wash on paper
9 6/8 x 13 in. (24.6 x 34.8 cm.)
Executed on 18 December 1959
50,000-70,000
LITERATURE:
$79,000-110,000
64,000-88,000
102
J. Sabarts, Picasso, Toreros, New York, 1961, no. 20, p.150 (illustrated pl. 20).
Sculpture, The Fifties II, 1956-1959, San Francisco, 2000, no. 59-325
l*276
Cheval
signed and dated Picasso 26.7.67. (upper right)
gouache and brush and wash on paper
22 x 29 6/8 in. (56.3 x 75.4 cm.)
Executed on 26 July 1967
120,000-180,000
PROVENANCE:
Galerie Louis Leiris, Paris (no. 012309).

Waddington Galleries Ltd., London.
Lucio Amelio.
Anonymous sale, Christies, London, 3 February 2010, lot 257.
LITERATURE:
$190,000-280,000
160,000-230,000
C. Zervos, Pablo Picasso, vol. 27, Oeuvres de 1967 et 1968, Paris, 1973,
Sculpture, The Sixties II, 1964-1967, San Francisco, 2002, no. 67-315
103
l277
MARC CHAGALL (1887-1985)
PROVENANCE:
Galerie Natacha, Paris.

Private collection, Paris, by whom acquired from the above in June 1970.
Esquisse pour La paix pour A. Schick

signed and inscribed Pour A. Schik souvenir Chagall (lower right)
watercolour, pastel and pen and India ink on paper
8 x 6 in. (22.2 x 16.2 cm.)
Executed circa 1950
30,000-50,000
$48,000-79,000
38,000-63,000
104
This work is sold with a photo-certifcate from the Comit Marc Chagall.
THE PROPERTY OF A HONG KONG COLLECTOR
l*278
MARC CHAGALL (1887-1985)
PROVENANCE:
The artists estate.

Anonymous sale, Sothebys, 23 May 1990, lot 91.
Acquired by the present owner in 2004.
Lartiste au village
signed and dated Chagall 1981 (lower right)
brush and India ink and pastel on paper
25 x 19 in. (65.7 x 50.4 cm.)
Executed in 1981
30,000-50,000
This work is sold with a photo-certifcate from the Comit Marc Chagall.
$48,000-79,000
38,000-63,000
105
l*279
Tte appuye sur la main
dated and numbered 7.1.62.III (lower left)
wax crayon on paper
12 x 9 4/8 in. (32 x 24 cm.)
200,000-300,000
$320,000-470,000
260,000-380,000
PROVENANCE:
The artists estate.

EXHIBITED:
Marina Picasso Collection, November 1985 - March 1986 (illustrated p. 138).
LITERATURE:
London, 1986, no. 166, p. 344.
Sculpture, The Sixties I, 1960-1963, San Francisco, 2002, no. 62-005,
106
l280
PROVENANCE:
Marcel Mabille, Brussels, by 1943.

Nu couch
signed and dated 31 Decembre 1930 Raoul Dufy (lower right)
19 x 25 in. (50.4 x 66 cm.)
14,000-18,000
$23,000-28,000
18,000-23,000
108
EXHIBITED:

l281
PROVENANCE:
Portrait de Madame Raoul Dufy
EXHIBITED:
Brussels, Palais des Beaux-Arts, Dufy dans les collections belges, September
1943, no. 30.
Bordeaux, Galerie des Beaux-Arts, Raoul Dufy, April September 1970.

gouache on paper
25 1/5 x 19 in. (64.8 x 50.5 cm.)
Executed circa 1916
14,000-18,000
LITERATURE:
$23,000-28,000
18,000-23,000
F. Guillon-Laffaille, Raoul Dufy, Catalogue raisonne des aquarelles, gouaches

109
PROPERTY FROM A PRIVATE LONDON COLLECTION
l282
PROVENANCE:
Private Collection, France, a gift from the artist.

Heinz Berggruen, Paris & Berlin, by whom acquired from the above; his sale
[Twenty-six Drawings from the Berggruen Sketchbook], Sothebys, London,
9 February 2005, lot 222.
Femme assise
dated and numbered vendredi 13.11.70.III (centre left)
pencil on paper
9 x 12 in. (24 x 32.1 cm.)
Drawn on 13 November 1970
30,000-50,000
EXHIBITED:
$48,000-79,000
38,000-63,000
San Francisco, John Berggruen Gallery, Picasso, The Berggruen Album, 2004,

110
PROPERTY FROM AN IMPORTANT SWISS COLLECTION
l*283
EXHIBITED:
Munich, Haus der Kunst, Pablo Picasso, Werke aus der Sammlung Marina
Picasso, February - April 1981, no. 274, p. 412; travelling exhibition.
Marina Picasso Collection, November 1985 March 1986 (illustrated p. 145).
Mnster, Graphikmuseum Pablo Picasso, Pablo Picasso, Im Atelier des
Knstlers, August November 2010 (illustrated p. 191).
Nu couch
dated and numbered 20.1.64 VI (upper left)
pencil and charcoal on paper
5 x 8 in. (13.5 x 21 cm.)
60,000-80,000
$95,000-130,000
76,000-100,000
PROVENANCE:
The artists estate.

Galerie Jan Krugier, Ditesheim & Cie, Geneva (inv. no. 11423).
Thomas Segal Gallery, Boston.
LITERATURE:
C. Zervos, Pablo Picasso, vol. 24, Oeuvres de 1964, Paris, 1971, no. 49
(illustrated pl. 14).
London, 1986, no. 173, p. 346.
Sculpture, The Sixties II, 1964-1967, San Francisco, 2002, no. 64-039,
111
l284
PROVENANCE:
La fentre ouverte sur la plage
Marcel Mabille, Brussels, by 1943.


19 x 26 in. (50 x 66 cm.)
Executed circa 1923
20,000-30,000
EXHIBITED:
Brussels, Palais des Beaux-Arts, Dufy dans les collections belges,

November 1943, no. 57.
$32,000-47,000
26,000-38,000
112
LITERATURE:
F. Guillon-Lafaille, Raoul Dufy, Catalogue raisonn des aquarelles, gouaches

l285
PROVENANCE:
Galerie Louis Manteau, Brussels, by 1943.

Marine, soleil couchant
EXHIBITED:

19 x 25 in. (49.8 x 65 cm.)
Brussels, Palais des Beaux-Arts, Dufy dans les collections belges, 1943.
20,000-30,000
$32,000-47,000
26,000-38,000
113
286
GEORGE GROSZ (1893-1959)
Vertrautes Heim
signed Grosz (lower right)
reed pen and ink on paper
17 x 13 in. (44.2 x 34.1 cm.)
Executed circa 1920-1921
12,000-18,000
$19,000-28,000
16,000-23,000
PROVENANCE:
The artists estate (with the Nachlass no. 3-52-4 on the reverse).
Anonymous sale, Sothebys, London, 6 February 2007, lot 224.
EXHIBITED:
Munich, Museum Villa Stuck, George Grosz, Die Berliner Jahre,

September - October 1986, no. 91 (illustrated)
Paris, Fondation Dina Vierny, Muse Maillol, Allemagne, les annes noires,
October 2007 November 2008, no. 61.
Ralph Jentsch has confrmed the authenticity of this work.
287
GEORGE GROSZ (1893-1959)
Strassenszene
signed Grosz (lower right)
reed pen and brush and ink on paper
17 x 22 in. (43 x 57.4 cm.)
Drawn in 1916
12,000-18,000
$19,000-28,000
16,000-23,000
PROVENANCE:
Galerie Prestel, Frankfurt.

Private Collection, New York.
Anonymous sale, Hauswedell & Nolte, Hamburg, 12 June 1999, lot 1769.
Anonymous sale, Villa Grisebach, Berlin, 3 June 2005, lot 63.
EXHIBITED:
Paris, Fondation Dina Vierny, Muse Maillol, Allemagne, les annes noires,
October 2007 February 2008, no. 61.
Ralph Jentsch has confrmed the authenticity of this work.
114
l*288
PROVENANCE:
Nu tendu
signed Picasso (lower right)
12 x 16 in. (30.5 x 40.6 cm.)
Drawn in 1906
60,000-80,000
$94,000-130,000
77,000-100,000
Gertrude Stein, Paris.

Alice B. Toklas, Paris.
Galerie Louise Leiris, Paris, by 1954.
Anonymous sale, Sothebys, London, 4 July 1962, lot 27.
Hilmar Reksten, Bergen; his sale, Christies, London, 19 March 1991, lot 83.
Stanley J. Seeger, London; his sale, Sothebys, New York, 4 November 1993,
lot 416.
Anonymous sale, Sothebys, New York, 8 May 2008, lot 254.
LITERATURE:
D.-H. Kahnweiler, Picasso, dessins 1903-1907, Paris, 1954.

C. Zervos, Pablo Picasso, vol. 6, Supplment aux Volumes 1 5, Paris, 1954,
S. Hellieson, Hilmar Rekstens Samlinger, Bergen, 1972, no. 32 (illustrated).
Sculpture, The Rose Period, 1905-1906, San Francisco, 2012, no. 1906-157,
115
l289
EXHIBITED:
$26,000-38,000
Brussels, Palais des Beaux-Arts, Dufy dans les collections belges,

November 1943, no. 58.
Paris, Muse National dArt Moderne, Raoul Dufy, 1877 1953, 1953,
no. 103, p. 41.
Bordeaux, Galerie des Beaux-Arts, Raoul Dufy, April September 1970,
no. 131, p.23.
21,000-30,000
LITERATURE:
La cage
signed twice Raoul Dufy (lower right)
watercolour, pen and ink and pencil on paper
25 x 20 in. (65.5 x 51 cm.)
16,000-24,000
PROVENANCE:
Galerie Louis Manteau, Brussels, by 1943.

116

et pastels, vol. I, Paris, 1981, no. 81 (illustrated p. 29; catalogued with
erroneous dimensions).
Jardin des arts, 1954, p. 286.
l*290
MAURICE UTRILLO (1883-1955)
PROVENANCE:
Rue Saint-Vincent, Montmatre
Anonymous sale, Christies, Monaco, 3 May 1989, lot 185.

signed Maurice, Utrillo, V, (lower right); inscribed

Rue Saint-Vincent, Montmartre (lower left)
gouache on paper
13 x 10 in. (32.9 x 25.1 cm.)
Executed circa 1940
25,000-35,000
Jean Fabris and Cdric Pailler have confrmed the authenticity

of this work.
$40,000-55,000
32,000-44,000
117
PROPERTY FROM A DISTINGUISHED CORPORATE COLLECTION
l291
PROVENANCE:
The artists estate (no. 05161).

Maya Widmaier-Picasso, by descent from the above.
La lettre
dated 23.12.51. (upper left)
brush and pen and India ink on paper
20 x 26 in. (50.5 x 66 cm.)
40,000-60,000

$63,000-94,000
51,000-76,000
118
PROPERTY FROM A DISTINGUISHED CORPORATE COLLECTION
l292
PROVENANCE:
The artists estate (no. 05161).

Maya Widmaier-Picasso, by descent from the above.
Hommes jouant aux checs

dated 23.12.51. (lower left)
brush and pen and India ink on paper
20 x 26 in. (51 x 66 cm.)
40,000-60,000

$63,000-94,000
51,000-76,000
119
l*293
BERNARD BUFFET (1928-1999)
Japonaises
PROVENANCE:
Anonymous sale, Htel Drouot, Paris, 22 March 1998, lot 58.

Acquired at the above sale; sale, Christies, Paris, 21 May 2008, lot 156.
signed Bernard Buffet (lower right)

watercolour and brush and ink on paper
25 x 19 in. (64.8 x 50.2 cm.)
Executed in 1981
25,000-35,000
This work is recorded in the Bernard Buffet Archives at Galerie

Maurice Garnier.
$40,000-55,000
32,000-45,000
120
l*294
BERNARD BUFFET (1928-1999)
La bote aux coquillages
signed and dated Bernard Buffet 53 (lower right)
pencil on paper
19 x 25 in. (50 x 65.5 cm.)
Drawn in 1953
15,000-25,000
$24,000-39,000
19,000-32,000
This work is recorded in the Bernard Buffet Archives at Galerie Maurice Garnier.
121
PROPERTY FROM A PRIVATE ITALIAN COLLECTION
l295
GIORGIO DE CHIRICO (1888-1978)
PROVENANCE:
A gift from the artist to the father of the present owner.
Costumi per Anfone

The Fondazione Giorgio e Isa de Chirico has confrmed the authenticity
of these works.
each: watercolour on card

each: 9 x 6 in. (24.8 x 16.7 cm.)
each: Executed in 1942
four (4) works sold in one lot
12,000-18,000
$19,000-28,000
16,000-23,000
122
These works were a gift from de Chirico to the scenographer at

La Scala, Milan, with whom he collaborated on the production of the
ballet Anfone.
l296
KEES VAN DONGEN (1877-1968)
Pochoir from Hassan-Badredine-el-bass-Raouls
Conte des 1001 Nuits
signed Van Dongen (in pencil on the reverse)
pochoir with hand-colouring
12 x 9 in. (30.9 x 25 cm.)
8,000-12,000
PROVENANCE:
Galleries Maurice Sternberg, Chicago.

Anonymous sale, Christies, New York, 20 November 1986,
lot 142 (catalogued as watercolour).
Stanley J. Seeger, London.
Private collection, Europe.
EXHIBITED:
$13,000-19,000
Tucson, University of Arizona Museum, Van Dongen, February March 1971,

no. 81 (illustrated p. 77; catalogued as watercolour).
11,000-15,000
LITERATURE:
D. Sutton, A Diamond as Big as the Ritz, in Apollo, London, January 1971,

no. 11 (illustrated p. 41; catalogued as watercolour).
123
Salvador Dals
Biblia Sacra
The following four works belong to a unique series of illustrations Salvador Dal executed in 1964 for Biblia Sacra, an
illustrated edition of the Bible published by Rizzoli, between 1967 and 1969. Incredibly successful, the illustrations were
later re-published in subsequent editions in Barcelona, Paris and Germany.
Drawing from the Bibles mystic dimension and from his own taste for grandiose, impenetrable imagery, Dal was able to
create a series of compelling illustrations which although inspired by the scriptures added a number of new images
to the artists personal delirious saga. A Spaniard who had certainly absorbed his countrys fervent Catholic faith, Dal
had incorporated Christian iconography in his artistic universe well before the commission for the Bibles illustrations.
From the Crucifxion, to the Virgin Mary, Dal had already re-appropriated the mighty spell of Christian imagery into
his paintings, merging the miraculous visions and impenetrable mysteries of Catholicism into the hallucinatory world
of his art. The here presented illustrations for Biblia Sacra thus continue a theme that obsessed and fascinated Dal.
In its entirety, the present series illustrates the mesmerising variety of graphic effects deployed by Dal in his drawings,
which range from incredibly evocative drips to mesmerising effusions of colour. In two particularly dramatic drawings,
Dal was able to translate the terror and awe of the sacred scripture through rich blotching effects: in Flagellation
la colonne (lot 300) and in David et Goliath (lot 299) violent drips of dark ink and vivid red are used to evoke the
sublimation of suffering that is at the core of the Bibles most gripping sacred stories. Displaying Dals mighty powers
as a draughtsman, the illustrations for Biblia Sacra are a brilliant rendition of the arresting force of Christianitys sacred
text merged with Dalinian pathos and subversion.
l297
PROVENANCE:
Josu, brave au combat (Joshua 10)
EXHIBITED:
signed and dated Dal 1964 (lower right)

brush and India ink and gold paint on paper
18 x 13 in. (47.5 x 35.2 cm.)
Executed in 1964
40,000-60,000
$63,000-94,000
51,000-76,000

LITERATURE:
Rizzoli (ed.), Biblia Sacra vulgat editionis, vol. I, Rome, 1967 (illustrated p. 361).
124
Salvador Dals Biblia Sacra
l298
Annonciation de lange Gabriel (Luke 1)
acrylic, gouache, watercolour and pen and red ink on paper
18 x 14 in. (47.2 x 35.5 cm.)
Executed in 1964
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
EXHIBITED:

Augsburg, Rmishes Museum, Dal, Mara e Beppe, Bilder einer Freundschaft,
September - November 2000.
LITERATURE:
Rizzoli (ed.), Biblia Sacra vulgat editionis, vol. V, Rome, 1967 (illustrated p. 25).
126
l299
PROVENANCE:
David et Goliath (1 Samuel 17)
EXHIBITED:

gouache and brush and pen and India ink on paper
19 x 13 in. (49.2 x 33.7 cm.)
Executed in 1964
40,000-60,000
$63,000-94,000
51,000-76,000

LITERATURE:
Rizzoli (ed.), Biblia Sacra vulgat editionis, vol. II, Rome, 1967 (illustrated p. 25).
128
l300
PROVENANCE:
Flagellation la colonne (John 19 & Mark 15)

oil, gouache, watercolour, pen and ink and pencil on paper
19 x 13 in. (59.5 x 33.5 cm.)
Executed in 1964
40,000-60,000
EXHIBITED:

LITERATURE:
Rizzoli (ed.), Biblia Sacra vulgat editionis, vol. V, Rome, 1967 (illustrated p. 240).
$63,000-94,000
51,000-76,000
129
IMPORTANT NOTICES AND EXPLANATION OF

CATALOGUING PRACTICE
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is
identified in the catalogue with the symbol next to
its lot number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include
guaranteeing a minimum price or making an
advance to the consignor that is secured solely by
consigned property. Where Christies holds such
financial interest on its own we identify such lots
with the symbol next to the lot number.
Where Christies has financed all or part of such
interest through a third party the lots are identified
in the catalogue with the symbol u. When a
third party agrees to finance all or part of Christies
interest in a lot, it takes on all or part of the risk of
the lot not being sold, and will be remunerated in
exchange for accepting this risk based on a fixed fee
if the third party is the successful bidder or on the
final hammer price in the event that the third party
is not the successful bidder. The third party may also
bid for the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against the
final purchase price. If the lot is not sold, the third
party may incur a loss. Please see http://www.
christies.com/financial-interest/ for a more detailed
explanation of minimum price guarantees and third
party financing arrangements.
Where Christies has an ownership or financial
interest in every lot in the catalogue, Christies will
not designate each lot with a symbol, but will state
its interest in the front of the catalogue.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION
Christies catalogues include references to condition
only in descriptions of multiple works (such as
prints, books and wine). For all other property,
only alterations or replacement components are
listed. Please contact the Specialist Department for
a condition report on a particular lot. The nature
of the lots sold in our auctions is such that they will
rarely be in perfect condition, and are likely, due to
their nature and age, to show signs of wear and tear,
damage, other imperfections, restoration or repair.
Any reference to condition in a catalogue entry
will not amount to a full description of condition.
Condition reports are usually available on request,
and will supplement the catalogue description. In
describing lots, our staff assess the condition in a
manner appropriate to the estimated value of the
item and the nature of the auction in which it is
included. Any statement as to the physical nature or
condition of a lot, in a catalogue, condition report
or otherwise, is given honestly and with appropriate
care. However, Christies staff are not professional
restorers or trained conservators and accordingly
any such statement will not be exhaustive. We
therefore recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to you
in advance of bidding.
130
PROPERTY INCORPORATING MATERIALS

FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. Such material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whale bone and certain species of
coral, together with Brazilian rosewood. Prospective
purchasers are advised that several countries prohibit
altogether the importation of property containing
such materials, and that other countries require a
permit (e.g., a CITES permit) from the relevant
regulatory agencies in the countries of exportation
as well as importation. Accordingly, clients should
familiarise themselves with the relevant customs laws
and regulations prior to bidding on any property
with wildlife material if they intend to import the
property into another country. Please note that it is
the clients responsibility to determine and satisfy the
requirements of any applicable laws or regulations
applying to the export or import of property
containing endangered and other protected wildlife
material. The inability of a client to export or import
property containing endangered and other protected
wildlife material is not a basis for cancellation or
rescission of the sale. Please note also that lots
containing potentially regulated wildlife material are
marked as a convenience to our clients, but Christies
does not accept liability for errors or for failing to
mark lots containing protected or regulated species.
RECENT CHANGES TO IMPORTS OF
ELEPHANT IVORY AND OTHER WILDLIFE
MATERIAL INTO THE USA
The USA has recently changed its policy on the
import of property made of or containing elephant
ivory. Only Asian Elephant ivory may be imported
into the USA, and imports must be accompanied by
DNA analysis and confirmation the object is more
than 100 years old. We have not obtained a DNA
analysis on any lot prior to sale and cannot indicate
whether the elephant ivory in a particular lot is
African or Asian elephant. Buyers purchase these
lots at their own risk and will be responsible for the
costs of obtaining any DNA analysis or other report
required in connection with their proposed import of
such property into the USA.
The USA is also currently requiring all imports of
property made of or containing wildlife material
to be accompanied by a scientific confirmation of
species and in some cases an additional confirmation
of age. We have not obtained such confirmations
prior to sale (unless specifically indicated) and
buyers will be responsible for the costs of any such
additional confirmations or opinions required for
their proposed import into the USA.
A buyers inability to export or import any lot
containing elephant ivory or other wildlife material
is not a basis for cancelling the purchase.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works
of art. These items may not comply with the
provisions of the Furniture and Furnishings (Fire)
(Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations ). Accordingly, these items
should not be used as furniture in your home in
their current condition. If you do intend to use such
items for this purpose, you must first ensure that
they are reupholstered, restuffed and/or recovered
(as appropriate) in order that they comply with the
provisions of the Regulations.
EXPLANATION OF
CATALOGUING PRACTICE
FOR PICTURES, DRAWINGS, PRINTS
AND MINIATURES
Terms used in this catalogue have the meanings
ascribed to them below. Please note that all
statements in this catalogue as to authorship are
made subject to the provisions of the Conditions of
Sale and Limited Warranty. Buyers are advised to
inspect the property themselves. Written condition
reports are usually available on request.
Name(s) or Recognised Designation of an
Artist without any Qualification
In Christies opinion a work by the artist.
*Attributed to
In Christies qualified opinion probably a work by
the artist in whole or in part.
*Studio of /Workshop of
In Christies qualified opinion a work executed in
the studio or workshop of the artist, possibly under
his supervision.
*Circle of
In Christies qualified opinion a work of the period
of the artist and showing his influence.
*Follower of
the artists style but not necessarily by a pupil.
*Manner of
the artists style but of a later date.
*After
In Christies qualified opinion a copy (of any date) of
a work of the artist.
Signed /Dated /
Inscribed
In Christies qualified opinion the work has been
signed/dated/inscribed by the artist.
With signature /With date /
With inscription
In Christies qualified opinion the signature/
date/inscription appears to be by a hand other than
that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate
date when prefixed with circa) on which the matrix
was worked and not necessarily the date when the
impression was printed or published.
*This term and its definition in this Explanation
of Cataloguing Practice are a qualified statement as
to authorship. While the use of this term is based
upon careful study and represents the opinion of
specialists, Christies and the consignor assume no
risk, liability and responsibility for the authenticity
of authorship of any lot in this catalogue described
by this term, and the Limited Warranty shall not
be available with respect to lots described using this
term.
BUYING AT CHRISTIES
CONDITIONS OF SALE
Christies Conditions of Sale and Limited Warranty are set out
later in this catalogue. Bidders are strongly encouraged to read
these as they set out the terms on which property is bought
at auction.
ESTIMATES
Estimates are based upon prices recently paid at auction for
comparable property, condition, rarity, quality and provenance.
Estimates are subject to revision. Buyers should not rely upon
estimates as a representation or prediction of actual selling
prices. Estimates do not include the buyers premium or VAT.
Where Estimate on Request appears, please contact the
Specialist Department for further information.
RESERVES
The reserve is the confidential minimum price the consignor
will accept and will not exceed the low pre-sale estimate. Lots
that are not subject to a reserve are identified by the symbol
next to the lot number.
BUYERS PREMIUM
Christies charges a premium to the buyer on the final bid
price of each lot sold at the following rates: 25% of the final
bid price of each lot up to and including 50,000, 20% of
the excess of the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and Cigars: 17.5%
of the final bid price of each lot. VAT is payable on the
premium at the applicable rate.
PRE-AUCTION VIEWING
Pre-auction viewings are open to the public free of charge.
Christies specialists are available to give advice and condition
reports at viewings or by appointment.
BIDDER REGISTRATION
Prospective buyers who have not previously bid or consigned
with Christies should bring:
Individuals: government-issued photo identification (such as
a photo driving licence, national identity card, or passport) and,
if not shown on the ID document, proof of current address, for
example a utility bill or bank statement.
Corporate clients: a certificate of incorporation.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at + 44 (0)20 7839 2825 for advice on the
information you should supply.
A financial reference in the form of a recent bank statement
or a reference from your bank in line with your expected
purchase level. Christies can supply a form of wording for the
bank reference if necessary.
Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies should bring
identification documents not only for themselves but also for
the party on whose behalf they are bidding, together with a
signed letter of authorisation from that party.
To allow sufficient time to process the information, new clients
are encouraged to register at least 48 hours in advance of a sale.
Prospective buyers should register for a numbered bidding
paddle at least 30 minutes before the auction. Clients who have
not made a purchase from any Christies office within the last
one year, and those wishing to spend more than on previous
occasions, will be asked to supply a new bank reference. For
assistance with references, please contact Christies Credit
Department at +44 (0)20 7389 2862 (London, King Street)
or at +44 (0)20 7752 3137 (London, South Kensington). We
may at our option ask you for a financial reference or a
deposit as a condition of allowing you to bid.
REGISTERING TO BID ON SOMEONE ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to act
on the clients behalf. Please note that Christies does not
accept payments from third parties. Christies can only accept
payment from the client, and not from the person bidding
on their behalf.
BIDDING
The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or by absentee written bids left
with Christies in advance of the auction. The auctioneer may
also execute bids on behalf of the seller up to the amount of
the reserve. The auctioneer will not specifically identify bids
placed on behalf of the seller. Under no circumstances will the
auctioneer place any bid on behalf of the seller at or above the
reserve. Bid steps are shown on the Absentee Bid Form at the
back of this catalogue.
ABSENTEE BIDS
Absentee bids are written instructions from prospective buyers
directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies staff will attempt to
execute an absentee bid at the lowest possible price, taking
into account the reserve price. Absentee bids submitted on
no reserve lots will, in the absence of a higher bid, be
executed at approximately 50% of the low pre sale estimate
or at the amount of the bid if it is less than 50% of the low
pre-sale estimate. The auctioneer may execute absentee bids
directly from the rostrum, clearly identifying these as absentee
bids, book bids, order bids or commission bids.
Absentee Bids Forms are available in this catalogue, at any
Christies location, or online at christies.com.
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated below
2,000. Arrangements must be confirmed with the Bid
Department at least 24 hours prior to the auction at +44 (0)20
7389 2658 (London, King Street) or +44 (0)20 7752 3225
(London, South Kensington). Arrangements to bid in languages
other than English must be made well in advance of the sale
date. Telephone bids may be recorded. By bidding on the
telephone, prospective purchasers consent to the recording of
their conversation.
SUCCESSFUL BIDS
While Invoices are sent out by mail after the auction we do not
accept responsibility for notifying you of the result of your bid.
Buyers are requested to contact us by telephone or in person as
soon as possible after the sale to obtain details of the outcome
of their bids to avoid incurring unnecessary storage charges.
Successful bidders will pay the price of the final bid plus
premium plus any applicable VAT.
PAYMENT
Buyers are expected to make payment for purchases
immediately after the auction. To avoid delivery delays,
prospective buyers are encouraged to supply bank or other
suitable references before the auction. Please note that Christies
will not accept payments for purchased Lots from any party
other than the registered buyer.
Lots purchased in London may be paid for in the following
ways: wire transfer, credit card: Visa and MasterCard & American
Express only (up to 25,000), and cash (up to 5,000 (subject
to conditions)), bankers draft (subject to conditions) or cheque
(must be drawn in GBP on a UK bank; clearance will take 5 to
10 business days).
Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217
72 Lombard Street, London
EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for
international transfers, SWIFT LOYDGB2LCTY. For banks
asking for an IBAN: GB81 LOYD 3000 0200 1727 10.
Credit Card: Visa and MasterCard & American Express only
A limit of 25,000 for credit card payments will apply. This
limit is inclusive of the buyers premium and any applicable
taxes. Credit card payments at London sale sites will only be
accepted for London sales. Christies will not accept credit card
payments for purchases made in any other sale site. The fax
number to send completed CNP (Card Member not Present)
authorisation forms to is +44 (0) 20 7389 2821. The number
to call to make a CNP payment over the phone is +44 (0) 20
7752 3388. Alternatively, clients can mail the authorisation form
to the address below.
Cash is limited to 5,000 (subject to conditions).
Bankers Draft should be made payable to Christies (subject to
conditions).
Cheques should be made payable to Christies (must be drawn
in GBP on a UK bank, clearance will take 5 to 10 business
days).
In order to process your payment efficiently, please quote
sale number, invoice number and client number with all
transactions.
All mailed payments should be sent to:
Christies, Cashiers Department, 8 King Street, St Jamess,
London, SW1Y 6QT
Please direct all inquiries to King Street Tel: +44 (0) 20 7389
2996 Fax: +44 (0) 20 7389 2863 or South Kensington Tel:
+44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143
VAT
VAT payable at 20% on hammer price and buyers premium

*
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable (at
5%) on the Hammer price. VAT is also payable (at 20%) on
the buyers Premium on a VAT inclusive basis. This VAT is
not shown separately on the invoice. When a buyer of such a
lot has registered an EU address but wishes to export the lot or
complete the import into another EU country, he must advise
Christies immediately after the auction.
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable
(at 20%) on the Hammer price. VAT is also payable (at 20%)
on the buyers Premium on a VAT inclusive basis. This VAT
is not shown separately on the invoice. Where applicable
Customs duty will be charged (per rate specified by HMRC
guidance) on the Hammer price and VAT will be payable at
20% on duty. When a buyer of such a lot has registered an EU
address but wishes to export the lot or complete the import
into another EU country, he must advise Christies immediately
after the auction.
Buyers from within the EU:
VAT payable at 20% on just the buyers premium (NOT the
hammer price).
Buyers from outside the EU:
VAT payable at 20% on hammer price and buyers premium.
If a buyer, having registered under a non-EU address, decides
that the item is not to be exported from the EU, then he
should advise Christies to this effect immediately
q Z
ero rated
No VAT charged.
(no symbol) Auctioneers Margin Scheme

In all other circumstances no VAT will be charged on the
hammer price, but VAT payable at 20% will be added to the
buyers premium which is invoiced on a VAT inclusive basis.
Wine Auctions
Stock offered duty-paid, but available in bond.
VAT at 20% on hammer price and buyers premium
(wine only).
VAT Refunds
Refunds cannot be made where lots have been purchased with
an inside EU address. Christies can only refund Import VAT
(Lots with * or symbol) if lots are exported within 30 days
of collection. Valid export documents must be returned within
the stipulated time frame. No refund will be paid out where
the total amount is less than 100. UK & EU private buyers
cannot reclaim VAT. Christies will charge 35 for each
refund processed. For detailed information please see the leaflets
available, or email info@Christies.com
Where non-EU buyers have failed to export their lots outside
of the EU within the required time, HM Revenue & Customs
will not allow a VAT refund to be made. This is a requirement
of UK legislation and Christies do not have discretion to make
exceptions to the rule. UK and EU private buyers cannot
reclaim any VAT charged.
ARTISTS RESALE RIGHT (DROIT DE SUITE)
If a lot is affected by this right it will be identified with the
symbol next to the lot number. The buyer agrees to pay to
Christies an amount equal to the resale royalty. Resale royalty
applies where the Hammer Price is 1,000 Euro or more and
the amount cannot be more than 12,500 Euro per lot. The
amount is calculated as follows:
Royalty
4.00%
3.00%
1.00%
0.50%
0.25%
For the portion of the Hammer Price (in Euro)

up to 50,000
between 50,000.01 and 200,000
between 200,000.01 and 350,000
between 350,000.01 and 500,000
in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the

purposes of calculating the resale royalty the Pounds Sterling/
Euro rate of exchange will be the European Central Bank
reference rate on the day of the sale.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers request and expense. Buyers should request an
estimate for any large items or property of high value that
require professional packing. A shipping form is enclosed with
each invoice, alternatively buyers can visit www.christies.com/
shipping to request a shipping estimate.
For more information please contact the Shipping Department
at + 44 (0)20 7389 2712 or via
ArtTransport_London@christies.com for both London,
King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
Christies Art Transport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
Own Shipper:
VAT will be charged on the invoice, refundable by the VAT
Department upon receipt of the appropriate official documents
sent to us by your shipper.
Hand-Carried:
VAT will be charged on the invoice.This will be refunded by
the VAT Department upon receipt of the appropriate official
document.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies Shipping Department .This document must be
stamped by UK Customs on leaving the UK.
(no symbol)
Margin Scheme Please obtain a GB Tax Free form from the
Cashiers. This document must be stamped by UK Customs on
leaving the UK.
Starred or Omega lots must be exported within 30 days of the
date of collection. All other lots not subject to import VAT
must be exported within three months of collection, and proof
of export provided in the appropriate form.
EXPORT/IMPORT PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers sole responsibility to obtain any
relevant export or import licence. The denial of any licence or
any delay in obtaining licences shall neither justify the rescission of
any sale nor any delay in making full payment for the lot.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
cannot ensure that a licence will be obtained. Local laws may
prohibit the import of some property and/or may prohibit
the resale of some property in the country of importation.
For more information, please contact Christies Shipping
Department at +44 (0)20 7389 2828 or the the Museums,
Libraries and Archives Council: Acquisitions, Export and Loans
Unit at +44 (0)20 7273 8269/8267.
20/11/13
131

EXTENDED LIABILITY CHARGE
POST-WAR & CONTEMPORARY ART
All furniture and carpet lots (sold and unsold)

not collected from Christies by 9.00 am
on the day following the auction will be
removed by Cadogan Tate Ltd to their
warehouse at:
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com.
While at King Street lots are available for
collection on any working day, 9.00 am to
4.30 pm. Once transferred to Cadogan Tate
lots will be available for collection from the
first working day following the day of their
removal from King Street,
9.00 am to 5.00 pm Monday to Friday.
To avoid waiting times on collection at
Cadogan Tate, we advise that you contact
Cadogan Tate directly, 24 hours in advance,
prior to collection on +44 (0)800 988 6100.
From the day of transfer of sold items

to Cadogan Tate Ltd, all such lots are
automatically insured by Cadogan Tate Ltd
at the sum of the hammer price plus buyers
premium. The Extended Liability Charge
in this respect by Cadogan Tate Ltd is 0.6%
of the sum of the hammer price plus buyers
premium or 100% of the handling and storage
charges, whichever is smaller.
To avoid waiting times on collection, we

kindly advise you to contact our
Post-War & Contemporary Art dept 24 hours
in advance on +44 (0)20 7389 2958
PAYMENT
TRANSFER, STORAGE & RELATED CHARGES
Cadogan Tate Ltds storage charges may be

paid in advance or at the time of collection.
Lots may only be released from Cadogan
Tate Ltds warehouse on production of
the Collection Order from Christies,
8 King Street, London SW1Y 6QT.
The removal and/or storage by Cadogan Tate
of any lots will be subject to their standard
Conditions of Business, copies of which
are available from Christies, 8 King Street,
London SW1Y 6QT.
Lots will not be released until all outstanding
charges due to Christies and Cadogan Tate
Ltd are settled.
CHARGES PER LOT
FURNITURE / LARGE OBJECTS
PICTURES / SMALL OBJECTS
1-28 days after the auction
Free of Charge
Free of Charge
29th day onwards:

Transfer
Storage per day
70.00
5.25
35.00
2.65
BOOKS
Please note that all lots from book department

sales will be stored at Christies King Street for
collection and not transferred to Cadogan Tate.
Christies Fine Art Storage Services

(CFASS) also offers storage solutions for fine
art, antiques and collectibles in New York
and Singapore FreePort. CFASS is a separate
subsidiary of Christies and clients enjoy
complete confidentiality. Visit www.cfass.com
for charges and other details.
Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the
auction. Thereafter the charges set out above will be payable.
These charges do not include:
a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges
b) VAT which will be applied at the current rate
Cadogan TaTe LTds Warehouse

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
28/10/14
132
CONDITIONS OF SALE
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out the
terms governing the legal relationship of Christies
and the seller with the buyer. You should read them
carefully before bidding.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent for
the seller. The contract for the sale of the property is
therefore made between the seller and the buyer.
2.
CATALOGUE DESCRIPTIONS AND

CONDITION
Lots are sold as described and otherwise in the
condition they are in at the time of the sale, on the
following basis.
(a) Condition
The nature of the lots sold in our auctions is such
that they will rarely be in perfect condition, and
are likely, due to their nature and age, to show
signs of wear and tear, damage, other imperfections,
restoration or repair. Any reference to condition in a
catalogue entry will not amount to a full description
of condition. Condition reports are usually available
on request, and will supplement the catalogue
description. In describing lots, our staff assess the
condition in a manner appropriate to the estimated
value of the item and the nature of the auction
in which it is included. Any statement as to the
physical nature or condition of a lot, in a catalogue,
condition report or otherwise, is given honestly and
with appropriate care. However, Christies staff are
not professional restorers or trained conservators
and accordingly any such statement will not be
exhaustive. We therefore recommend that you
always view property personally, and, particularly
in the case of any items of significant value, that
you instruct your own restorer or other professional
adviser to report to you in advance of bidding.
(b) Cataloguing Practice
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice, which appear after the catalogue entries.
(c) Attribution, etc
Any statements made by Christies about any
lot, whether orally or in writing, concerning
attribution to, for example, an artist, school, or
country of origin, or history or provenance, or any
date or period, are expressions of our opinion or
belief. Our opinions and beliefs have been formed
honestly and in accordance with the standard of
care reasonably to be expected of an auction house
of Christies standing, due regard having been had
to the estimated value of the item and the nature
of the auction in which it is included. It must be
clearly understood, however, that, due to the nature
of the auction process, we are unable to carry out
exhaustive research of the kind undertaken by
professional historians and scholars, and also that,
as research develops and scholarship and expertise
evolve, opinions on these matters may change. We
therefore recommend that, particularly in the case
of any item of significant value, you seek advice on
such matters from your own professional advisers.
(d) Estimates
Estimates of the selling price should not be relied on
as a statement that this is the price at which the item
will sell or its value for any other purpose.
(e) Fitness for Purpose

Lots sold are enormously varied in terms of age,
category and condition, and may be purchased for
a variety of purposes. Unless otherwise specifically
agreed, no promise is made that a lot is fit for any
particular purpose.
(g) Video or digital images

At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
3. AT THE SALE
(a) Refusal of admission
Christies has the right, at our complete discretion,
to refuse admission to the premises or participation
in any auction and to reject any bid.
(b) Registration before bidding
Prospective buyers who wish to bid in the saleroom
can register online in advance of the sale, or can
come to the saleroom on the day of the sale
approximately 30 minutes before the start of the
sale to register in person. Prospective buyers must
complete and sign a registration form with his
or her name and permanent address, and provide
identification before bidding. We may require the
production of bank details from which payment will
be made or other financial references.
(c) Bidding as principal
When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Christies, and that Christies will only
look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone. Bids
must be placed in the currency of the place of the
sale. Please refer to the catalogue for the Absentee
Bids Form. If we receive written bids on a particular
lot for identical amounts, and at the auction these
are the highest bids on the lot, it will be sold to
the person whose written bid was received and
accepted first. Execution of written bids is a free
service undertaken subject to other commitments
at the time of the sale and provided that we have
exercised reasonable care in the handling of written
bids, the volume of goods is such that we cannot
accept liability in any individual instance for failing
to execute a written bid or for errors and omissions
in connection with it arising from circumstances
beyond our reasonable control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them to
participate in the bidding by telephone but we do
not accept liability for failure to do so or for errors
and omissions in connection with telephone bidding
arising from circumstances beyond our reasonable
control.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of
the currency converter. Where these arise from
circumstances beyond our reasonable control we
do not accept liability to bidders who follow the
currency converter rather than the actual bidding in
the saleroom.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
next to the lot number. The auctioneer may open
the bidding on any lot below the reserve by placing
a bid on behalf of the seller. The auctioneer may
continue to bid on behalf of the seller up to the
amount of the reserve, either by placing consecutive
bids or by placing bids in response to other bidders.
(i) Auctioneers discretion
The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the bidding
in such a manner as he may decide, withdrawing or
dividing any lot, combining any two or more lots
and, in the case of error or dispute, and whether
during or after the sale, determining the successful
bidder, continuing the bidding, cancelling the sale
or reoffering and reselling the item in dispute. If
any dispute arises after the sale, then, in the absence
of any evidence to the contrary the sale record
maintained by the auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion, the
highest bidder accepted by the auctioneer will be
the buyer and the striking of his hammer marks the
acceptance of the highest bid and the conclusion of
a contract for sale between the seller and the buyer.
Risk and responsibility for the lot (including frames
or glass where relevant) passes to the buyer at the
expiration of seven calendar days from the date of
the sale or on collection by the buyer if earlier.
4. AFTER THE SALE
(a) Buyers premium
In addition to the hammer price, the buyer
agrees to pay to us the buyers premium together
with any applicable value added tax. The buyers
premium is 25% of the final bid price of each lot
up to and including 50,000, 20% of the excess of
the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the
hammer price above 1,000,000. Exceptions: Wine
and Cigars: 17.5% of the final bid price of each lot,
VAT is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply to
the lot the buyer also agrees to pay to us an amount
equal to the resale royalty provided for in those
Regulations. Lots affected are identified with the
symbol next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers premium and
any applicable taxes or resale royalty) immediately
after the sale. This applies even if the buyer wishes
to export the lot and an export licence is, or may
be, required. The buyer will not acquire title to the
lot until all amounts due to us from the buyer have
been received by us in good cleared funds even in
circumstances where we have released the lot to the
buyer.
09/08/13
133
(d) Collection of purchases

We shall be entitled to retain items sold until all
amounts due to us, or to Christies International
plc, or to any of its affiliates, subsidiaries or parent
companies worldwide, have been received in full in
good cleared funds or until the buyer has performed
any other outstanding obligations as we, in our sole
discretion, shall require, including, for the avoidance
of doubt, completing any anti-money laundering or
anti-terrorism financing checks we may require to our
satisfaction. In the event a buyer fails to complete any
anti-money laundering or anti-terrorism financing
checks to our satisfaction, Christies shall be entitled to
cancel the sale and to take any other actions that are
required or permitted under applicable law. Subject
to this, the buyer shall collect purchased lots within
two calendar days from the date of the sale unless
otherwise agreed between us and the buyer.
(e) Packing, handling and shipping
Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot and in selecting third parties for these purposes,
we are not responsible for the acts or omissions of
any such third parties. Similarly, where we suggest
other handlers, packers or carriers if so requested,
our suggestions are made on the basis of our general
experience of such parties in the past and we are not
responsible to any person to whom we have made a
recommendation for the acts or omissions of the third
party concerned.
(f) Export licence
Unless otherwise agreed by us in writing, the fact
that the buyer wishes to apply for an export licence
does not affect his or her obligation to make payment
immediately after the sale nor our right to charge
interest or storage charges on late payment. If the
buyer requests us to apply for an export licence on his
or her behalf, we shall be entitled to make a charge for
this service. We shall not be obliged to rescind a sale
nor to refund any interest or other expenses incurred
by the buyer where payment is made by the buyer in
circumstances where an export licence is required.
(g) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within 7 days after the sale, we shall
have the right to exercise a number of legal rights and
remedies. These include, but are not limited to, the
following:
(i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;
(ii) to hold the defaulting buyer liable for the total
amount due and to commence legal proceedings
for its recovery together with interest, legal fees
and costs to the fullest extent permitted under
applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid by
the defaulting buyer;
(vi) to set off against any amounts which we, or
Christies International plc, or any of its affiliates,
subsidiaries or parent companies worldwide,
may owe the buyer in any other transactions, the
outstanding amount remaining unpaid by the
buyer;
(vii) where several amounts are owed by the buyer to
us, or to Christies International plc, or to any
of its affiliates, subsidiaries or parent companies
worldwide, in respect of different transactions, to
apply any amount paid to discharge any amount
owed in respect of any particular transaction,
whether or not the buyer so directs;
134
(viii) to reject at any future auction any bids made by

or on behalf of the buyer or to obtain a deposit
from the buyer before accepting any bids;
(ix) to exercise all the rights and remedies of a
person holding security over any property in
our possession owned by the buyer, whether by
way of pledge, security interest or in any other
way, to the fullest extent permitted by the law
of the place where such property is located.
The buyer will be deemed to have granted
such security to us and we may retain such
property as collateral security for such buyers
obligations to us;
(x) to take such other action as we deem necessary
or appropriate.
If we resell the property under paragraph (iv) above,
the defaulting buyer shall be liable for payment of
any deficiency between the total amount originally
due to us and the price obtained upon resale as well
as for all reasonable costs, expenses, damages, legal
fees and commissions and premiums of whatever
kind associated with both sales or otherwise arising
from the default. If we pay any amount to the seller
under paragraph (v) above, the buyer acknowledges
that Christies shall have all of the rights of the
seller, however arising, to pursue the buyer for such
amount.
(h) Failure to collect purchases
Where purchases are not collected within two
calendar days from the date of the sale, whether or
not payment has been made, we shall be permitted
to remove the property to a third party warehouse at
the buyers expense, and only release the items after
payment in full has been made of removal, storage,
handling, and any other costs reasonably incurred,
together with payment of all other amounts due
to us.
(i) Selling Property at Christies
In addition to expenses such as transport, all
consignors pay a commission according to a fixed
scale of charges based upon the value of the property
sold by the consignor at Christies in a calendar year.
Commissions are charged on a sale by sale basis.
5. LIMITED WARRANTY
In addition to Christies liability to buyers set out
in clause 2 of these Conditions, but subject to the
terms and conditions of this paragraph, Christies
warrants for a period of five years from the date
of the sale that any property described in headings
printed in UPPER CASE TYPE (i.e. headings
having all capital-letter type) in this catalogue (as
such description may be amended by any saleroom
notice or announcement) which is stated without
qualification to be the work of a named author
or authorship, is authentic and not a forgery.
The term author or authorship refers to the
creator of the property or to the period, culture,
source or origin, as the case may be, with which
the creation of such property is identified in the
UPPER CASE description of the property in this
catalogue. Only UPPER CASE TYPE headings
of lots in this catalogue indicate what is being
warranted by Christies. Christies warranty does
not apply to supplemental material which appears
below the UPPER CASE TYPE headings of each
lot and Christies is not responsible for any errors or
omissions in such material. The terms used in the
headings are further explained in Important Notices
and Explanation of Cataloguing Practice. The
warranty does not apply to any heading which is
stated to represent a qualified opinion. The warranty
is subject to the following:
(i)
(ii)
(iii)
(iv)
(v)
(vi)
It does not apply where (a) the catalogue

description or saleroom notice corresponded
to the generally accepted opinion of scholars
or experts at the date of the sale or fairly
indicated that there was a conflict of opinions;
or (b) correct identification of a lot can be
demonstrated only by means of either a
scientific process not generally accepted for
use until after publication of the catalogue or
a process which at the date of publication of
the catalogue was unreasonably expensive or
impractical or likely to have caused damage to
the property.
The benefits of the warranty are not assignable
and shall apply only to the original buyer of the
lot as shown on the invoice originally issued by
Christies when the lot was sold at auction.
The original buyer must have remained the
owner of the lot without disposing of any
interest in it to any third party.
The buyers sole and exclusive remedy against
Christies and the seller, in place of any other
remedy which might be available, is the
cancellation of the sale and the refund of the
original purchase price paid for the lot. Neither
Christies nor the seller will be liable for any
special, incidental or consequential damages
including, without limitation, loss of profits
nor for interest.
The buyer must give written notice of claim
to us within five years from the date of the
auction. It is Christies general policy, and
Christies shall have the right, to require the
buyer to obtain the written opinions of two
recognised experts in the field, mutually
acceptable to Christies and the buyer, before
Christies decides whether or not to cancel the
sale under the warranty.
The buyer must return the lot to the Christies
saleroom at which it was purchased in the same
condition as at the time of the sale.
6. COPYRIGHT
The copyright in all images, illustrations and written
material produced by or for Christies relating to a
lot including the contents of this catalogue, is and
shall remain at all times the property of Christies
and shall not be used by the buyer, nor by anyone
else, without our prior written consent. Christies
and the seller make no representation or warranty
that the buyer of a property will acquire any
copyright or other reproduction rights in it.
7. SEVERABILITY
If any part of these Conditions of Sale is found by
any court to be invalid, illegal or unenforceable,
that part shall be discounted and the rest of the
conditions shall continue to be valid to the fullest
extent permitted by law.
8. LAW AND JURISDICTION
The rights and obligations of the parties with respect
to these Conditions of Sale, the conduct of the
auction and any matters connected with any of the
foregoing shall be governed and interpreted by the
laws of England. By bidding at auction, whether
present in person or by agent, by written bid,
telephone or other means, the buyer shall be deemed
to have submitted, for the benefit of Christies, to
the exclusive jurisdiction of the courts of the United
Kingdom.
05/01/10
WORLDWIDE SALEROOMS AND OFFICES

ARGENTINA
CANADA
BUENOS AIRES
TORONTO
+54 11 43 93 42 22
Cristina Carlisle
+1 416 960 2063

Brett Sherlock
AUSTRALIA
CHILE
SYDNEY
SANTIAGO
+61 (0)2 9326 1422

Ronan Sulich
+56 2 2 2631642
Denise Ratinoff
de Lira
AUSTRIA
COLOMBIA
VIENNA
+43 (0)1 533 8812

Angela Baillou
BELGIUM
BOGOTA
+571 635 54 00
Juanita Madrinan
DENMARK
BRUSSELS
+32 (0)2 512 88 30

Roland de Lathuy
BERMUDA
BERMUDA
+1 401 849 9222

Betsy Ray
BRAZIL
RIO DE JANEIRO
+5521 2225 6553

Candida Sodre
SO PAULO
+5511 3061 2576

Nathalie Lenci
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
INDIA
MUMBAI
PARIS
+33 (0)1 40 76 85 85
POITOU-CHARENTE
AQUITAINE
+33 (0)5 56 81 65 47
Marie-Ccile
Moueix
PROVENCE - ALPES
CTE DAZUR
+33 (0)6 71 99 97 67
Fabienne AlbertiniCohen
RHNE ALPES
+33 (0)6 61 81 82 53
Dominique Pierron
(Consultant)
GERMANY
DSSELDORF
+49 (0)21 14 91 59 30
Arno Verkade
+33 (0)6 09 44 90 78
Virginie Greggory
(Consultant)
GREATER EASTERN
FRANCE
+33 (0)6 07 16 34 25
Jean-Louis Janin
Daviet (Consultant)
MEXICO CITY
+91 (22) 2280 7905

Sonal Singh
+52 55 5281 5503

Gabriela Lobo
DELHI
MONACO
+91 (98) 1032 2399

Sanjay Sharma
+377 97 97 11 00
Nancy Dotta
INDONESIA
THE NETHERLANDS
JAKARTA
AMSTERDAM
+31 (0)20 57 55 255
+62 (0)21 7278 6268

Charmie Hamami
Priscilla Tiara
Masagung
PEOPLES REPUBLIC
OF CHINA
ISRAEL
+86 (0)10 8572 7900
TEL AVIV
+972 (0)3 695 0695

Roni Gilat-Baharaff
ITALY
MILAN
BEIJING
HONG KONG
+852 2760 1766

SHANGHAI
+86 (0)21 6355 1766

Jinqing Cai
+39 02 303 2831
PORTUGAL
FRANKFURT
ROME
LISBON
+49 (0)61 74 20 94 85
Anja Schaller
+39 06 686 3333

Marina Cicogna
Business Development
Director
+351 919 317 233

Mafalda Pereira
Coutinho
(Independent
Consultant)
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin
zu Rantzau
MUNICH
BRITTANY AND THE

LOIRE VALLEY
MEXICO
+49 (0)89 24 20 96 80
Marie Christine
Grfin Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne
Schweizer
JAPAN
TOKYO
+81 (0)3 6267 1766

Ryutaro Katayama
MALAYSIA
KUALA LUMPUR
+60 3 6207 9230

Lim Meng Hong
NORD-PAS DE CALAIS
+33 (0)6 09 63 21 02
Jean-Louis Brmilts
(Consultant)
DENOTES SALEROOM
ENQUIRIES?
Call the Saleroom or Office
03/11/14
EMAIL
info@christies.com
135
RUSSIA
SWEDEN
MOSCOW
STOCKHOLM
+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)
SINGAPORE
SINGAPORE
+65 6235 3828

Wen Li Tang
SOUTH AFRICA
CAPE TOWN
+27 (21) 761 2676

Juliet Lomberg
(Independent
Consultant)
DURBAN &
JOHANNESBURG
+27 (31) 207 8247

Gillian Scott-Berning
(Independent
Consultant)
WESTERN CAPE
+27 (44) 533 5178

Annabelle
Conyngham
(Independent
Consultant)
SOUTH KOREA
SEOUL
+82 2 720 5266

Hye-Kyung Bae
SPAIN
BARCELONA
+34 (0)93 487 8259
SWITZERLAND
GENEVA
+41 (0)22 319 1766

Eveline de Proyart
ZURICH
+41 (0)44 268 1010

Dr. Bertold Mueller
TAIWAN
TAIPEI
+886 2 2736 3356

Ada Ong
UNITED KINGDOM
LONDON,
KING STREET
+44 (0)20 7839 9060

LONDON,
SOUTH KENSINGTON
BOSTON
+1 617 536 6000

Elizabeth M. Chapin
CHICAGO
+44 (0)20 7930 6074
+1 312 787 2765

Lisa Cavanaugh
NORTH
DALLAS
+44 (0)20 7752 3004

Thomas Scott
+1 214 599 0735

Capera Ryan
SOUTH
HOUSTON
+44 (0)1730 814 300

Mark Wrey
+1 713 802 0191

Jessica Phifer
EAST
LOS ANGELES
+44 (0)20 7752 3004

Thomas Scott
+1 310 385 2600
NORTHWEST
AND WALES
+44 (0)20 7752 3004

Jane Blood
THAILAND
SCOTLAND
BANGKOK
UNITED STATES
MIAMI
+1 305 445 1487

Jessica Katz
NEWPORT
+1 401 849 9222

Betsy D. Ray
TURKEY
+44 (0)131 225 4756

Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISTANBUL
ISLE OF MAN
+1 561 833 6952

Maura Smith
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
+44 (0)20 7389 2032
PHILADELPHIA
+66 (0)2 652 1097

Yaovanee Nirandara
Punchalee Phenjati
UNITED ARAB
EMIRATES
DUBAI
+971 (0)4 425 5647
CHANNEL ISLANDS
+44 (0)1534 485 988

Melissa Bonn
IRELAND
+353 (0)59 86 24996

Christine Ryall
NEW YORK
+1 212 636 2000

PALM BEACH
+1 610 520 1590

Christie Lebano
SAN FRANCISCO
+1 415 982 0982

Ellanor Notides
Carmen Schjaer
MADRID
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
For a complete salerooms & offices listing go to christies.com

136
08/08/14
CHRISTIES SPECIALIST DEPARTMENTS AND

SERVICES
DEPARTMENTS
AMERICAN FURNITURE
NY: +1 212 636 2230

AMERICAN INDIAN ART
NY: +1 212 606 0536

AMERICAN PICTURES
NY: +1 212 636 2140

ANGLO-INDIAN ART
KS: +44 (0)20 7389 2570

ANTIQUITIES
INDIAN
CONTEMPORARY ART
KS: +44 (0)20 7389 2700

NY: +1 212 636 2189
INTERIORS
SK: +44 (0)20 7389 2236

NY: +1 212 636 2032
ISLAMIC WORKS OF ART
POSTERS
PRINTS
KS: +44 (0)20 7389 2328

SK: +44 (0)20 7752 3109
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
KS: +44 (0)20 7389 2700

SK: +44 (0)20 7752 3239
KS: +44 (0)20 7389 2343
JAPANESE
WORKS OF ART
KS: +44 (0)20 7389 2057
RUSSIAN WORKS OF ART

TRAVEL, SCIENCE AND
NATURAL HISTORY
ARMS AND ARMOUR
KS: +44 (0)20 7389 2591

SK: +44 (0)20 7752 3239
SK: +44 (0)20 7752 3119
JEWELLERY
ASIAN 20TH CENTURY

AND CONTEMPORARY ART
KS: +44 (0)20 7389 2383

SK: +44 (0)20 7752 3265
NY: +1 212 468 7133
LATIN AMERICAN ART
AUSTRALIAN PICTURES
NY: +1 212 636 2150
KS: +44 (0)20 7389 2040
MARITIME PICTURES
BOOKS AND
MANUSCRIPTS
SK: +44 (0)20 7752 3284

NY: +1 212 707 5949
SWISS ART
KS: +44 (0)20 7389 2674

SK: +44 (0)20 7752 3203
MINIATURES
KS: +44 (0)20 7389 2650
TOPOGRAPHICAL
PICTURES
BRITISH & IRISH ART
MODERN DESIGN
KS: +44 (0)20 7389 2682

NY: +1 212 636 2084
SK: +44 (0)20 7752 3257
SK: +44 (0)20 7389 2142
KS: +44 (0)20 7389 2040

SK: +44 (0)20 7752 3291
SK: +44 (0)20 7752 3219
BRITISH ART ON PAPER
KS: +44 (0)20 7389 2278

SK: +44 (0)20 7752 3293
NY: +1 212 636 2085
BRITISH PICTURES
1500-1850
KS: +44 (0)20 7389 2945

CARPETS
KS: +44 (0)20 7389 2370

SK: +44 (0)20 7389 2776
CHINESE WORKS OF ART
KS: +44 (0)20 7389 2577

SK: +44 (0)20 7752 3239
CLOCKS
KS: +44 (0)20 7389 2357
KS: +44 (0)20 7389 2699

NINETEENTH CENTURY
EUROPEAN PICTURES
KS: +44 (0)20 7389 2443

SK: +44 (0)20 7752 3309
OBJECTS OF VERTU
KS: +44 (0)20 7389 2347

SK: +44 (0)20 7752 3001
OLD MASTER DRAWINGS
KS: +44 (0)20 7389 2251

OLD MASTER PICTURES
ORIENTAL CERAMICS
AND WORKS OF ART
SK: +44 (0)20 7752 3026

FURNITURE
KS: +44 (0)20 7389 2482

SK: +44 (0)20 7389 2791
IMPRESSIONIST PICTURES
KS: +44 (0)20 7389 2638

SK: +44 (0)20 7752 3218
SILVER
KS: +44 (0)20 7389 2666

SK: +44 (0)20 7752 3262
ZUR: +41 (0) 44 268 1012
TWENTIETH CENTURY
BRITISH ART
KS: +44 (0)20 7389 2446

SK: +44 (0)20 7389 2502
EUROPEAN CERAMICS
AND GLASS
KS: +44 (0)20 7389 2331

SK: +44 (0)20 7389 2794
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
KS: +44 (0)20 7389 2531

SK: +44 (0)20 7752 3250
SK: +44 (0)20 7752 3215
SCULPTURE
TRIBAL AND
PRE-COLUMBIAN ART
CONTEMPORARY ART
COSTUME, TEXTILES
AND FANS
SK: +44 (0)20 7752 3291
SK: +44 (0)20 7752 3365
MUSICAL INSTRUMENTS
PAR: +33 (0)140 768 386
KS: +44 (0)20 7389 2684

SK: +44 (0)20 7752 3311
TWENTIETH CENTURY
DECORATIVE ART
& DESIGN
KS: +44 (0)20 7389 2140

SK: +44 (0)20 7752 3236
TWENTIETH CENTURY
PICTURES
KS: +44 (0)20 7389 2446

SK: +44 (0)20 7389 2502
FINANCIAL SERVICES
Tel: +44 (0)20 7389 2624

Fax: +44 (0)20 7389 2204
HERITAGE AND
TAXATION
Tel: +44 (0)20 7389 2101

Fax: +44 (0)20 7389 2300
Email:rcornett@christies.
com
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
Tel: +44 (0)20 7389 2343

Fax: +44 (0)20 7389 2225
Email: awaters@christies.
com
MUSEUM SERVICES, UK
Tel: +44 (0)20 7389 2570

Email: llindsay@christies.
com
PRIVATE SALES
US: +1 212 636 2034

Fax: +1 212 636 2035
VALUATIONS
Tel: +44 (0)20 7389 2464

Fax: +44 (0)20 7389 2038
Email: mwrey@christies.
com
New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu
Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES
New York
+1 212 974 4570
newyork@cfass.com
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.
com
CHRISTIES
INTERNATIONAL
REAL ESTATE
New York
Tel +1 212 468 7182
Fax +1 212 468 7141
info@christiesrealestate.com
London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
KS: +44 (0)20 7389 2468

SK: +44 (0)20 7752 3257
WATERCOLOURS AND
DRAWINGS
WINE
POST-WAR ART
Tel: +44 (0)20 7389 2548

Email: norchard@
christies.com
CHRISTIES EDUCATION
London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com
VICTORIAN PICTURES
PHOTOGRAPHS
SK: +44 (0)20 7752 3275
CORPORATE
COLLECTIONS
Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
KS: +44 (0)20 7389 2257

SK: +44 (0)20 7752 3293
POPULAR CULTURE
AND ENTERTAINMENT
OTHER SERVICES
SK: +44 (0)20 7752 3218
SK: +44 (0)20 7752 3235

KS: +44 (0)20 7389 2292
AUCTION SERVICES
SK: +44 (0)20 7752 3208
KS: +44 (0)20 7752 3366
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
06/11/14
137
Impressionist/Modern Evening Sale

London, King Street 4 February 2015
Viewing
Contact
30 January4 February
8 King Street
London SW1Y 6QT
Jay Vincze
jvincze@christies.com
+44 (0)20 7389 2536
FRANZ MARC (18801916)

Springendes Pferd
signed with the initial M. (lower right)
gouache and watercolour on paper laid down on board
15 x 18 in. (39.7 x 45.7 cm.)
Executed in 1913
1,500,0002,000,000
we are delighted to announce the

recent private sale of this rare klimt
to a major international museum.
GUSTAV KLIMT (18621918)
Medizin (Kompositionsentwurf) Medicine (Concept), 1897

Purchased privately by The Israel Museum, 2014
Christies Private Sales offers

a personalised alternative to auction.
Please contact us for more details.
Contact Americas
Contact Europe
Adrien Meyer
ameyer@christies.com
+1 212 636 2056
Libert Nuti
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+44 (0) 20 7389 2441
Exceptional Works on Paper

from the Triton Collection Foundation
Paris 25 March 2015
Viewing
Contact
2025 March
9, avenue Matignon
Paris 8e
Tudor Davies
tdavies@christies.com
+33 (0)1 40 76 86 18
FERNAND LEGER (1881-1955)

Danseuse au tambourin (dtail)
signed with the initials F.L. (lower right)
Gouache, India ink and traces of pencil 27. x 21. in.
Executed in 1954
250,000-350,000
London, South Kensington 6 February 2015
Viewing
Contact
31 January - 6 February
85 Old Brompton Road
London SW7 3LD
Natalie Radziwill
nradziwill@christies.com
+44 (0)20 7752 3223
LYONEL FEININGER (1871-1956)

Paris Faades IV
signed, dated and inscribed Feininger Paris Faades IV 31.VII.53(lower margin)
watercolour, pen and ink and wash on paper 19 x 12 in. (48.6 x 31.3 cm.)
Executed on 31 July 1953
18,000 25,000
142
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145
INDEX
B
Bauer, R., 231
Bottini, G., 206
Breton, A., 245
Buffet, B., 293, 294
C
Carr, C., 212
Chabaud, A., 201, 202
Chagall, M., 277, 278
D
Dal, S., 251, 252, 253, 254,
255, 256, 257, 259, 260, 261,
262, 263, 297, 298, 299, 300
de Chirico, G., 295
Degas, E., 267
Dufy, R., 272, 273, 274, 280,
281, 284, 285, 289
G
Gauguin, P., 211
Giacometti, A., 264
Grosz, G., 286, 287
H
Heckel, E., 219, 220
Hugo, V., 245
K
Kandinsky, W., 237, 242
Kirchner, E., 217, 218, 226
Klee, P., 233, 234, 236, 238,
239, 240, 241
Klimt, G., 266, 268, 269
L
Lebasque, H., 209
M
Macke, A., 228
Marc, F., 229
Matisse, H., 214, 270
Mir, J., 213, 248, 249, 250,
258
Munch, E., 208
N
Nolde, E., 221, 224, 227
P
Picabia, F., 247
Picasso, P., 203, 204, 215,
216, 271, 275, 276, 279, 282,
283, 288, 291, 292
Pougny, J., 230
R
Renoir, P., 265
Rodin, A., 210
S
Sage, K., 244, 246
Schmidt-Rottluff, K., 222, 223
Schwitters, K., 232, 235
Somm, H., 205
Steinlen, T., 207
T
Taeuber-Arp, S., 243
U
Ury, L., 225
Utrillo, M., 290
V
van Dongen, K., 296
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IMPRESSIONIST/MODERN

THURSDAY 5 FEBRUARY 2015

INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

THURSDAY 5 FEBRUARY 2015

PROPERTIES FROM THE

Thursday 5 February 2015

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ABSENTEE AND TELEPHONE BIDS

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First initial followed by last name@

THE PROPERTY OF A LADY

Galerie Hopkins-Thomas, Paris.

Patrice Leoni-Chabaud has confrmed the

THE PROPERTY OF A LADY

Galerie Hopkins-Thomas, Paris.

Patrice Leoni-Chabaud has confrmed the

THE PROPERTY OF A GENTLEMAN

The artists estate.

The Picasso Project (ed.), Picassos Paintings, Watercolors, Drawings

Maya Widmaier-Picasso has confrmed the authenticity of this work.

THE PROPERTY OF A GENTLEMAN

Galerie Louise Leiris, Paris (nos. 17220 & 6H953).

Maya Widmaier-Picasso has confrmed the authenticity of this work.

Signalling a new departure in Picassos career, drawings such as Homme

THE PROPERTY OF A GENTLEMAN

Emmanuel Moatti, Paris.

THE PROPERTY OF A GENTLEMAN

Galerie de la Scala, Paris.

THE PROPERTY OF A GENTLEMAN

Galerie Hopkins-Thomas, Paris.

Madame Claude Orset has confrmed the authenticity of this work.

Inger Munch, Oslo (the artists sister).

This work is registered in the archives of the Munch Museum in Oslo.

Christine Lenoir and Maria de la Ville Fromoit have confrmed the

Christina Buley-Uribe will include this drawing in her forthcoming

According to Christina Buley-Uribe, the present watercolour belongs

Georges Daniel de Monfreid, France, by whom acquired from the artist.

This work will be included in the forthcoming Paul Gauguin catalogue

Accompanying the watercolour in Noa Noa is a text by Gauguin

Sometimes in order to sing or converse they assemble in a