Impressionist & Modern Art Day Sale

IMPRESSIONIST & MODERN ART DAY SALE
24 June 2015
London
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.
2 & 3 JUNE
ART DAPRS-GUERRE ET
CONTEMPORAIN
PARIS
1 JULY
POST-WAR AND CONTEMPORARY ART
DAY AUCTION
LONDON, KING STREET
4 NOVEMBER
IMPRESSIONIST & MODERN ART
DAY AUCTION
NEW YORK
9 JUNE
MODERN ART
AMSTERDAM
15 JULY
MODERN BRITISH & IRISH ART
LONDON, SOUTH KENSINGTON
23 JUNE
EVENING AUCTION
LONDON, KING STREET
18 SEPTEMBER-2 OCTOBER
SMALL IS BEAUTIFUL
ONLINE, LONDON, SOUTH KENSINGTON
25 NOVEMBER
MODERN BRITISH & IRISH ART EVENING
AUCTION
LONDON, KING STREET
24 JUNE
WORKS ON PAPER AUCTION
LONDON, KING STREET
24 JUNE
DAY AUCTION
LONDON, KING STREET
25 JUNE
PICASSO CERAMICS
25 JUNE
MODERN BRITISH & IRISH ART EVENING
AUCTION
LONDON, KING STREET
26 JUNE
26 JUNE
MODERN BRITISH & IRISH ART DAY
AUCTION
30 JUNE
EVENING AUCTION
LONDON, KING STREET
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
23 OCTOBER
FIRST OPEN
26 NOVEMBER
MODERN BRITISH & IRISH ART DAY
AUCTION
LONDON, KING STREET
7 DECEMBER
SWISS ART
ZURICH
8 DECEMBER
MODERN ART
AMSTERDAM
8 & 9 DECEMBER
ART DAPRS-GUERRE ET
CONTEMPORAIN
PARIS
10 DECEMBER
OLD MASTER, MODERN &
CONTEMPORARY PRINTS
11 DECEMBER
3 NOVEMBER
EVENING AUCTION
NEW YORK
4 NOVEMBER
IMPRESSIONIST & MODERN
WORKS ON PAPER AUCTION
NEW YORK
Subject to change
20/05/15

DAY SALE
WEDNESDAY 24 JUNE 2015
PROPERTIES FROM
AUCTION
THE THYSSEN-BORNEMISZA
COLLECTION
THE COLLECTION OF SHMUEL
AND TAMARA GIVON, TEL AVIV
THE COLLECTION OF THE
BARON PASQUALE CUTORE
RECUPERO, SICILY
Wednesday 24 June 2015

at 2.00 pm (lots 301-428)
8 King Street, St. Jamess
London SW1Y 6QT
VIEWING
A complimentary shuttle service

between our King Street and South
Kensington salerooms will run
between Friday 19 and Thursday 25
June.
Our South Kensington auctions
include Picasso Ceramics (25 June),
Impressionist & Modern Art (26
June) and Modern British & Irish
Art Day Sale (26 June).
Please contact the department for
details.
Friday
Saturday
Sunday
Monday
Tuesday
19 June
20 June
21 June
22 June
23 June
9.ooam - 4.30pm
12.00 noon - 5.00pm
12.00 noon - 5.00pm
9.ooam - 4.30pm
9.ooam - 3.30pm
AUCTIONEERS
Tom Best and Adrien Meyer
AUCTION CODE AND NUMBER
CONDITIONS OF SALE
In sending absentee bids or making

enquiries, this sale should be referred
to as E R I C A - 1 0 3 8 0
This auction is subject to

Important Notices,
Conditions of Sale and
to reserves.
[30]
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CONTENTS
Calendar of Auctions
Auction Information
10
Christies International Impressionist, 20th Century, Modern British

and Contemporary Art Departments
11
Specialists and Services for this Auction
12
Property for Sale
180
Conditions of Sale Buying at Christies
183
VAT Symbols and Explanation
184
Important Notices and Explanation of Cataloguing Practice
185
Storage and Collection
186
Salerooms and Offices Worldwide
187
Christies Specialist Departments and Services
195
Absentee Bids Form
196
Catalogue Subscriptions
IBC
Index
front cover:
Lot 347:
Succession Picasso/DACS, London 2015.
inside front cover:
Lot 309
page one:
Lot 326
page two-three:
Lots 341, 322
page four-five:
Lot 334
opposite:
Lot 360
inside back cover:
Lot 345
back cover:
Lot 346
ADAGP, Paris and DACS, London, 2015.
christies.com
INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

MODERN BRITISH AND CONTEMPORARY ART DEPARTMENTS
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Martha Baer
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Mariolina Bassetti
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Giovanna Bertazzoni
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Cyanne Chutkow
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Barrett White
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HONORARY CHAIRMAN,
AMERICAS
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CHAIRMAN, AMERICAS
Impressionist/Modern Art
Derek Gillman
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GLOBAL MANAGING
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Impressionist & Modern Art
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Impressionist & Modern Art, EMERI
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ART ADVISORY ASIAN CLIENTS
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PRIVATE SALES
New York
Adrien Meyer
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London
Libertw Nuti
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New York
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Post War and Contemporary Art
New York
Alexis Klein
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London
Beatriz Ordovas
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WORLDWIDE
AMSTERDAM
Jetske Homan van der Heide
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Benthe Tupker
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POST-WAR AND
CONTEMPORARY ART
Peter van der Graaf
Jetske Homan van der Heide
Nina Kretzschmar
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AUSTRIA
Angela Baillou
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BARCELONA
Carmen Schjaer
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BEIJING
Tan Bo
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BRUSSELS
Marianne Hoet
Thibault Stockmann
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DUSSELDORF
Arno Verkade
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GENEVA
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HONG KONG
Eric Chang
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Tel: +852 2978 9985
LONDON (KING STREET)
Giovanna Bertazzoni
Olivier Camu
Jay Vincze
Libertw Nuti
Jason Carey
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Michelle McMullan
Adrienne Everwijn-Dumas
Keith Gill
Antoine Lebouteiller
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Annie Wallington
Anna Povejsilova
Tel: +44 (0)20 7389 2638
POST-WAR AND
CONTEMPORARY ART
Francis Outred
Edmond Francey
Leonie Moschner
Dina Amin
Darren Leak
Alice de Roquemaurel
Beatriz Ordovas
Rosanna Widen
Leonie Grainger
Katharine Arnold
Tom Best
Cristian Albu
Jacob Uecker
Alexandra Werner
Alessandro Diotallevi
Paola Fendi
Josephine von Perfall
Tel: +44 (0)20 7389 2221
Andre Zlatinger
Nick Orchard
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LONDON (SOUTH KENSINGTON)
Natalie Radziwill
Imogen Kerr
Albany Bell
Astrid Carbonez
Tel: +44 (0)20 7389 2137
Tel: +44 (0)20 7389 2137
POST-WAR AND
CONTEMPORARY ART
Bianca Chu
Zoe Klemme
Tel: +44 (0)20 7389 2502
Angus Granlund
Tel: +44 (0)20 7752 3107
MADRID
Guillermo Cid
Tel: +34 91 532 6627
MILAN
Barbara Guidotti
Elena Zaccarelli
Tel: +39 02 303 283 30
MUNICH
Jutta Nixdorf
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NEW YORK
Brooke Lampley
Cyanne Chutkow
Conor Jordan
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Adrien Meyer
Jessica Fertig
David Kleiweg de Zwaan
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Sarah El-Tamer
Allegra Bettini
Emma Hanley
Alexander Berggruen
Alyssa Ovadis
Isabel Elliman
Tel: +1 212 636 2050
POST-WAR AND
CONTEMPORARY ART
Brett Gorvy
Laura Paulson
Robert Manley
Loic Gouzer
Barrett White
Andy Massad
Jonathan Laib
Martha Baer
Ingrid Dudek
Koji Inoue
Alexis Klein
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Jennifer Yum
Amelia Manderscheid
Saara Pritchard
Michael Gumener
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Edward Tang
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Tel: +1 212 636 2100
PARIS
Anika Guntrum
Tudor Davies
Tatiana Ruiz Sanz
Fanny Saulay
Olivia de Fayet
Thomas Morin
Tel: +33 (0)1 40 76 85 91
POST-WAR AND
CONTEMPORARY ART
Laetitia Bauduin
Christophe Durand-Ruel
Paul Nyzam
Etienne Sallon
Ekaterina Klimochkina
Tel: +33 (0)1 40 76 84 34
ROME
Mariolina Bassetti
Renato Pennisi
Tel: +39 06 686 33 30
SYDNEY
Ronan Sulich
Tel: +612 93 26 14 22
TEL AVIV
Roni Gilat-Baharaff
Tel: +97 23 695 0695
TOKYO
Chie Banta
Gen Ogo
+ 81 (0)3 6267 1766
ZURICH
Andreas Rumbler
Hans-Peter Keller
Rene Lahn
Philippe David
Jacqueline Riederer
Tel: +41 (0)44 268 10 12
18/05/15
10
Email. First initial followed by last name@christies.com (eg. Martha Baer = mbaer@christies.com)
SPECIALISTS IN CHARGE
AND SERVICES FOR THIS AUCTION
For assistance and further information about this sale
please contact the following on Tel: +44 (0)20 7389 2641
SPECIALISTS FOR THIS SALE, LONDON
Keith Gill
Head of Sale
Michelle McMullan
Specialist
Antoine Lebouteiller
Associate Specialist
Ottavia Marchitelli
Associate Specialist
Ishbel Gray
Administrator
Tel: +44 (0)20 7389 2175

kgill@christies.com
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omarchitelli@christies.com
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igray@christies.com
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CLIENT SERVICES
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EUROPEAN MANAGING DIRECTOR
Tara Rastrick
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RESEARCH
Robert Brown
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COPYRIGHT NOTICE
No part of this catalogue may be reproduced,
stored in a retrieval system or transmitted by any
form or by any means, electronic, mechanical,
photocopying, recording or otherwise, without
the prior written permission of Christies.
COPYRIGHT, CHRISTIE, MANSON & WOODS
LTD. (2015)
CHRISTIES PRIVATE SALES
Buy or sell through private sales. For more information, please contact :
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11
l*301
JEAN-PIERRE CASSIGNEUL (B. 1935)
Les bras levs
signed CASSIGNEUL . (lower left); signed and inscribed
Cassigneul les Bras levs (on the reverse)
oil on canvas
24 x 19 in. (61 x 50.1 cm.)
25,000-35,000
$39,000-54,000
35,000-49,000
PROVENANCE:
Acquired by the present owner in 2013.
Jean-Pierre Cassigneul has confrmed the authenticity of this work.
l*302
Le Palais Gritti
signed CASSIGNEUL (lower left); inscribed le palais GRITTI (on the reverse)
oil on canvas
51 x 38 in. (130 x 97 cm.)
Painted in 1972
PROVENANCE:
Galerie Tamnaga, Tokyo (no. 133).

Acquired from the above by the present owner.
60,000-80,000
$94,000-120,000
84,000-110,000
13
l303
ANDR BRASILIER (B. 1929)
La nuit nippone
PROVENANCE:
signed Andr Brasilier. (lower right); signed, dated and inscribed

La Nuit Nippone Andr Brasilier. 1989.
oil on canvas
58 x 76 in. (148 x 195 cm.)
Painted in 1989
Private collection, France.
25,000-35,000
This work will be included in the forthcoming Andr Brasilier catalogue

raisonn being prepared by Alexis Brasilier.
$39,000-54,000
35,000-49,000
14
LITERATURE:
L. Harambourg & R. Bouillot, Andr Brasilier, Monographie, Lausanne, 2002,

p. 152 (illustrated).
l*304
ANDR BRASILIER (B. 1929)
Lhiver vert
signed Andr Brasilier (lower right); signed, dated and inscribed
'L'hiver Vert Andre Brasilier. 2014 -' (on the stretcher)
oil on canvas
51 x 63 in. (130 x 162 cm.)
Painted in 2014
PROVENANCE:
This work will be included in the forthcoming Andr Brasilier catalogue

raisonn being prepared by Alexis Brasilier.
40,000-60,000
$63,000-93,000
56,000-83,000
15
PROPERTY FROM A PRIVATE COLLECTION
l*305
JEAN DUFY (1888-1964)
La Seine
signed Jean Dufy (lower right)
oil on canvas
23 x 31 in. (60.6 x 80.9 cm.)
25,000-35,000
$39,000-54,000
35,000-49,000
16
Jacques Bailly will include this work in the forthcoming third volume of
his Jean Dufy catalogue raisonn.
l306
AUGUSTE HERBIN (1882-1960)
Port
EXHIBITED:
signed herbin (lower left)

oil on canvas
25 x 32 in. (65 x 81 cm.)
Painted in 1907
Hamburg, Hubertus-Wald-Forum, Hamburger Ansichten. Maler sehen die

Stadt, October 2009 - February 2010, no. 53,
p. 199 (illustrated p. 133; titled Verladekrne am Johannisbollwerk
and dated 1909).
40,000-60,000
$63,000-93,000
56,000-83,000
PROVENANCE:
Galerie Neupert, Zurich (no. 1333).

Acquired from the above, and thence by descent in 1960;
sale, Sothebys, London, 26 June 2008, lot 381.
Acquired at the above sale by the present owner.
LITERATURE:
G. Claisse, Herbin, Catalogue raisonn de luvre peint, Paris, 1993, no. 128,
p. 301 (illustrated pp. 40 & 301).
M. A. Hurttig, Die Franzosen kommen! Albert Marquet, Auguste Herbin,
Pierre Bonnard und douard Vuillard, Hamburg, 2011, no. 23, p. 23
(illustrated; with incorrect dimensions 54 x 65 cm.).
PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION
l307
MAURICE DE VLAMINCK (1876-1958)
Place Agns, Bougival
signed Vlaminck (lower right)
oil on canvas
23 x 28 in. (60 x 73 cm.)
70,000-100,000
$110,000-160,000
98,000-140,000
18
PROVENANCE:
Galerie Paul Ptrids, Paris.

Acquired from the above by the family of the present owner.
Math Valls-Bled and Godelive de Vlaminck will include this work

in their forthcoming Maurice de Vlaminck catalogue critique currently
being prepared under the sponsorship of the Wildenstein Institute.
PROPERTY FROM A PRIVATE JAPANESE COLLECTION
l*308
RAOUL DUFY (1877-1953)
Composition, bateaux, coquillage dans la baie
de Sainte-Adresse
PROVENANCE:
signed Raoul Dufy (lower centre)

oil on canvas
23 x 28 in. (60.2 x 73 cm.)
Painted circa 1938
EXHIBITED:
120,000-180,000
Private collection, Japan, by whom acquired in 2002.

Osaka, Osaka Maritime Museum, on loan 2002-2014.
Fanny Guillon-Laffaille will include this work in the forthcoming

supplement to her Raoul Dufy catalogue raisonn.
$190,000-280,000
170,000-250,000
19
PROPERTY FROM A PRIVATE ENGLISH COLLECTION
l309
RAOUL DUFY (1877-1953)
Lorchestre la chanteuse
signed and dated Raoul Dufy 1942 (lower right)
oil on canvas
21 x 25 in. (54 x 65 cm.)
Painted in 1942
280,000-350,000
$440,000-540,000
390,000-490,000
PROVENANCE:
Louis Carr, Paris, before 1954, and thence by descent.

Neffe-Degandt Fine Art, London.
Acquired from the above by the present owner in June 2005.
EXHIBITED:
Paris, Galerie Louis Carr, Raoul Dufy, June 1943.

Nice, Galerie des Ponchettes, Hommage Raoul Dufy, March 1954, no. 33,
Berne, Kunsthalle, Raoul Dufy, June - July 1954, no. 22.
Eindhoven, Stedelijk Van Abbe Museum, Raoul Dufy, 1955.
Albi, Muse Toulouse-Lautrec, Raoul Dufy, July - September 1955, no. 35,
p. 27 (illustrated pl. XVIII).
Paris, Galerie Creuzevault, Peintures de Matres, May - June 1957 (illustrated).
London, Hayward Gallery, Raoul Dufy, November 1983 - February 1984, no.
123, p. 165 (illustrated p. 65).
LITERATURE:
M. Laffaille, Raoul Dufy, Catalogue raisonn de luvre peint, vol. IV, Geneva,
1977, no. 1401, p. 20 (illustrated).
D. Perez-Tibi, Dufy, Paris, 1989, no. 362, p. 329 (illustrated p. 291).
Raoul Dufy, L'orchestre, 1943. Muse d'Art moderne, Paris.

RMN-Grand Palais / Agence Bulloz.
ADAGP, Paris and DACS, London, 2015.
20
Painted in 1942, Lorchestre la chanteuse is one of the earliest

paintings in a series of orchestral scenes that Raoul Dufy commenced
at the beginning of the 1940s. Born into a musical family Dufys
father was a part-time organist and church choir conductor, and
two of his brothers were musicians the artist was immersed in the
world of music from an early age, and had frst depicted an orchestra
in 1902. It was not until the 1940s, during the Second World War,
that he returned to the subject matter of music, embarking on a
theme that would reinvigorate his art and fascinate him throughout
the decade. Dufy painted and sketched numerous depictions of
instrumental concertos, orchestras, choirs and singers, and later
created pictorial homages to his favourites composers, including
Mozart, Bach and Chopin. Formerly in the collection of the prominent
art dealer and collector Louis Carr, Lorchestre la chanteuse is an
expression of the joy that Dufy found in music at this time.
Depicting the orchestra from above, in Lorchestre la chanteuse, Dufy
has painted an array of musicians in the middle of their performance.
Painted with rich tones of orange, purple and brown, Lorchestre la
chanteuse demonstrates the artists distinctive use of colour: over broad
swathes of colour, Dufy has drawn the outlines of fgures and their
instruments, creating the compositional structure of the scene. Like
notes on a musical score, the rows of performers, including violinists,
futists and cellists, are depicted in a frenetic furry of lines, giving a
sense of animated movement and dynamism to the painting. The
repeated shapes and lines create a melodious rhythm that evokes the
cadences and harmonies of music. Bringing music and painting together,
Lorchestre la chanteuse conveys a sense of exuberance. Pablo Casals,
a famous cellist and friend of the artist said upon seeing one of Dufys
orchestra scenes such as Lorchestre la chanteuse: I cannot tell what
piece your orchestra is playing, but I know which key it is written in
(P. Casals quoted in, D. Perez-Tibi, Dufy, London, 1989, p. 292).
l*310
KEES VAN DONGEN (1877-1968)
Roses in December for you
signed van Dongen (lower left) and inscribed Roses in December for You (lower right); signed again
and indistinctly inscribed van Dongen 5. Rue ... Paris Roses (on the reverse) and inscribed van Dongen
(on the stretcher)
oil on canvas
39 x 32 in. (101 x 82 cm.)
Painted circa 1930
180,000-250,000
$290,000-390,000
260,000-350,000
PROVENANCE:
Galerie Moos, Geneva, by 1939.

Anonymous sale, Htel Drouot, Paris, 21 December 1994, lot 92.
This work will be included in the forthcoming catalogue critique of

the work of Kees Van Dongen being prepared by Jacques Chalom des
Cordes under the sponsorship of the Wildenstein Institute
Kees Van Dongen, La vasque feurie, 1917. Muse dart moderne, Paris.
RMN-Grand Palais / Agence Bulloz.
ADAGP, Paris and DACS, London, 2015..
22
PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION
l311
MARC CHAGALL (1887-1985)
La Sainte-Chapelle, tude
signed Marc Chagall (lower right)
oil on canvas
18 x 15 in. (46 x 38 cm.)
Painted in 1953
300,000-400,000
$470,000-620,000
420,000-560,000
PROVENANCE:
OHana Gallery, London (no. 819).

Mr & Mrs Maurice Harris, London, by 1961.
Private collection, Europe; sale, Christies, London, 5 December 1978, lot 70.
Acquired at the above sale by the family of the present owners.
EXHIBITED:
London, OHana Gallery, Marc Chagall, Oils, gouaches, watercolours and

lithographs, June August 1961, no. 35.
The Comit Marc Chagall has confrmed the authenticity of this work.
The present work relates to a series of paintings executed between
1952 and 1956 and referred to by Franz Meyer as The Paris Series.
These works present some of Chagall's most recognisable imagery
against the backdrop of the most famous landmarks of Paris, such as
L'Opra, Notre-Dame and La Bastille. In the preent work, we see the
Gothic spire of La Sainte-Chapelle in the foreground, with a bird's eye
view from le de la Cit showing the Seine receding into the distance.
Throughout Chagalls long and illustrious career, his paintings
chronologically refect his emotions, providing the beholder with a
window into the artists soul. Chagalls most evocative and powerful
images are those that weave the threads of real life with those of
dreamscapes, the iconographic with the fantastic. Often instilled with
deeply personal and poetic motifs, which are refective of the themes
of love, nostalgia and fantasy, Chagall regales fgments of his memory
and imagination, frequently depicting them through an array of foating
fgures and symbols, set in dreamlike settings. La Sainte-Chapelle, tude
refects Chagalls marvelously inventive and fantastical pictorial universe.
Unlike other artists of the day Chagall was not afraid of sentimentality
and saw that it was essential to his work, stating, 'If I create from
the heart, nearly everything works; if from the head, almost nothing'
(quoted in J. Baal-Teshuva, ed., Chagall: A Retrospective, exh. cat., New
York, 1995, p. 16). He defended this self-refective way of working,
declaring, All our interior world is reality - and perhaps more so than
our apparent worldTo call everything that appears illogical, 'fantasy,'
fairy tale, or chimera would be practically to admit not understanding
nature (quoted in B. Harshav, ed., Marc Chagall on Art and Culture,
Palo Alto, 2003, pp. 81-82).
Using the device of the open window, a feature he developed

in 1913, Chagall creates a fuid boundary between the symbolic
realms of the present and past, the real and imaginary. Franz Meyer
reiterates, The window is the boundary between indoors and
out, the opening in the wall through which the eye escapes into
the distance, but which one can also shut in order to turn one's
gaze inwards. Chagall's preference for the window picture fts the
particular situation of the artist who never gives 'the outside' a loose
rein but relates 'inside' and 'outside' to each other as in a parable (F.
Meyer, Marc Chagall, London, 1964, p. 337).
This division between the real and unreal is highlighted by the
inclusion of the cockerel, which is seen as a symbol of his Russian
heritage. It is for the artist a sign of his deep attachment to his
childhood, marked by religious folklore and the omnipresence of
domestic beasts raised by his family. The coq, or rooster, occupies
a position in Chagall's personal mythology similar to that of the
Minotaur in Picasso's private symbolism. In both cases the artist has
projected himself into non-human form, and in this process has
transformed the designated creature into a personal avatar, which
the artist is then free to use as a surrogate in his paintings, with
Chagall often using it to stress humour and lyricism, or, as seen here,
as a romantic partner to Bella.
In La Sainte-Chapelle, tude Chagall deploys an unusual compositional
format, placing the enlarged cockerel in the centre of the painting,
so that it dwarfs the moon and the city scene below. In doing so the
artist eschews perspective and any sense of realism, highlighting the
imaginary aspect of this work. Meyer explains the need for such a
format: For his encounter with the landscape to produce an allegory
of the relationship of soul and world, Chagall nearly always required
the intervention of fgures or fowers, of something near before the
distance--for his problem was not the relation between the structure
of his feld of vision and the structure of the world, but the relation
between the inmost soul and the spiritual forces without. So it is only
through a nearness, with which the soul is in direct contact, that the
distance is clearly grasped (ibid., p. 338).
PROPERTY FROM A PRIVATE SWISS COLLECTION
*312
DIEGO GIACOMETTI (1902-1985)
La table-berceau, premire version
signed Diego (once on each sidebar)
bronze with green and brown patina
15 x 53 x 20 in. (39 x 135.6 x 51 cm.)
Conceived circa 1963
70,000-100,000
$110,000-160,000
98,000-140,000
26
PROVENANCE:
Private collection, New York, by whom acquired directly from the artist; sale,
Christies, New York, 2 October 1990, lot 178.
LITERATURE:
M. Butor & J. Vincent, Diego Giacometti, Paris, 1985, p. 143

(another cast illustrated).
D. Marchesseau, Diego Giacometti, Paris, 1986, p. 66
(the smaller version illustrated).
(the smaller version illustrated).
Exh. cat., Diego Giacometti, Mbel und Objekte aus Bronze, Zurich, 1988,
no. 10, p. 108 (the smaller version illustrated pl. 15-16, p. 37).
PROPERTY FROM A PRIVATE FRENCH COLLECTION
313
DIEGO GIACOMETTI (1902-1985)
Table carcasse, modle bas double plateau
bronze with brown and green patina
16 x 50 x 34 in. (42 x 127.5 x 87 cm.)
Conceived circa 1970
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Private collection, Paris, by whom acquired directly from the artist in the
1980s, and thence by descent to the present owner.
LITERATURE:
M. Butor & J. Vincent, Diego Giacometti, Paris, 1985, p. 116

F. Francisci, Diego Giacometti, Catalogue de luvre, vol. I, Paris, 1986
(another cast illustrated p. 95).
27
l*314
BERNARD BUFFET (1928-1999)
Nature morte au chou
signed and dated Bernard Buffet 55 (lower left)
oil on canvas
38 x 51 in. (97.9 x 130.1 cm.)
Painted in 1955
40,000-60,000
$63,000-93,000
56,000-83,000
28
PROVENANCE:
Galerie Drouant-David, Paris.

Niveau Gallery, New York (no. 1002).
Anne Burnett Tandy, Texas, and thence by descent; sale, Sotheby Parke
Bernet Inc., New York, 18 December 1981, lot 100.
This work is recorded in the Maurice Garnier Archives.
l315
Mac le clos
PROVENANCE:
signed Bernard Buffet (upper left) and dated 1975 (upper right); signed
with initial and inscribed B Mac Le clos (on the reverse)
oil on canvas
35 x 51 in. (90 x 130.5 cm.)
Painted in 1975
Galerie Maurice Garnier, Paris.

Mitsukoshi Art Gallery, Hong Kong, by whom acquired from the above.
Private collection, Japan.
Acquired from the above in 1998; sale, Christies, New York, 7 May 2008, lot 491.
50,000-80,000
$78,000-120,000
70,000-110,000
29
l316
FRANOISE GILOT (B. 1921)
Oreste enfant
signed F.Gilot (lower right); inscribed ORESTE ENFANT (on the stretcher)
oil on canvas
38 x 51 in. (97 x 130 cm.)
Painted in London circa 1967-1968
In 1967, Gilot began a series of large scale paintings, including Oreste

enfant, to explore Greek themes as they relate to the biological and
the historical cycles of man, and this body of work went on to form
the basis of an acclaimed exhibition at Leicester Galleries in 1968.
40,000-60,000
$63,000-93,000
56,000-83,000
PROVENANCE:
Anonymous sale, Mainichi Art Auction, Tokyo, 14 March 2015, lot 408.
EXHIBITED:
London, Leicester Galleries, Franoise Gilot, June - July 1968, no. 9

(illustrated).
Franoise Gilot has confrmed the authenticity of this work.
30
Les yeux de Franoise, Endre Rozsda, 1963.

J. Mangani, Atelier Rozsda
l*317
La mouette
signed and dated Bernard Buffet 63 (upper right)
oil on canvas
32 x 51 in. (82 x 130.2 cm.)
Painted in 1963
PROVENANCE:
Anonymous sale, Htel Drouot, Paris, 15 November 1994, lot 24.

70,000-100,000
$110,000-160,000
98,000-140,000
31
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
l*318
HENRI LAURENS (1885-1954)
Femme la draperie
stamped with the monogram, numbered and stamped with the foundry
mark HL. 2/6 CIRE PERDUE C VALSUANI (on the base)
bronze with dark brown patina
Height: 4 (11.4 cm.)
Length: 13 in. (34.3 cm.)
Conceived in 1954 and cast in an edition of six
30,000-50,000
PROVENANCE:
Galerie Louise Leiris, Paris (no. 063022).

Dunkelman Gallery, Toronto.
Anonymous sale, Sothebys, New York, 13 November 1996, lot 228.
Galerie Rosengart, Lucerne (no. 3922).
LITERATURE:
W. Hofmann, The Sculpture of Henri Laurens, New York, 1970, p. 219

$47,000-78,000
42,000-70,000
32
Quentin Laurens, the holder of the Droit Moral, has kindly confrmed
that this work is registered in his archives.
l*319
BALTASAR LOBO (1910-1993)
Jeune flle de face, mains croises
signed and numbered Lobo 2/8 and stamped with the foundry mark
Susse Fondeur Paris (at the back of the fgure)
Height: 16 in. (42 cm.)
Conceived in 1975 and cast in 1975 in an edition of eight plus four artists
proofs
50,000-70,000
$78,000-110,000
70,000-97,000
PROVENANCE:
Nathan Fine Art, Zurich.

Acquired from the above by the present owner in 1976.
LITERATURE:
Exh. cat., Baltasar Lobo, Marmor, Stein, Bronzen, Zeichnungen, Zurich, 1976.
J.-E. Muller, Lobo, Catalogue raisonn de luvre sculpt, Lausanne, 1985,
no. 407 (another cast illustrated; titled Femme assise, mains croises).
Exh. cat., Baltasar Lobo, Skulpturen, Zeichnungen, Linz, 1992.
Galera Freites will include this work in their forthcoming Baltasar Lobo
catalogue raisonn under the archive number 7505.
33
PROPERTY FROM A PRIVATE BELGIAN COLLECTION
320
AUGUSTE RODIN (1840-1917)
ternel printemps, 4e rduction
signed Rodin (on the right side of the base), and stamped with the foundry
mark F. BARBEDIENNE, Fondeur (on the left side of the base); marked 'S 3'
and numbered with ink '89090 gue 420' (inside)
9 x 10 x 12 in (24.5 x 26 x 31.5 cm.)
Conceived in 1884, this reduction in 1898, and cast between 1898 and 1918 in
an edition of between 63 and 69 examples; this example cast in December 1917
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Private collection, Belgium, and thence by descent to the present owner.

LITERATURE:
L. Maillard, Auguste Rodin, Statuaire, Paris, 1899, pp. 121-122 (the marble
version illustrated fg. 16).
G. Grappe, Catalogue du Muse Rodin, Paris, 1927, nos. 69-70, p. 42 (other
versions illustrated).
Muse Rodin, ed., Catalogue 1931, Paris, 1931, no. 135, p. 68 (larger version
illustrated).
J. Cladel, Rodin, London, 1936 (the marble version illustrated p. 97).
G. Grappe, Le Muse Rodin, Paris, 1947, p. 141 (larger version illustrated pl. 56).
B. Champigneulle, Rodin, London, 1967, nos. 34-35, p. 280 (larger plaster
versions illustrated pp. 92-93).
R. Descharnes & J. F. Chabrun, Auguste Rodin, Paris, 1967, p. 135 (larger bronze
version illustrated p. 134).
I. Jianou and C. Goldscheider, Rodin, Paris, 1967, p. 96, pls. 56-57 (large bronze
version illustrated).
L. Steinberg, Other criteria, Confrontations with Twentieth-Century Art, Oxford,
1972, no. 232, p. 363 (the marble version illustrated).
J. L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, no. 32b, p.
246 (the marble version illustrated).
A. E. Elsen, Rodin Rediscovered, Washington, 1981, p. 68 (large clay version
illustrated fg. 313).
A.-B. Fonsmark, Rodin, New York, 1988, no. 15, pp. 100-102 (the marble version
illustrated p. 101).
A. E. Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center
for Visual Arts at Stanford University, New York, 2003, pp. 494-497, no. 148
(other versions illustrated pp. 494-496).
A. Le Normand-Romain, Rodin et le bronze, Catalogue des uvres conserves au
Muse Rodin, vol. I, Paris, 2007, no. S.777, p. 334 (another cast illustrated).
This work will be included in the forthcoming Auguste Rodin catalogue

critique de l'uvre sculpt currently being prepared by the Comit
Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jrme
Le Blay under the archive number 2015-4663B.
34
An image of rapture and amorous union, ternel printemps is among

Auguste Rodins most famous sculptures. With the excited grace of a
dancing satyr, a young man lifts a woman from her keens into a passionate
kiss. Her arched, abandoned body is enveloped into the vigorous twist of
his, in a pose that not only celebrates the union of man and woman, but
also of immobility and movement, surrender and passion. Charged with
vital energy and romantic transportation, ternel printemps has been saluted
as one of the very rare sculptures in which Rodin expressed an almost
undisturbed joie de vivre.
The work may have been originally intended to be included in Rodins
colossal model for the Gates of Hell. The elated feelings expressed
in ternel printemps, however, could have seemed incongruous in
connection with the tragic force that animates the Gates of Hell and
Rodin eventually decided only to include the bust of the male fgure.
According to Jeanne Russell, the vision of ternel printemps appeared to
Rodin while he listened to Beethovens Second Symphony. The sculptor
would have exclaimed: God, how he must have suffered to write that!
And yet, it was while listening to it for the frst time that I pictured Eternal
Springtime, just as I have modelled it since (quoted in A. Le NormandRomain, The Bronzes of Rodin: Catalogue of Works in the Muse Rodin,
vol. I, Paris, 2007, p. 335).
Conceived in 1884, however, ternel printemps may have also
had a more direct, personal and emotional source: at the time
the composition was frst modelled, Rodin was living an intense
relationship with a talented and perseverant young sculptress, Camille
Claudel. Rodin and Claudel had met for the frst time in 1882,
when she was only eighteen and yet already determined to become
a successful sculptress. Rodin had frst assumed the role of tutor,
but soon afterwards, impressed by the dexterity and seriousness
manifested by the young woman, he had hired her as an assistant in
his atelier at the Dpt des Marbres. Rodins encounter with Claudel
marked a signifcant moment. The artists biographer, Frederick V.
Grunfeld commented: It was an immensely exciting time for both of
them. On Rodins side the ebb and fow of their affair could almost
be charted by the rise and fall in the number of erotic images which
he produced each year between 1884 and 1894 () These fgure
() represented Rodins conscious attempt to realize his ideas about
love (F. V. Grunfeld, op. cit., p. 221). Evoking a perfect union of
euphoria and abandonment, ternel printemps is one of the most
acclaimed expressions of Rodins powerful and elegant eroticism.
PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION
*321
ARISTIDE MAILLOL (1861-1944)
Femme nue accroupie
signed with the monogram and numbered M 6/6 (on the base); stamped with
the foundry mark . Alexis Rudier. Fondeur. Paris. (on the back of the base)
bronze with green and dark-brown patina; in two parts
6 x 9 x 5 in. (16 x 24 x 12.5 cm.)
Conceived in 1930 and cast before 1952 in an edition of six
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Galerie Dina Vierny, Paris.

Acquired from the above by the family of the present owner on 25 February 1967.
EXHIBITED:
Berlin, Georg-Kolbe-Museum, Artistide Maillol, January - May 1996, no. 82,

p. 214 (illustrated); this exhibition later travelled to Lausanne, Muse cantonal
des Beaux-Arts, May - September 1996, Bremen, Gerhard Marcks-Haus,
October 1996 - January 1997, and Mannheim, Stdtische Kunsthalle, January
- March 1997.
LITERATURE:
Exh. cat., Aristide Maillol, Hamburg, 1961, no. 73, p. 44 (another cast
illustrated).
B. Lorquin, Aristide Maillol, London, 1995, p. 198 (another cast illustrated p. 104).
Olivier Lorquin has confrmed the authenticity of this sculpture.

Aristide Maillol always had a predilection for rounded surfaces and
curves, for they give compactness to the volumes of a sculpture.
Bertrand Lorquin, in his 1995 monograph on Maillol, discusses the
sculptor's choice of subjects, commenting on Maillol's other bronzes
from 1930: 'Their pose refers only secondarily to reality. In each case,
the sculpture is a small block of bronze articulating solid forms which
verge on pure abstraction. These works show us how far Maillol's art
has evolved since his frst Nabi statuettes. The beauty they express
in almost abstract terms stems from plastic experiments based on a
single idea - the idea of pushing simplifcation to an extreme. It was
this quest for ever greater simplifcation that led Maillol to return again
and again to the same subjects, the same themes; it was this which
allowed him to spend ten years working on a sculpture.' (B. Lorquin,
Maillol, London, 1995, p. 104).
36
*322
ODILON REDON (1840-1916)
Papillons
signed ODILON REDON (lower left)
oil on canvas
25 x 19 in. (65 x 49.8 cm.)
Painted before November 1909
300,000-500,000
$470,000-780,000
420,000-700,000
Art, for Redon, was what poetry was for his friend Stphane Mallarm:
'the expression, through human language reduced to its essential rhythm,
of the mysterious meaning of the various aspects of existence. In this
way it authenticates our sojourn on this planet and constitutes our sole
intellectual challenge' (Mallarm to Lo d'Orfer, 1884). Infuenced to a
large extent by Mallarm's symbolism, Redon creates pictures which 'do
not defne themselves; they place us, like music, in the ambiguous world
of the indeterminate' (Redon, quoted in A. Wildenstein, Odilon Redon,
Catalogue raisonn, vol. I, Paris, 1992, p. 145).
Before 1900 Redon made drawings almost exclusively in black and
PROVENANCE:
Prince Antoine Bibesco, Paris, by whom acquired directly from the artist in
November 1909.
[Probably] Jos Hessel, Paris (no. 38).
Anonymous sale, Palais Gallira, Paris, 16 June 1969, lot 113.
Wildenstein & Co., New York.
Urban Art Research, New York, by 1986.
Galerie Urban, Paris, by 1987.
Private collection, Japan, by 1991.
Acquired from the above; sale, Christies, London, 18 June 2007, lot 30.
white; afterward he began to focus on paintings and pastels in

sensuous colour. Many of his late works in colour took natures small
beauties, such as butterfies, seashells, and fowers, as objects of
contemplation and presented them with a fantastic intensity. Redon
was a Symbolist; he believed that art could transcend the everyday and
open onto a marvellous world of the mind. Around 1905 he spoke
of the painters task as a privileged one: 'Painting consists in using a
special sense, an innate sense for composing a beautiful substance. To
do as nature does: create diamonds, gold, sapphires, agates, precious
metal, silk, fesh: it is a gift of delicious sensuality.' (S. F. Eisenman, The
Temptation of Saint Redon, Chicago, 1992).
EXHIBITED:
Brussels, Galerie Georges Giroux, Odilon Redon, December 1920- January

1921, no. 26.
Paris, Galerie E. Druet, Exposition doeuvres dOdilon Redon (1840-1916),
peintures, pastels, aquarelles, dessins, lithographies, eaux-fortes-Arts dcoratifs,
June 1923, no. 31, p. 2.
New York, Wildenstein & Co., Winter Exhibition, December 1976 - January 1977.
Caracas, Museo de Bellas Artes, Cinco siglos de Arte Francs, May - June
1977, no. 66, p. 54 (illustrated).
Atlanta, The High Museum of Art, Art in Decoration, April - May 1978
(illustrated p. 29).
Paris, Galerie Urban, Urban Paris Part I, Utrillo, Bonnard [...] Redon, October
1988 - January 1989, no. 16 (illustrated on the cover).
LITERATURE:
O. Redon, Livre de Raison, no. 411.

F.A. Van Braam & A.B. Ter Haar Romeny, World Collectors Annuary, 1969, vol.
XXI, no. 4605.
J. Cassou, Odilon Redon, Milan, 1972, p. 66 (illustrated fg. 2, p. 67; dated circa 1910).
L. R. Webber, Japanese Woodblock Prints, The Reciprocal Infuence between
East and West, Provo, 1979, p. 85 (illustrated fg. 66).
A. Wildenstein, Odilon Redon: catalogue raisonn de luvre peint et dessin,
vol. II, Mythes et lgendes, Paris, 1994, no. 1326, p. 312 (illustrated p. 313).
Odilon Redon, Evocation of Butterfies, 1910-1912.

Detroit Institute of Arts, Michigan.
Detroit Institute of Arts, USA / Bridgeman Images.
38
l*323
Pour Vava
signed, dated, dedicated and inscribed (in Cyrillic) For the new year 1970 POUR VAVA ChAgAll
(on the lower edge)
oil on canvas
16 x 13 in. (41 x 33 cm.)
Painted in 1970
380,000-450,000
$600,000-700,000
530,000-630,000
PROVENANCE:
The artists estate.

Anonymous sale, Galerie Kornfeld, Bern, 20 June 2014, lot 26.
Like many of his best works, Pour Vava represents two lovers caught
up in the early excitement of love. Encompassing Chagalls favourite
theme, the present work is a mirage of magical lyricism and blissful
romance, exemplifying the artists unique and deeply personal artistic
vision. This beautifully composed painting comes from a period
of great happiness and stability for the artist, who in 1952 had
married Valentina Brodsky, his second wife, nicknamed 'Vava', and
to whom this painting is dedicated. Chagall met Vava earlier that
year, when he had been encouraged by his daughter Ida to employ
her as his secretary, coaxing her away from her milliners in London.
Both from Russian Jewish families, they found a mutual affnity and
shared comfort in their cultural heritage, and their relationship soon
developed. Entitled For Vava this work stands as a testament to their
love and life together.
Poetically romantic in his personifcation of two embracing lovers,

Chagall creates a wonderfully emotional image, which displays
the enchanted impression of the artists wondrous pictorial world.
Although steeped in a deeply private personal mythology with its own
specifc iconography, Pour Vava portrays an entrancing vision of a
world of ecstatic dream, of sublimation and of romance. Combining
his famed motifs of lovers, a bouquet of fowers and cockerels,
which are all emblematic of feelings and memories, Chagall creates a
delightfully subjective expression of his love and desire for Vava.
Loosely painting the couple with a visceral brush, Chagall creates an
energetic and sensuous composition. Painting the man in a vibrant
pink tone, as apposed to the cool blue hues of his lover, Chagall
creates a rich contrast between the two fgures: they appear hot and
cold, the embodiments of extremes. The union of these seemingly
opposing people, with their opposing colours and associations, reveals
them as ultimately complementary, like the Yin and the Yang.
Colour was of great importance to Chagall who saw that it had more
than just a descriptive, pictorial role, but had an autobiographical
and deeply personal signifcance. He stated the importance of it in
1973, three years after the present work was painted: 'Colour is
purity. Colour is art. Pure artBut one must undoubtedly be born
with colour (quoted in J. Baal- Teshuva, ed., Chagall, A Retrospective,
exh. cat., New York, 1995, p. 322). Chagalls skill with colour was
celebrated by his contemporaries, such as Picasso, who Francoise Gilot
recalled as saying, When Matisse dies, Chagall will be the only painter
left who understands what colour really is Some of the last things
hes done in Vence convince me that theres never been anybody since
Renoir who has the feeling for light that Chagall has. (Picasso quoted
in F. Gilot and C. Lake, Life with Picasso, New York, 1964, p. 282).
Indeed colour was to play a signifcant part in the artists later uvre.
In Pour Vava Chagall used it to unify the various components of
the composition, using his mastery of tone to create ambience and
atmosphere, which is displayed here in the tender and romantic mood.
As seen in the present work fowers, especially mixed bouquets of tiny
blossoms, became of great interest to Chagall, who delighted in their
variety of delicate colour combinations and textural contrasts, which
Chagall noted as exercises in the equation of colour and light' (quoted
in Marc Chagall: Life and Work, New York, 1964, p. 369).
Marc Chagall, Portrait de Vava, 1966. Private collection.

akg images
Chagall / ADAGP, Paris and DACS, London 2015.
40
l*324
Maternit sur socle
signed and numbered Lobo 8/8 (on the base) and stamped with
the foundry mark Susse Fondeur Paris (on the side of the base)
bronze with dark green patina
Conceived in 1946 and cast in 1989 in an edition of eight plus four
artists proofs
20,000-30,000
$32,000-47,000
28,000-42,000
PROVENANCE:
Acquired directly from the artist by the present owner.

LITERATURE:
Exh. cat., Lobo, Zamora, Spain, 1984, (another cast illustrated).

J.-E. Muller, Lobo, Catalogue raisonn de luvre sculpt, Lausanne, 1985,
no. 51, p. 108 (another cast illustrated).
Exh. cat., Baltasar Lobo, Madrid, 2002 (another cast illustrated).
Galera Freites will include this sculpture in their forthcoming Baltasar

Lobo catalogue raisonn under the number 4606.
PROPERTY FROM A EUROPEAN NOBLE FAMILY
l325
LEONARD TSUGUHARU FOUJITA (1886-1968)
Portrait dun garon
signed and dated Foujita 1923 (lower left); signed and dated again Foujita
1923 (on the stretcher)
oil and gold paint on canvas
25 x 19 in. (65.3 x 49.2 cm.)
Painted in 1923
PROVENANCE:
Private collection, Portugal, by whom commissioned from the artist in

1923, and thence by descent to the present owner.
To be included in the forthcoming catalogue of the works by

Tsuguharu Foujita (Volume IV) being prepared by Sylvie Buisson.
60,000-80,000
$94,000-120,000
84,000-110,000
43
l*326
Le rve
signed MArC chAgAll (lower center)
oil on cardboard
15 x 18 in. (38.1 x 46.1 cm.)
Painted circa 1980
300,000-500,000
$470,000-780,000
420,000-700,000
PROVENANCE:
The artists estate.

Acquired from the above by the present owner in the 1990s.
EXHIBITED:
Perugia, Galleria Nazionale dellUmbria, Teatro del sogno, September 2010 January 2011, p. 72 (illustrated).
Lugano, Imago Art Gallery, I colori dellanima, January 2013, no. 20 (illustrated).
What takes the greatest precedence in Le rve are the vases of

fowers, which became a perennial theme in Marc Chagall's art.
Chagall's bouquets are pyrotechnic displays in paint, exploding
upward and outward, as if fowers were earthly matter transformed
into pure energy, emitting their own light, and radiating a benefcent
life force all around. Their presence is felt most keenly here where
the brightly-hued blossoms, emanating from an impossibly small
vase, look like freworks exploding against the dark sky. These
bouquets allowed him to manipulate dramatic contrasts and subtle
harmonies of colour and inject the traditional still life genre with a
subjectively emotional resonance.
Andr Verdet reiterates, Marc Chagall loved fowers. He delighted
in their aroma, in contemplating their colors... Usually they created
a sense of joy, but they also refect the melancholy of memories, the
sadness of separations, of solitude, if not suffering and tragedy...
(quoted in J. Baal-Teshuva, ed., Chagall: A Retrospective, New York,
1995, p. 341).
Le rve depicts Chagalls masterful use of colour, pairing the nuanced
dark blues of the nighttime sky with the vibrant pinks and yellows
of the fower petals, creating a gentle glow of light, which seems to
emanate from within, akin to the glinting of stars. These iridescent
touches balance the otherwise dark composition, lending the
painting a pictorial cohesion and compositional unity while evoking
the fantastical, dreamlike context. Describing the artists fnal years,
Susan Compton notes: His eye did not dwell on details but on the
concentration of light and matter, on the chemistry of nature for
which he created an equivalent in his paintingAbove all, the oils of
this period convey the artists sheer enjoyment of painting (quoted
in Chagall, exh. cat., Royal Academy of Art, London, 1985, p. 223).
This enjoyment of painting can be seen in Le rve, which gives us a
glimpse into the artists rich, fevered imagination, sharing his most
precious memories.
44
THE PROPERTY OF A PRIVATE FRENCH COLLECTOR
327
GUSTAVE LOISEAU (1865-1935)
Le port de Fcamp
signed and dated G Loiseau 1921 (lower right)
oil on canvas
19 x 24 in. (50 x 61.1 cm.)
Painted in 1921
25,000-35,000
$39,000-54,000
35,000-49,000
46
PROVENANCE:
Comtesse de la Rosire, Paris, and thence by descent.
This work will be included in the forthcoming Gustave Loiseau

catalogue raisonn currently being prepared by Didier Imbert.
328
GUSTAVE LOISEAU (1865-1935)
Le clos Hdouville, effet de neige
signed G Loiseau (lower right)
oil on canvas
23 x 32 in. (60.5 x 81.5 cm.)
Painted in 1898
40,000-60,000
$63,000-93,000
56,000-83,000
PROVENANCE:
Anonymous sale, Htel Drouot, Paris, 20 April 1899.

Galerie Durand-Ruel, Paris, by whom acquired at the above sale.
M. Bourdon, Paris, by whom acquired from the above on 5 January 1944.
Private collection, Paris, by whom acquired in the 1950s, and thence by
descent to the present owner.
This work will be included in the forthcoming Gustave Loiseau

catalogue raisonn currently being prepared by Didier Imbert.
47
329
HENRI MARTIN (1860-1943)
Retour des champs
oil on canvas
47 x 58 in. (120.5 x 149.5 cm.)
Painted circa 1890-1895.
60,000-80,000
$94,000-120,000
84,000-110,000
PROVENANCE:
Anonymous sale, Christies, London, 28 November 1989, lot 287.

Montgomery Gallery, San Francisco, by whom acquired at the above sale.
Acquired from the above, circa 1990; sale, Sothebys, New York, 8 November
2007, lot 177.
EXHIBITED:
New York, Hammer Galleries, Eden Close at Hand: The Paintings of Henri
Martin, 2005, no. 26, pp. 92-93; this exhibition later travelled to Beverly Hills,
Anderson Galleries.
Cyrille Martin has confrmed the authenticity of this work. Marie-Anne

Destrebecq-Martin will include this work in her forthcoming Henri
Martin catalogue raisonn.
In the 1890s, Henri Martin regularly vacationed in southern France,
where he would rent houses every summer. It was probably during
one of these vacations that he painted this powerful rural scene,
reminiscent of the work of Jean-Franois Millet, of a lone farmer
returning home to his village at the end of the day, carrying a hoe on
his shoulder. The twilight hour is suggested by the muted green and
brown hues of the painting, the moon visible in the sky and the rosy
light of a fre emanating through the darkness from the house in the
background.
330
HENRI MARTIN (1860-1943)
Vue de Labastide-du-Vert
oil on canvas
35 x 46 in. (90.2 x 117 cm.)
Painted circa 1900
120,000-180,000
$190,000-280,000
170,000-250,000
PROVENANCE:
Arthur Tooth & Sons, London (no. 8411).

Private collection, London, by whom acquired from the above in the late 1960s.
Cyrille Martin has confrmed the authenticity of this work. Marie-Anne

Destrebecq-Martin will include this work in her forthcoming Henri
Martin catalogue raisonn.
In 1900, at the age of 40, Henri Martin purchased a large 17th
Century house overlooking the village of Labastide-du-Vert in the Lot
in south-west France. Marquayrol, as the house was called, fulflled the
artist's dream of a house where he could sit and paint, a house which
he described as 'une vielle habitation avec un toit Louis XIII et des
tonnelles sans terres ou presque. Donc une maison plutt place sur
un hauteur, assez vaste... l'entourage immdiat de la maison avec un
jardin ou parc et de grands alentours avec de paysages que je puisse
peindre' (exh. cat. Henri Martin 1860-1943, Cahors, 1993, p. 97-98).
Set on the side of a hill in sixty acres of land and overlooking the village
and the surrounding valley, Marquayrol became Martin's summer
retreat and, every year between May and November, the artist revelled
in the beauty and serenity of nature that he lacked in Paris. Marquayrol
remained Martin's connection with nature and light for more than forty
years, providing him with both his subject matter and his inspiration.
l331
EMILE-OTHON FRIESZ (1879-1949)
Paysage du Midi
signed Othon Friesz and indistinctly inscribed 'Othon F...z' (lower right)
oil on panel
19 x 25 in. (50.7 x 65.1 cm.)
Painted circa 1907
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
Private collection, Le Havre, and thence by descent.

LITERATURE:
O. Aittouares & R. Martin, Emile-Othon Friesz, catalogue raisonn de

luvre peint, vol. I, Paris, 1995, no. 274, p. 125 (illustrated).
In the works from Estaque painted at the

end of the summer of 1907, Friesz again
shows himself as structured and approaching
Cezanne, whose art represented everything
that he wished to achieve: a weightiness of
form, rigour of composition, modulation of
space, and submission to colour.
Exh. cat., clats de fauvism, St. Tropez, 2005, p. 28.
Painted circa 1907, during an intense collaboration with Georges

Braque, Paysage du Midi demonstrates Emile-Othon Frieszs distinctive
Fauvist style, using bold colour to create pictorial structure and form.
Friesz and Braque were from Le Havre, a coastal town in northern
France. Both artists were struck by the Fauvist works of Henri
Matisse, Andr Derain and Maurice de Vlaminck at the 1905 Salon
dAutomne, and Friesz who had, until this moment, been working in
an Impressionist style, converted to Fauvism from this point onwards.
Painted in the Midi region of France, Paysage du Midi was inspired
by Frieszs travels to this area in 1906 and again in 1907. Together
with Braque, Friesz visited LEstaque and La Ciotat, towns on the
Mediterranean coast. The south of France was a hallowed area for
artists, having inspired Matisse and Derain, as well as Paul Signac
and Paul Czanne before them. Here, amidst the luminous light
and saturated colours of Provence, Friesz employed a new pictorial
vocabulary, which, instead of faithfully rendering the landscape,
enabled him to express a direct sensation inspired by nature, a concept
he felt was essential in moving away from an Impressionist style.
Friesz stated that, It seemed to me that [Impressionist] pictures were
not constructed, but merely amounted to an active documentation
of nature: they were arrangement and not composition, and he
continued: Colour appeared as our saviour (O. Friesz quoted in, S.
Whitfeld, Fauvism, London, 1991, p. 134).
In Paysage du Midi, Friesz has used angular brushstrokes to apply a
range of harmonious colours, including shades of green, violet and
yellow. Friesz remained tied to the traditions of painting and has
retained a sense of pictorial depth in the painting through the two large
trees that dominate the foreground, leading the viewers eye into the
scene, towards the receding whitewashed houses in the background.
Emile-Othon Friesz, Landscape, 1907. Davis Museum and Cultural Center,

Wellesley College.
David Museum and Cultural Center, Wellesley College, MA, USA / Museum purchase / Bridgeman Images
50
THE PROPERTY OF A LADY
l332
PIERRE BONNARD (1867-1947)
Jardin mditerranen
stamped with the signature Bonnard (Lugt L.3886, lower left)
oil on canvas
18 x 24 in. (47 x 62 cm.)
Painted circa 1916
300,000-400,000
$470,000-620,000
420,000-560,000
PROVENANCE:
The artists estate.

Anonymous sale, Floralies, Versailles, 6 June 1973, lot 57.
Anonymous sale, Christies, London, 1 December 1980, lot 19.
EXHIBITED:
Nottingham, Castle Museum, Pierre Bonnard 1867-1947, May - July 1984,

no. 124 , p. 5 (illustrated).
LITERATURE:
J. & H. Dauberville, Bonnard, Catalogue raisonn de luvre peint, vol.

IV, 1940-1947 et Supplment 1887-1939, Paris, 1974, no. 02110, p. 380
(illustrated).
A landscape of swirling, verdant green vegetation, Jardin

mditerranen demonstrates the rich inspiration that Pierre Bonnard
found in the South of France. Having frst visited the area in 1909, the
artist returned there to paint on numerous occasions throughout his
life, staying in different villas and houses along the coast. The scene
is bathed in the brilliant light of the Cte dAzur, which has enlivened
the rich colours of the foliage, sea and sky. This light particularly
fascinated the artist: he recalled, that southern light during certain
hours, which over great spaces becomes the principal subject of a
sensitive artist (P. Bonnard quoted in J. Rewald, Pierre Bonnard, exh.
cat., New York, 1948, p. 56-57).
Painted circa 1916, in the middle of the First World War, Jardin
mditerranen dates from a period of refection and retrospection
for Bonnard. Feeling that he had been carried away in his painting by
the effects of colour, Bonnard returned to the study of composition,
introducing a renewed feeling of stability and structure to his
paintings. In 1915, he said, I have sent myself back to school. I want
to forget all I know; I am trying to learn what I do not know (J.
Rewald, ibid., p. 58).
Jardin mditerranen demonstrates Bonnards new emphasis on
compositional structure: the woman sitting in the foreground of the
painting acts as a repoussoir, framing the image and leading the
viewers eye into the composition. The two palm trees also imbue the
painting with structure, imparting a sense of perspective and depth
to the vision of dense foliage. Bonnard has fused this compositional
structure with an abundance of colour: vibrant shades of green and
yellow contrast with the darker green tones behind, while the sky and
sea are depicted in bright shades of blue, separated by a thin strip
of warm ochre. Using a luminous palette, the artist has evoked the
radiance of the Mediterranean landscape. John Rewald has written,
[Bonnards] paintingsare covered with colours applied with a delicate
voluptuousness that confers to the pigment a life of its own and treats
every single stroke like a clear note of a symphony (J. Rewald, ibid., p.
48). Indeed, the entire surface of the canvas throngs with an array of
harmonious colours, illustrating Bonnards unique ability at transforming
the canvas into a decorative, highly coloured surface.
52
THE PROPERTY OF A GENTLEMAN
333
HENRI LEBASQUE (1865-1937)
Dans un jardin Champign
signed and dated H. LEBASQUE 94 (lower right)
oil on canvas
29 x 22 in. (73.5 x 56 cm.)
Painted in 1894
140,000-180,000
$220,000-280,000
200,000-250,000
PROVENANCE:
Charles & Andr Bailly, Paris.

Richard Green Gallery, London.
Private collection, United Kingdom, by whom acquired from the above in 1996.
LITERATURE:
D. Bazetoux, Henri Lebasque, Catalogue Raisonn, vol. I, Neuilly-sur-Marne,

2008, no. 19, p. 61 (illustrated pp. 4 & 61).
'If Impressionist painting is, as one says, the painting

of impressions, and the hours of life, Henri Lebasque is
very much an Impressionist painter'
(Henri Matisse, quoted in L. A. Banner & P. M. Fairbanks, Henri Lebasque, San Francisco, 1986).
54
334
ALFRED SISLEY (1839-1899)
La maison rose
signed Sisley (lower right)
oil on canvas
17 x 21 in. (45.5 x 54.3 cm.)
Painted in 1894
500,000-700,000
$780,000-1,100,000
700,000-970,000
PROVENANCE:
Jeanne Dietsh-Sisley, Paris; her sale, Htel Drouot, Paris, 3 June 1919, lot 9.
Anonymous sale, Htel Drouot, Paris, 11 May 1942, lot 106.
Madame Cibi, Paris; sale, Htel Drouot, Paris, 21 May 1951, lot 60.
Private collection, Paris, by 1959, and thence by descent to the present
owners.
LITERATURE:
F. Daulte, Alfred Sisley, Catalogue raisonn de luvre peint, Lausanne, 1959,

no. 832 (illustrated, n.p.).
Alfred Sisley, Le canal du Loing au printemps, 1892. Muse Marmottan, Paris.

akg-images
56
Capturing the quiet charm of a rural country scene, Alfred Sisleys La

maison rose demonstrates the artists unique ability at conveying the
idyllic, rustic landscape of the le-de-France. With varied and textured
brushstrokes and areas of rich impasto, La maison rose embodies
Sisleys quintessential Impressionist style, depicting the scene with a
rapidity and spontaneity that was characteristic of the movement.
Painted in 1894, La maison rose dates from a period during which
Sisley was living in Moret-sur-Loing, a town situated on the confluence
of the river Seine and river Loing. Sisley had moved to this area of
France in 1880 and from this point onwards, he immersed himself in
the landscape of the region, relishing the wealth of subject matter
that the river, town and surrounding countryside provided. Sisley often
painted the same view from a range of angles and viewpoints on a
number of occasions in order to capture the changing seasons and
transitory effects of light and weather. In La maison rose, Sisley has
conveyed the sun-dappled scene with a variety of rapid brushstrokes
that makes the surface of the painting vibrate with flecks of colour.
The poet Stphane Mallarm wrote of Sisleys work, Sisley seizes the
passing moment of the day; watches a fugitive cloud and seems to paint
it in its flight; on his canvas the live air moves and the leaves yet thrill
and tremble (S. Mallarm, R. Shone, Sisley, London, 1992, p. 118).
l335
PIERRE BONNARD (1867-1947)
La terrasse au bord de la mer
oil on paper laid down on canvas
31 x 48 in. (80.5 x 122.6 cm.)
Painted circa 1910
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
Misia Sert, Paris.

Gaston Gallimard, Paris.
Anonymous sale, Palais Galliera, Paris, 20 June 1968, lot 238.
Anonymous sale, Eric Pillon Enchres, Versailles, 9 June 1971, lot 134.
Anonymous sale, Htel Drouot, Paris, 19 March 1984, lot 93a.
Acquired at the above sale by the family of the present owners.
LITERATURE:
J. & H. Dauberville, Bonnard, Catalogue raisonn de luvre peint, Paris,

1974, vol. IV, no. 01975, pp. 302 & 435 (illustrated p. 302).
With four thumbtacks he had pinned a canvas, lightly tinted with

ochre, to the dining-room wall. During the first few days he would
glance from time to time, as he painted, at a sketch on a piece of paper
twice the size of ones hand, on which he had made notes in oil, pencil
and ink of the dominant colours of each little section of the motif. At
first, I could not identify the subject. Did I have before me a landscape
or a seascape? On the eighth day, I was astonished to be able to
recognise a landscape. From that time on Bonnard no longer referred
to a sketch. He would step back to judge the effect of the juxtaposed
tones; occasionally he would place a dab of colour with his finger, then
another next to the first. On about the fifteenth day, I asked him how
long he thought it would take him to finish his landscape. Bonnard
replied: I finished it this morning.
(Flix Fnon quoted in J. Rewald, Pierre Bonnard, New York, 1948, p. 51).
336
EDGAR DEGAS (1834-1917)
Portraits (Mme Ducros)
18 x 21 in. (46 x 55.5 cm.)
Painted in Rome circa 1857-1859
120,000-180,000
$190,000-280,000
170,000-250,000
PROVENANCE:
Ren de Gas, Paris, and thence by descent; sale, Htel Drouot, Paris, 10
Novembre 1927, lot 90.
Collection Aubry, Paris.
Acquired by the grandfather of the present owners, circa 1950s.
LITERATURE:
P.-A. Lemoisne, Degas et son uvre, vol. II, Paris, 1946, no. 42, p. 18
Edgar Degas, Portrait de Mme de Ducros, 1858.

Collection of the Muse Marmottan Monet, Paris.
Muse Marmottan Monet, Paris, France / Bridgeman Images
60
The Ducros and the Millaudon families were friends and neighbours
of the Mussons (Degass cousins) in New Orleans. In 1857-58, the
Ducros and the Millaudon families travelled to Europe together first
to Paris, and then to Rome, where Degas met them and painted their
portraits. The male figure at the right side of the composition has
been identified as either Monsieur Ducros, or their son. A completed
portrait of Madame Ducros in a long black coat, also executed in
Rome circa 1857-59, and for which the present lot appears to be a
closely related work, now hangs as part of the Rouart donation at
the Muse Marmottan Monet in Paris.
l337
MARIE LAURENCIN (1883-1956)
Les deux surs
signed Marie Laurencin (upper right)
oil on canvas
18 x 21 in. (46 x 54 cm.)
Painted in 1949
40,000-60,000
$63,000-93,000
56,000-83,000
62
PROVENANCE:
Private collection, a commission from the artist, and thence by descent to the
present owners.
LITERATURE:
D. Marchesseau, Marie Laurencin, Catalogue raisonn de luvre peint, Tokyo,

1986, no. 1265, p. 510 (illustrated; titled 'La mre et l'enfant').
338
EDGAR DEGAS (1834-1917)
Portrait d'homme d'aprs un matre famand
with the estate stamp 'ATELIER ED DEGAS' (Lugt 657; on the reverse)
oil on paper laid down on board
11 x 10 in. (29.9 x 25.9 cm.)
Executed circa 1870
80,000-120,000
$130,000-190,000
120,000-170,000
PROVENANCE:
The artist's estate.

Anonymous sale, Galerie Charpentier, Paris, 24 March 1955, lot 229.
Probably acquired at the above sale by the grandfather of the present owners.
Professor Theodore Reff has stated that in his opinion this work is by
Edgar Degas.
Together with Ingrs, Delacroix and Czanne, Degas was one of
the most passionate and convinced copyists of his time.He was
a follower of the Old Masters and at the same time a founder of
modern painting; and in Degas this is not a contradiction. It would
not be right to see him as a Janus fgure, looking straight back and
straight ahead; rather, keeping within the ground rules of painting as
laid down by the Old Masters, he managed to unearth the principles
of the new.
E. Maurer, Degass Copies, in Degas Portraits, exh. cat., London,
1994, p. 151.
339
CAMILLE PISSARRO (1830-1903)
Route Louveciennes
stamped with the initials C.P. (Lugt 613a; lower right)
oil on canvas
16 x 12 in. (43 x 30.4 cm.)
Painted circa 1870
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Ludovic-Rodolphe Pissarro, Paris, by descent from the artist in 1904.

Galerie Marcel Flavian, Paris.
M. Knoedler & Co., Inc., New York, by whom acquired from the above in
January 1962.
Adeline and Caroline Wing, New York, by whom acquired from the above in
October 1962.
Catherine Gde, Palm Beach.
Trosby Galleries, Palm Beach.
Private collection, Illinois, by whom acquired from the above in 1971; sale,
Christies, New York, 4 November 2004, lot 262.
Private collection, United States, by whom acquired at the above sale; sale,
Christies, New York, 9 May 2013, lot 225.
LITERATURE:
L.-R. Pissarro & L. Venturi, Camille Pissarro, son art, son uvre, vol. I,
San Francisco, 1989, no. 101, p. 93 (illustrated, vol. II, pl. 20; titled
Louveciennes).
J. Pissarro & C. Durand-Ruel Snollrts, Pissarro, Catalogue critique des
peintures, vol. II, Paris, 2005, no. 167, p. 146 (illustrated).
Louveciennes, a charming village located ten miles west of Paris, in

the lush Seine valley near Versailles and the Forest of Marly, is often
described as the "cradle of Impressionism". Louveciennes and its
surrounding area attracted a number of artists who often painted
its environs. Claude Monet and Pierre-Auguste Renoir were painting
in the area when Pissarro arrived there in 1869. Alfred Sisley would
join them two years later. Pissarro settled his family in Louveciennes
between Spring 1869 and August 1872, with an interlude frst in
Montfoucault and then in London where he was forced to take refuge
during the 1870-1871 Franco-Prussian War. Pissarro sought a new
tonality in his work during the years he spent in Louveciennes. He
created a more direct and honest depiction of the view before him,
painting en plein air in order to capture the true impression of the
world he observed.
All four of these artists began to show an increasing interest in light,
colour and atmosphere as they were related to the times of the day
and the changing seasons. Pissarro described himself at this time as
feeling the elation of reaching a peak of discovery. He wrote to his son
Lucien in April 1895, 'I remember that, although I was full of ardor,
I didnt conceive, even at forty, the deeper side of the movement we
followed instinctively. It was in the air!' (quoted in J. Rewald, ed.,
Camille Pissarro, Letters to his son Lucien, New York, 1943, p. 265).
The critic Thodore Duret commented on Pissarros work from
Louveciennes: 'In certain ways Pissarro is a realist [yet he] is not a
realist to the extreme point where, as with some other artists, he
sees nothing in nature but its real and external aspect, and remains
oblivious to natures soul and its intimate dimension. On the contrary,
he endows his slightest canvases with a feeling of life' (quoted in J.
Pissarro, Camille Pissarro, New York, 1993, p. 58).
64
340
PIERRE-AUGUSTE RENOIR (1841-1919)
Paysage avec un ruisseau
oil on canvas
11 x 13 in. (28 x 33.2 cm.)
Painted in Cagnes circa 1896-1900
150,000-200,000
$240,000-310,000
210,000-280,000
PROVENANCE:
Galerie Bernheim-Jeune et Cie., Paris.

Roland, Browse & Delbanco, London.
Viscount Radcliffe, London; sale, Sothebys, London, 15 April 1970, lot 14.
M. Nixon, by whom acquired at the above sale.
Anonymous sale, Christies, London, 30 June 1980, lot 20.
LITERATURE:
G.-P. & M. Dauberville, Renoir, catalogue raisonn des tableaux, pastels,

dessins et aquarelles, vol. III, 1895-1902, Paris, 2010, no. 1920, p. 135
(illustrated).

Pierre-Auguste Renoir being prepared by the Wildenstein Institute
established from the archives of Franois Daulte, Durand-Ruel, Venturi,
Vollard and Wildenstein.
Following his trip to Italy in 1881 Renoir became preoccupied with the
classical traditions of the paysage compos. Renoir was keen to portray
an Arcadian vision of the French landscape, which was natural and
unchanging, choosing to depict unspoilt views, free from any signs
of industry or modern life. Paysage avec un ruisseau, painted circa
1896-1900, is one of the fnest examples of this period, beautifully
illustrating the artists romantic visions of the French countryside,
highlighting its timeless values and picturesque charm.
Disillusioned with the transience of Impressionist painting, Renoir now
aimed to capture a luminosity in his pictures, whilst still respecting
the integrity of forms. Renoir sought to mirror Cezannes success of
incorporating the classical lessons of pictorial structure, balance and
monumentality within his work, while still maintaining his individual
approach to painting. Inspired by his trip to Italy and the work by
Renaissance masters, such as Raphael and Veronese, he saw there,
Renoir now strove to depict a unifed and harmonious cohesive
surface, manipulating light, tone and form to create a weightier and
more monumental aesthetic.
66
Renoirs search for luminosity is achieved in Paysage avec un ruisseau.

Here Renoir perfectly describes the brilliance of sunlight applying a
loose and visceral brushstroke to create a haze of bright, blended
tonalities, pairing rich blue and mauve tones, alongside light green and
yellow hues, to create dramatic contrasts of light and shadow. Renoir
described his joy of such practices; I have perpetual sunshine and I can
scrub out and begin again as often as I like So I am staying in the
sun not to paint portraits in full sunlight, but while I am warming
myself and looking hard at things I hope I will have acquired some of
the grandeur and simplicity of the old masters (quoted in F. Fosca,
Renoir, London, 1964, pp. 146-7).
Accuracy to detail is now abandoned in favour of a unifed and
balanced aesthetic. In a letter to Madame Charpentier in 1882 Renoir
wrote: So, by looking around outside, I have fnished by seeing only
the broad harmonies, and am no longer preoccupied with the little
details, which only extinguish the sunlight, instead of increasing its
brilliance (, ibid., p. 147). Renoirs ambition to focus on the wider
harmonies and create a cohesive pictorial surface comes to fruition
in Paysage avec un ruisseau. Concentrating on the ambience and
atmosphere of the place, Renoir omits detail, only loosely painting
the landscape, so that the trees are now a furry of mottled greens,
set against the scurried blue brushstrokes of the water and sky, with
only a few particulars, such as the reeds, bark and bird identifying
the brook. By applying such a loose, yet dynamic brush, Renoir grants
the impression of wind and air, indicated in the rippling water and
undulating trees. Renoir deploys a more fuid and harmonious manner
of painting, moving away from the staccato brushstrokes of his earlier
years, using the delicate fickering touch of his brush to bring life
to the scene. Albert Andr attributes this lustrous effect to Renoirs
technique of painting, he describes: using pure colours thinned with
spirit, as if he were painting a water-colour, he quickly brushes over
the canvas and something vague and iridescent appears, with the
colours all fowing into one another it looks wonderful even before
one can grasp its meaning (ibid., 1964, p. 167).
THE PROPERTY OF A PRIVATE ENGLISH COLLECTOR
341
Jeune flle au chapeau
signed Renoir. (lower right)
oil on canvas
16 x 13 in. (41.3 x 33 cm.)
Painted circa 1895
400,000-600,000
$630,000-930,000
560,000-830,000
PROVENANCE:
Ambroise Vollard, Paris.

Galerie Bernheim-Jeune, Paris (no. 26838), by whom acquired from the
above on 12 November 1936.
Turner, London, by whom acquired from the above on 12 November 1986.
Galerie Druet, Paris.
M. Knoedler & Co., Inc., New York.
Anonymous sale, Christies, London, 4 April 1978, lot 15.
LITERATURE:
A. Vollard, Tableaux, Pastels & Dessins de Pierre-Auguste Renoir, vol. II, Paris,
1919, (illustrated t. II, p. 29).
G.-P. & M. Dauberville, Renoir, Catalogue raisonn des Tableaux, Pastels,
Dessins et Aquarelles, vol. III, 1895-1902, no. 2214, p. 293 (Illustrated).
This painting will be included in the forthcoming Renoir catalogue

critique being prepared by the Wildenstein Institute and established
from the archive funds of Franois Daulte, Durand-Ruel, Venturi,
Pierre-Auguste Renoir, Jeune flle dans les feurs or Femme au

chapeau blanc, circa 1895. Sold, Christies, New York, 8 May
2013, lot 44 ($2,139,750).
Christie's Images Limited (2013)
In 1895, Renoir and his wife bought a house in Essoyes, her home
village, where they would spend the summers away from the heat
of Paris. Renoir felt very much at home in this charming village in
the Champagne-Ardennes region, surrounded by Alines family and
friends. At this time, while he continued to receive and work on
lucrative large-scale society-portrait commissions, his private work
focused on informal portraits of family members and friends.
Judging by the dress of the young sitter and the sun dappled background,
Jeune flle au chapeau appears to date from one of these rural summer
idylls. To achieve a natural, relaxed effect, he asked his sitters to present
themselves in their normal manner, so that the fnished result would
be true to modern life. The present sitter appears at ease, her smiling,
radiant countenance good-naturedly directed towards the artist. Jeune
flle au chapeau is representative of the artists concerns, not only in its
choice of subject but also in its painterly treatment and its palette of subtly
modulated yellow, green and earth tones punctuated with large areas of
wonderously luminous white on the young womans hat and dress. As
the art critic Octave Mirbeau wrote, He is truly the painter of women,
alternatively gracious and moving, knowing and simple, and always
elegant, with an exquisite visual sensibility...he also gives a sense of the
form of the soul, all womans inward musicality and bewitching mystery
(quoted in N. Wadley, ed., exh. cat., Renoir, A Retrospective, New York,
1987, p. 165).
Renoir immediately sought what was most living and most personal in
his sitter. When painting a woman, he sought to reveal that which still
remained from the child within - the luminous softness of the skin, her
delicate fesh, and the character of her inner youth. As George Rivire
was to comment: In Renoirs fgure painting, portraiture deserves
a place unto itself. For no other artist has looked so deeply into his
sitters soul, nor captured its essence with such economy (quoted in C.
Bailey, Renoirs Portraits, Impression of an Age, Ottawa, 1997, p. 1). In his
female portraits, Renoir paints with sympathy and sensibility but never
submits to the negative constraints of portraiture: Without judgement,
he captures the presence of his model. As he viewed it, the face was
the eyes and the mouth - the rest was but a caress. The eyes and the
mouth enclose the beauty and femininity of a woman, while being
the portals of the human being leading towards the soul and into the
fesh (M. Florisone, Renoir, London, 1942, p. 26).
*342
JUAN GRIS (1887-1927)
Portrait de jeune flle
signed and dated Juan Gris 1922 (lower right)
oil on canvas
25 5 x 21 in. (64 x 54 cm.)
Painted in 1922
250,000-350,000
$390,000-540,000
350,000-490,000
PROVENANCE:
Galerie Simon, Paris (no. 7435).

Galerie Louise Leiris, Paris (no. 14887).
Gustave Leven, Paris.
Anonymous sale, Sothebys, London, 27 June 1989, lot 49.
EXHIBITED:
Paris, Galerie Simon, Juan Gris, 1923, no. 45.

Ste, Muse Paul Valry, Juan Gris, Rimes de la forme et de la couleur,
June October 2011, pp. 134-135 (illustrated p. 135)
LITERATURE:
D.-H. Kahnweiler, Juan Gris: sa vie, son uvre, ses crits, Paris, 1946.
J. A. Gaya Nuo, Juan Gris, Barcelona, 1984, no. 168, pp. 144 & 242
D. Cooper, Juan Gris, Catalogue raisonn de luvre peint, vol. II, Paris, 1977,
no. 406, p. 228 (illustrated p. 229).
Painted in 1922, Portrait de jeune fille encapsulates Juan Griss

late style: using rhythmic lines and repeated shapes the artist has
imbued the composition with a sense of pictorial concord and visual
harmony. With a palette of soft, harmonious colours, Gris has created
a chromatic unity: the same violet is used for the curtains framing the
woman, her loosely ftting dress and the shadow that falls over her
face, uniting the various elements of the composition.
During the First World War, Gris had embraced the call to order
which dominated the Parisian avant-garde: artists increasingly looked
to the past as inspiration for their art, incorporating a sense of stability,
harmony and clarity into their work; the aesthetics of classicism.
Gris left the fractured forms of analytical cubism behind and began
to incorporate a sense of pictorial unity and poetic lyricism into his
work, as can be seen in Portrait de jeune fille. Griss dealer and friend,
Daniel-Henry Kahnweiler said of the artists work at this time, Towards
the end of his life Gris attained to the noblest simplicity of which
painting is capable: not a bloodless classicism, but a true classical spirit,
imbued with controlled emotion (D-H. Kahnweiler, Juan Gris: His Life
and Work, London, 1969, p. 150).
At the time that Gris painted Portrait de jeune fille, he was living
in Cret, in the south of France. Having recovered from a bout of
pneumonia in 1920, Gris began enthusiastically painting some of the
most accomplished works of his career. It was also in these years,
before Griss untimely death at the age of forty, that he was beginning
to achieve a certain prosperity and professional success. The year after
Portrait de jeune fille was painted, Kahnweiler held a major exhibition
of Griss work at his Galerie Simon in Paris, which was well received.
His paintings were selling well, and in 1925, Gris turned down a
contract with renowned Parisian art dealer, Paul Rosenberg, a sign of
his increasing fnancial security and artistic renown.
Juan Gris, Seated Harlequin, 1923. UMMA, Michigan.

University of Michigan Museum of Art, Gift of the Carey Walker Foundation, 1994/1.71.
70
l343
JEAN METZINGER (1883-1956)
Carafe en cristal et lunettes
signed J Metzinger (lower left)
oil on canvas
21 x 15 in. (55 x 38 cm.)
Painted circa 1940
35,000-55,000
$55,000-86,000
49,000-77,000
72
PROVENANCE:

This work will be included in the forthcoming Jean Metzinger

catalogue critique currently being prepared by Bozena Nikiel.
PROPERTY FROM A PRIVATE GERMAN COLLECTION
l344
Les trois vases
signed Herbin (lower right)
oil on canvas
28 x 23 in. (73 x 59.6 cm.)
Painted in 1904
PROVENANCE:
Private collection, Germany, by whom acquired in the 1990s.

LITERATURE:
G. Claisse, Herbin, Catalogue raisonn de luvre peint, Lausanne, 1993,

no. 43, p. 286 (illustrated).
60,000-80,000
$94,000-120,000
84,000-110,000
73
PROPERTY FROM AN IMPORTANT PRIVATE ITALIAN COLLECTION
l345
FERNAND LGER (1881-1955)
Composition
dated and signed 45 F.LEGER (lower right)
oil on canvas
16 x 20 in. (42.4 x 52.1 cm.)
Painted in 1945
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
Galerie Louis Carr, Paris.

Frank Elgar, Paris.
Anonymous sale, Christies, London, 26 March 1984, lot 31.
Galleria Gian Ferrari, Milan.
Acquired from the above by the present owner in the late 1980s.
LITERATURE:
G. Bauquier, Fernand Lger, Catalogue raisonn, vol. VII, 1944-1948, Paris,

2000, no. 1197, p. 80 (illustrated).
Fernand Lger's Composition of 1945 displays the playful lyricism

and dynamism that characterised artist's works during this period.
From the 1930s onwards, Lger endeavored to create a new artistic
language, which would be an appropriate expression of the realities
of modern day life. This pictorial language would not aim for mimetic
reproduction but instead for an abstraction, which inspired by nature
and the imagination, would fnd a balance between familiar imagery
and the architectural function of painting, which in turn would stress
the permanence of man. Lger compared his pictorial language with
the ever-changing spoken language. In a 1937 essay entitled The New
Realism Goes On, Lger wrote, All down the ages, the people have
gone on inventing their language, which is their own form of realism.
This language is unbelievably rich in substance. Slang is the fnest
and most vital poetry that there is... This verbal form represents an
alliance of realism and imaginative transposition; it is a new realism,
perpetually in movement (quoted in E.F. Fry, ed., Art and the
People, in Functions of Painting, New York, 1973, p. 118).
Lger strove to create a popular art, which would be universally
communicative and receptively engaging to all walks of life. Peter de
Francia observed that, Intensity of reality is achieved by the contrast of
prosaic objects with pictorial artifce... Lgers paintings are exorcised
of mystery. Formalised elements, used sparingly, invalidate any
tendency to interpret fguration in terms of naturalism... Each element
is completely predictable and readable (ibid., p. 228).
74
This readability was important to Lger, who did not want his art to be
a philosophical refection on the issues if the day. Instead he wished
for his work to be a departure from the hardships of war and aimed to
promote an optimistic aesthetic, which would place his art in the wider
context of human history and would act as a sign of human endurance
and hopefulness.
In Composition Lger captures the effect of light and depth by
juxtaposing fat shapes of contrasting form and colour, their contours
highlighted by thick black outlines, a feature which characterised his
work. This interplay of rhythms and harmonies creates a dynamism and
sense of movement, which became synonymous with the artists later
uvre. Displaying the vibrancy and exuberance of Lgers palette, the
present work showcases the artists experimental and expressive use of
colour, which he described in 1937, as being an elemental force, as
indispensable to life as water and fre (ibid., p. 117). Colour became
the defning drive behind Legers work, with him later in 1938,
asserting: colour can enter into play with a surprising and active force
without any need to incorporate instructive or sentimental elements.
A wall can be destroyed by the application of pure colors... A wall can
be made to advance or recede, to become visually mobile. All this with
colour (ibid., p. 123).
Lgers renewed interest in colour and the increased energy and
dynamism in his work, can be indebted, in part, to his move to the
United States. Emigrating in 1940 at the outset of the Second World
War, he would remain there for the next fve years. Here he was
struck by the vastness of the American landscape and the energetic
dynamism he found in New York: During these years in America I
do feel I have worked with a greater intensity and achieved more
expression than in my previous work. In this country there isan
increased sense of movement and violence... I prefer to see America
through its contrasts--its vitality, its litter and its waste... What
has come out most notably in the work I have done in America is
in my opinion a new energy--an increased movement within the
composition (quoted in Fernand Lger, exh. cat., The Museum of
Modern Art, New York, 1998, p. 234).
PROPERTY FROM A EUROPEAN DISTINGUISHED COLLECTION
l346
Nature morte aux biscuits
signed and dated herbin 17 (lower left)
oil on canvas
39 x 28 in. (99.9 x 73 cm.)
Painted in 1917
140,000-180,000
$220,000-280,000
200,000-250,000
PROVENANCE:
Galerie LEffort Moderne [Lonce Rosenberg], Paris (no. 5021).

Galerie Sept, Paris.
Acquired by the family of the present owner in the 1960s.
EXHIBITED:
Paris, Fondation Mercedes-Benz, Le mouvement et la vie (A la recherche du

mouvement dans lArt Moderne), November - December 1971, no. 22, p. 22
(illustrated; titled Composition).
LITERATURE:
G. Claisse, Herbin, catalogue raisonn de luvre peint, Lausanne, 1993, no.

352, p. 341 (illustrated).
Painted in 1917 Nature morte aux biscuits marks a period of signifcant

transformation in the career of Auguste Herbin, when his works
moved from a cubist style towards a more abstract language. Herbin
had begun to experiment with Cubism in 1909 when he moved to
Bateau-Lavoir, where he shared a studio with Pablo Picasso, Georges
Braque and Juan Gris. However with the outbreak of the First World
War in 1914, his painting was put on hold and he was recruited into
working at an aeroplane factory near Paris.
Not unlike the Analytic Cubism of 1910-1912, objects are here

dissected into multiple facets, which are in part reassembled to evoke
objects, however colour is not reduced to near-monochromatic
tones but instead is a mirage of bright tonalities. Deploying a series
of abstracted graphic elements, Herbin emphasises the superfciality
and manipulation of image making, and yet still succeeds to engage
the viewer, intriguing them with clues and the promise of a hidden
detectable picture.
Returning to his art in 1917 Herbin developed a more abstract

and geometrical aesthetic, which would lead the way for his New
Objectivity style in the 1920s and pure abstraction in the 1930s.
As seen in Nature morte aux biscuits, canvases were now divided
into interlocking sections of different colours and patterns, creating
a surface of seemingly superimposed planes. Eschewing any form
of representation, Herbin creates a visual space that is determined
by the relation of geometry and colours. By juxtaposing layers of
different tones, patterns and seemingly different textures, Herbin
creates a highly striking and dynamic, yet ultimately unreadable
image. Discernable only by the title and one or two clues, such as the
fower insignia to the right and the central pink swirling motif, which
could signify the edge of the table, Herbin creates a uniquely stylised
image, which rejects nature and the traditional notions of perspective,
modeling and foreshortening.
Herbins burgeoning abstract style, exemplifed by Nature morte aux

biscuits attracted the attention of the art dealer Lonce Rosenberg,
who invited Herbin to exhibit at his Galerie de lEffort Moderne.
Herbins continued devotion to geometrical abstraction earnt him
a considerable international reputation and left a lasting infuence
on younger abstract artists, substantiating him as one of the most
signifcant abstract artists of the day.
76
77
l*347
PABLO PICASSO (1881-1973)
Compotier, bouteille, guitare devant une fentre ouverte
signed and dated Picasso 19 (lower left)
oil on canvas
8 x 8 in. (21 x 21 cm.)
Painted in 1919
600,000-800,000
$940,000-1,200,000
840,000-1,100,000
PROVENANCE:
Paul & Marguerite Rosenberg, Paris, and thence by descent; sale, Christies,
Paris, 3 December 2007, lot 9.
EXHIBITED:
New York, Paul Rosenberg & Co., Picasso: An American Tribute, April - May
1962, no. 8 (illustrated).
LITERATURE:
C. Zervos, Pablo Picasso, uvres de 1917 1919, vol. 3, Paris, 1949, no. 421,
The Picasso Project, eds., Picassos Paintings, Watercolors, Drawings and
Sculpture, From Cubism to Neoclassicism, 1917-1919, San Francisco, 1995,
no. 19-291, p. 259 (illustrated).
J. Palau i Fabre, Picasso: From the Ballets to Drama, 1917-1926, Barcelona,
1999, no. 523, pp. 159 & 500 (illustrated p. 159).
Merging a certain austerity of forms with a subtle lyricism, Compotier,

bouteille, guitare devant une fentre ouverte explores a theme that,
in 1919, obsessively interested Picasso: the still life before an open
balcony window. The motif had frst surged in the artists work during
the summer of that year. In late July, Picasso and Olga had returned
to Paris from London and probably forced by the suffocating heat
of the city resorted to spend the rest of the summer on the CtedAzur. They thus settled at Saint-Raphal, where they would remain
until September.
It was there, in his hotel room with vista, that Picasso frst discovered
the lyrical charm and pictorial interest of a still life placed on a table
in front of an open balcony window. Merging two pictorial genres,
interior scene and still life, calling for drastic effects of light and
uniting elements of profound melancholic spirit the window, the
sea, abandoned objects the theme immediately sparked Picassos
imagination, spurring a series of variations. The moment was cathartic:
The whole charge of Mediterranean man that Picasso carried inside
him, Josep Palau i Fabre explained, and which had been bottled up
during those years (either in Paris, in Biarritz or in London) now burst
forth in a series of compositions based on the same subject, a table
covered with scarcely identifable household utensils in front of a wide
open window, through which the blue of the sky, the blue of the sea,
and the breeze charged with sea salt but, above all, with blue sunlight,
food the room (quote in Josep Palau i Fabre, Picasso : From the
Ballets to Drama 1917-1926, Barcelona, 1999, p. 154).
Exploring a more muted combination of hues, Compotier, bouteille,
guitare devant une fentre ouverte may have been executed after
Picassos return to Paris in the autumn, when the radiant blue of
Southern France had become a memory, tinted by the reality of Pariss
Haussmannian greys. In Compotier, bouteille, guitare devant une
fentre ouverte, the shift of environment gave birth to harmonies
of subdued tones, creating a sense of crisp, wintery light, which is
corresponded in form by a rigorous and ordered geometry. While
Picasso had been in London, the art dealer Paul Rosenberg had
suggested him to attempt various views of a same subject in different
conditions of light, like Claude Monet had done, in the same city,
almost two decades earlier. Picasso proudly ignored the dealers
proposition, yet variations such as Compotier, bouteille, guitare devant
une fentre ouverte resonate with Rosenbergs idea, offering an
Pablo Picasso, Nature morte sur un guridon devant une

fentre, 1919. Private collection.
akg-images
Succession Picasso/DACS, London 2015.
urban, melancholic counterpart to the languid, sensuousness of the

Mediterranean balconies. Indeed, that same year, Picassos still lives
before a window would be exhibited by Rosenberg as a series, as part
of an exhibition of the artists drawings and watercolours at his gallery.
The present work must have particularly charmed the enthusiastic art
dealer, as he acquired it for his personal collection, and it remained in
his family for almost 90 years.
PROPERTY FROM A PRIVATE ITALIAN COLLECTION
l348
ROBERT MARC (1943-1999)
l349
FERNAND LGER (1881-1955)
Untitled
Composition abstraite
signed ROBERT MARC= (lower centre);

signed again ROBERT MARC= (on the reverse)
oil on canvas
51 x 38 in. (129.7 x 96.8 cm.)
signed and dated F.LEGER 41 (lower right)

oil on Masonite
22 x 15 in. (56 x 40.4 cm.)
Painted in 1941
10,000-15,000
150,000-250,000
$16,000-23,000
$240,000-390,000
14,000-21,000
210,000-350,000
PROVENANCE:
PROVENANCE:
The artists studio, and thence by descent to the present owner.
Nelson A. Rockefeller, New York, by whom acquired directly from

the artist.
Marlborough Galerie A.G., Zurich, by whom acquired form the
above.
Private collection, United Kingdom; sale, Christies, New York, 15
May 1997, lot 433.
Private collection, Italy, by whom acquired at the above sale.
Galleria Marescalchi, Bologna.
Acquired from the above by the grandfather of the present owner.
This work will be included in the forthcoming Robert Marc

catalogue raisonn in preparation by Annie Fromentin-Sangnier
EXHIBITED:
New York, Marlborough Gallery, Masters of the 19th and 20th

Centuries, Summer 1972, no. 27 (illustrated); this exhibition later
travelled to London, Marlborough Fine Art, no. 38 (illustrated).
LITERATURE:
G. Bauquier, Fernand Lger, Catalogue raisonn de luvre peint,

vol. VI, 1938-1943, Paris, 1998, no. 1073, p. 146 (illustrated p. 147).
Lot 348
80
Lot 349
81
PROPERTY FROM A EUROPEAN GENTLEMAN
l350
ALBERTO MAGNELLI (1888-1971)
Altitude magntique II
signed and dated Magnelli 46 (upper left); signed, dated and inscribed
Magnelli Altitude Magntique II Paris 1946 (on the reverse)
oil on canvas
51 x 38 in. (130.5 x 97.6 cm.)
Painted in Paris in 1946
50,000-80,000
$78,000-120,000
70,000-110,000
82
PROVENANCE:
Galleria Lorenzelli, Bergamo.

EXHIBITED:
Bergamo, Galleria Lorenzelli, Alberto Magnelli, June 1968, no. 9 (illustrated).

Turin, Galleria d'Arte Martano, Alberto Magnelli, November 1968, no. 4.
Milan, Galleria San Fedele, Alberto Magnelli, January - February 1969, no. 4.
LITERATURE:
A. Maisonnier, Alberto Magnelli, Luvre peint, catalogue raisonn, Paris,

1975, no. 571, p. 131 (illustrated p. 130).
l351
ALBERTO MAGNELLI (1888-1971)
Systme complexe
PROVENANCE:
signed and dated Magnelli - 37 (lower right)

oil on canvas
31 x 46 in. (81.6 x 116.8 cm.)
Painted in 1937
The artists estate, until at least 1975.

Galerie Sapone, Nice.
Private collection, France, by whom acquired from the above in 1989.
40,000-60,000
A. Maisonnier, Alberto Magnelli, Luvre peint, catalogue raisonn, Paris,

1975, no. 479, p. 116 (illustrated p. 117).
LITERATURE:
$63,000-93,000
56,000-83,000
83
THE PROPERTY OF AN IMPORTANT BELGIAN COLLECTOR
l352
MARINO MARINI (1901-1980)
Miracolo di colore
signed, dated and inscribed MARINI 1955 MIRACOLO di Colore (on the reverse)
47 x 33 in. (121.6 x 85 cm.)
Painted in 1955
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
Carlo Bilotti, New York, by 1970.

Christian Fayt Art Gallery, Knokke-Heist.
Acquired from the above by the present owner on 13 November 1987.
EXHIBITED:
Rome, Palazzo Venezia, Marino Marini, March - June 1966.

Milan, Galleria Toninelli, 15 dipinti di Marino Marini, October - November 1967.
LITERATURE:
F. Russoli, Marino Marini, Milan, 1966, no. 86, p. 122 (illustrated).

A. M. Hammacher, Marino Marini, sculpture, painting, drawing, London,
1970, no. 249 (illustrated).
H. Read, P. Waldberg & G. di San Lazzaro, Marino Marini, Complete Works,
New York, 1970, no. 225, p. 427 (illustrated p. 433).
This work is sold with a photo-certifcate from the Fondazione

Marino Marini.
Painting is a vision of colour. Painting means

entertaining the poetry of fact; and in the
process of its making the fact becomes true.
In colour, I looked for the beginning of each
new idea. Whether one should call it painting
or drawing, I do not know.
(The artist quoted in Sam Hunter, Marino Marini, The Sculpture,
New York, 1993, p. 37).
Marino Marini, in his studio on one of his horses, 1952

Herbert List/Magnum Photos
DACS, London 2015
84
Dl353
GIORGIO DE CHIRICO (1888-1978)
Tempio in una stanza
signed G. de. Chirico (lower right)
oil on canvas
18 x 21 in. (46.7 x 55.2cm.)
Painted in Paris circa 1926
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
Paul Guillaume, Paris.

Chester H. Johnson Gallery, Chicago, by 1933.
Anonymous sale, Christies, New York, 11 May 1995, lot 362.
Private European collection, by whom acquired at the above sale; sale,
Christies, London, 16 October 2006, lot 204.
Private collection, London, by whom acquired at the above sale; sale,
Christies, London, 16 October 2014, lot 120.
EXHIBITED:
Chicago, The Art Institute, A Century of Progress, Exhibition of paintings and

sculpture lent from American Collections, June - November 1933, no. 771, p.
83 (dated 1929).
This work is sold with a photo-certificate from the Fondazione Giorgio

e Isa de Chirico, Rome.
Painted around 1926, Una camera nel museo is part of a group of
works in which Giorgio de Chirico transposed the landscape and
classical ruins of the outside world into panelled, claustrophobic
rooms. The idea for this new genre of imagery had surged from
another series of works of the time in which the artist had placed
domestic furniture into deserted, mysterious landscapes. The artist
perceived these two highly personal iconographies as complementary:
To the atmosphere of furniture stranded in the landscape corresponds
that of the temples and natures corners inserted into rooms (G. de
Chirico, quoted in P. Baldacci, G. Roos, De Chirico, Venice, 2007, p.
184). For de Chirico, the pairing of these two incompatible dimensions
unveiled new meanings in the objects or places portrayed.
Apparently depicting a room in a museum, Pittura Metafisica is centred
on an internal paradox, as it is seemingly the museum itself that has
been enclosed by the room. The temple, perched at the edge of a
rock, displays the classical architectural language that in the Nineteenth
Century was purposefully adopted for the construction of national art
galleries, with the aim of symbolising, through its reference to Ancient
Greece, ideals of civilisation, lineage and heritage.
86
Reversing this idea, in Una camera nel museo, de Chirico has replaced
the Classical statues that usually adorn the rooms of museums, with a
landscape, which for its reference to ancient Greece roots the cultural
space of the museum into a distant, mythological past. Acknowledging
de Chiricos ability to establish links between extraneous realities,
Jean Cocteau, in Le mystre lac of 1928, celebrated de Chirico as a
dpaysagiste, stressing his ability to estrange objects from their expected
context, revealing unknown facets of their being.
Evoking the effect of an illusionistic backdrop, works such as Una
camera nel museo introduce a theatrical dimension to de Chiricos
work, placing these pictures in the context of the artists scenography
career. In 1928, de Chirico would be commissioned with the design for
the set of Diaghilevs Ballets Russes 1929 production Le bal. Echoing
the artists own paintings, the scenography for that ballet introduced
fragments of landscape into a room, confirming de Chiricos deep
fascination and dedication to the theme of enclosed outdoors.
Ultimately, however, the imagery of works such as Una camera nel
museo was part of de Chiricos eccentric reinterpretation of Greek
classical antiquity, which the artist re-invented as his own, personal
mythology, governing the universe of his art. In particular, images
of nature enclosed in rooms became a symbol of the emotional
proximity of gods and humans so characteristic of Greek mythology.
De Chirico explained: The intrusion of Nature upon dwellings, as Ive
tried to suggest it, is reminiscent of the alliance between gods and
men that imbues all of Greek art. By participating in human life, the
gods became only more divine (Giorgio de Chirico, Some Perspectives
on my Art, pp. 248-254, in G. de Chirico, Hebdomeros, Cambridge
Massachusetts, 1992, pp. 251).
PROPERTY FROM AN IMPORTANT PRIVATE ITALIAN COLLECTION
l354
MASSIMO CAMPIGLI (1895-1971)
Le tenniste
PROVENANCE:
signed and dated CAMPIGLI 48.50 (lower right)

oil on canvas
16 x 27 in. (40.6 x 68.8 cm.)
Painted in 1948-1950
Galleria Schneider, Rome.

Brerarte, Rome, by February 1982.
Gissi Galleria dArte, Turin.
Galleria Gian Ferrari, Milan.
Acquired from the above by the present owner in the late 1980s.
30,000-50,000
EXHIBITED:
$47,000-78,000
42,000-70,000
Venice, Giardini della Biennale, XXIV Biennale di Venezia, June - September

1948, no. 19, p. 34 (titled Tennis; dated 1948).
Bologna, Galleria Marescalchi, Lo spechio di Giuditta: la favola senza fine di
Massimo Campigli, 1981, p. 54 (illustrated).
Acqui Terme, Palazzo Liceo Saracco, Massimo Campigli, July - September
1983, (illustrated).
LITERATURE:
N. Campigli, E. & M. Weiss, Campigli, catalogue raisonn, vol. II, Milan, 2013,
no. 48-033, p. 583 (illustrated).
88
FROM THE COLLECTION OF THE BARON PASQUALE CUTORE RECUPERO, SICILY
l355
Bagnanti
signed g. de Chirico (lower right)
oil on canvas
16 x 19 in. (40.4 x 50.5 cm.)
Painted circa 1948
40,000-60,000
$63,000-93,000
56,000-83,000
PROVENANCE:
Galleria dellObelisco, Rome, by whom acquired directly from the artist.

Acquired from the above by the father of the present owner.
EXHIBITED:
[Possibly] Rome, Galleria dellObelisco, Paesaggi di Roma di Giorgio de

Chirico, 1950.
This work is sold with a photo-certifcate from the Fondazione Giorgio

e Isa de Chirico, Rome.
89
l356
ANDR MASSON (1896-1987)
Porteuse doffrandes
signed with the initials AM (lower left)
oil on canvas
19 x 24 in. (49.8 x 61 cm.)
Painted in 1965
25,000-35,000
$39,000-54,000
35,000-49,000
90
PROVENANCE:
Espace Carole & Brimaud, Paris.

The Comit Andr Masson has confrmed the authenticity of this work.
PROPERTY FROM AN IMPORTANT PRIVATE SWISS COLLECTION
l*357
VICTOR BRAUNER (1903-1966)
Lion, Lumire, Libert
signed and dated *VICTOR BRAUNER* 9*9*1945* (lower right)
encaustic painting on board
22 x 30 in. (56.8 x 77 cm.)
Executed on 9 September 1945
50,000-80,000
PROVENANCE:
Alexander Iolas Gallery, New York.

Galerie Jacques Benador, Geneva.
EXHIBITED:
Paris, Galerie Cahiers dArt, Victor Brauner, 1947.

New York, Hugo Gallery, Victor Brauner, April 1949.
$78,000-120,000
70,000-110,000
Sammy Kinge has confrmed the authenticity of this work.
91
l*358
MAX ERNST (1891-1976)
Untitled (Soleil orange)
signed max ernst (lower right)
oil on canvasboard
9 x 13 in. (24 x 33 cm.)
Painted circa 1956
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Lucie and Pierre-Andr Weill, Paris, by 1998.

Anonymous sale, Htel Drouot, Paris, 10 April 1987, lot 96.
LITERATURE:
W. Spies, S. & G. Metken, Max Ernst, Werke 1954-1963, Cologne, 1998,

From the early 1960s, Max Ernst began to explore new avenues in
his art. Instead of placing his imagery in a deep, illusionistic space, or
using geometry or elements of cubism to compose the picture plane,
he increasingly adopted the practice of American postwar abstraction
in treating the canvas as an absolutely fat surface on which the artist
posited marks or signs.
The route to this new sense of fatness and a decentralized, 'all-over'
composition came by way of techniques that he developed in the
1920's: collage and frottage. He collected border-strips of wallpaper
and other fat objects in local markets, which he attached to fat,
painted surfaces, creating a series of large, elegantly composed panel
collages that form an interesting counterpart to Robert Rauschenberg's
rougher and more sprawling combine paintings. He further developed
his method of frottage, the practice of creating an impression of
the texture and confguration of a fat object by placing it beneath
the paper sheet and rubbing the surface with charcoal or pencil.
He invented this technique in 1925, and had already adapted it to
painting on canvas, which entailed 'the scraping of pigments upon a
ground prepared in colours and placed on an uneven surface' (from
'On Frottage', trans. D. Tanning, in H.C. Chipp, ed., Theories of
Modern Art, Berkeley, 1968, p. 429).
This practice is also related to the technique of intaglio etching, in
which the artist incises the image through a thin coat of the etching
ground applied to a metal plate. Around the time of Untitled (Soleil
orange), Ernst was working on his etchings for the book Maximiliana,
ou L'exercice illgal de l'astronomie (published in Paris, 1964; W.
Spies, Max Ernst, Das Graphische Werk, no. 95), and the use of the
etcher's needle may have once again suggested to the artist the idea
of scraping the canvas.
Max Ernst standing amid several of his paintings in his studio. Photographed by
Claude Huston / Pix Inc. / The LIFE Images Collection / Getty Images.
Claude Huston / Getty Images DACS 2015
92
Untitled (Soleil orange) was created by preparing the entire canvas

with a red ground, and then applying a coat of black paint over it.
Ernst then scraped away the still wet black paint, revealing a great
effect of relief, lending the surface impressive texture and substance.
The shape of the orange sun was then painted into the drying
painted surface.
93
PROPERTY FROM AN IMPORTANT PRIVATE SWISS COLLECTION
*359
JEAN (HANS) ARP (1886-1966)
Ptolme II
stamped with the artists monogram and numbered HA 2/3;
stamped with the foundry mark Susse Fond. Paris (underneath)
bronze with golden brown patina
Height: 40 in. (101.6 cm.)
Conceived in 1958 and cast in bronze in an edition of fve, numbered 00/3 to 3/3;
this example cast in January 1961
150,000-250,000
$240,000-390,000
210,000-350,000
PROVENANCE:
Galerie Lawrence, Paris.

Sylvia and Joseph Slifka collection, New York.
Harold Diamond, New York.
Stella Fishbach, New York.
Mitchell-Innes & Nash, New York, by whom acquired from the above in 1996.
Simon Studer Art, Geneva.
LITERATURE:
E. Trier, Jean Arp, Sculptures 1957-1966, London, 1968, no. 167, p. 107
(another cast illustrated pl. 14).
L. Jianou, Jean Arp, Paris, 1973, p. 75.
S. Fauchereau, Arp, Barcelona, 1988, no. 101, p. 82 (another cast illustrated).
A. Hartog & K. Fischer, Hans Arp, Skulpturen, Eine Bestandsaufnahme,
Ostfldern, 2012, no. 167, p. 132 (another cast illustrated).
94
PROPERTY FROM A PRIVATE COLLECTION, PALMA DE MALLORCA
l360
JOAN MIR (1893-1983)
Femme (Woman)
signed and numbered Mir E.A. 1/1 and stamped with the foundry mark
'CIRE A. VALSUANI PERDUE' (at the lower back)
painted bronze
Conceived in 1971 and cast in a numbered edition of two, plus one artists proof
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
Acquired directly from the artist by the present owner.

LITERATURE:
A. Jouffroy & J. Teixidor, Mir Sculptures, Paris, 1980, no. 199, p. 239
Exh. cat., Mir, Martigny, 1997, no. 107, p. 215 (another cast illustrated p. 196).
Exh. cat., The Shape of Color: Joan Mir Painted Sculptures, Washington, D.C.,
2002, no. 17, p. 167 (another cast illustrated p. 136).
E. Fernndez Mir & P. Ortega Chapel, Joan Mir, Sculptures. Catalogue
raisonn 1928-1982, Paris, 2006, no. 253, p. 243 (another cast illustrated).
Max Ernst, La Plus Belle, 1967. Sold, Christie's, Paris, 28

November 2012, lot 53 (1,521,000).
Christie's Images Limited (2012)
Detail of the present lot
PROPERTY FROM A FRENCH FAMILY COLLECTION
l361
OSCAR DOMNGUEZ (1906-1958)
Don Quichotte
signed Dominguez (lower right)
oil on canvas
39 x 28 in. (99.3 x 72.7 cm.)
Painted circa 1949-1950
50,000-70,000
$78,000-110,000
70,000-97,000
98
PROVENANCE:
Private collection, Paris, and thence by descent to the present owner.
Ana Vzquez de Parga has confrmed the authenticity of this work.
PROPERTY FROM A PRIVATE SPANISH COLLECTION
l362
OSCAR DOMNGUEZ (1906-1958)
Tauromachie
signed Dominguez (lower right)
oil on canvas
25 x 39 in. (64.5 x 99.5 cm.)
Painted circa 1950
70,000-100,000
$110,000-160,000
EXHIBITED:
Barcelona, Sala Pars, Oscar Domnguez, May 1989, no. 34, p. 39

LITERATURE:
G. Xuriguera, Oscar Domnguez, Paris, 1973, p. 15 (detail illustrated).
Ana Vzquez de Parga has confrmed the authenticity of this work.
98,000-140,000
PROVENANCE:
Casa Bella collection, Paris.

Private collection, Paris, by 1989.
Private collection, Spain, by whom acquired in the early 1990s.
99
l363
Cavaliere frigio
oil on canvas
11 x 16 in. (29.2 x 40.6 cm.)
Painted in the late 1930s
35,000-50,000
$55,000-78,000
49,000-70,000
100
PROVENANCE:
Galleria Cittone, Turin.

Acquired from the above, circa 1965, and thence by descent to the present owner.
This work is sold with a photo-certificate from the Fondazione Giorgio e Isa
de Chirico, Rome.
l364
Cavaliere e scudiero
15 x 11 in. (40.4 x 30.2 cm.)
Painted late 1930s - early 1940s
35,000-50,000
PROVENANCE:
Galleria Genova, Genova.

Galleria Cittone, Turin.
Acquired from the above, circa 1965, and thence by descent to the present owner.
This work is sold with a photo-certificate from the Fondazione Giorgio e Isa
de Chirico, Rome.
$55,000-78,000
49,000-70,000
101
l365
REN MAGRITTE (1898-1967)
La vie prive
signed magritte (lower right); dated and inscribed LA VIE PRIVE 1946
(25 Points) (on the reverse)
oil on canvas
31 x 23 in. (79.4 x 60.6 cm.)
Painted in April 1946
350,000-500,000
$550,000-780,000
490,000-700,000
PROVENANCE:
Pierre Andrieu, Toulouse, by whom acquired directly from the artist in 1947.
Galerie Andr-Franois Petit, Paris, by whom acquired from the above in 1977.
Anonymous sale, Sothebys, London, 5 December 1979, lot 74.
Galleria Ippolito Simonis, Turin.
Galleria Tega, Milan.
EXHIBITED:
Brussels, Galerie Dietrich, Magritte, November - December 1946, no. 13.

Verviers, Belgium, Socit Royale des Beaux-Arts, Ren Magritte, January February 1947, no. 31.
LITERATURE:
Dix tableaux de Magritte prcds de descriptions, in Le Miroir Infidle, Brussels, 1946.

E. Gmez-Correa, El espectro de Ren Magritte, Santiago, 1948 (illustrated).
P. Demarne, Rthorique in Ren Magritte, Belgium, September 1961, no. 3
(illustrated; titled La Vie intime and dated 1945).
J. Wergifosse, La Partie du plaisir in Le Fait accompli, October 1973, no. 99.
R. Magritte, Lettres Paul Noug in Le Fait accompli, November 1974, no. 127-9.
A. Blavier, ed., Ren Magritte: crits complets, Paris, 1979, p. 260.
D. Sylvester & S. Whitfeld, Ren Magritte, Catalogue Raisonn, Oil Paintings and
Objects, vol. II, 1931-1948, New York, 1993, no. 603, pp. 140, 368 (illustrated).
Magrittes description in his publication Dix tableaux is clear and

matter-of-fact: 'The picture represents a naked woman, seen full
face. She is looking straight to the front. Through a window a
brilliantly sunlit landscape is visible. The window is in the womans
body (quoted in D. Sylvester, op. cit., 1993, p. 368). The artist
explained the title, La vie prive, which his friend and colleague
Marcel Marin probably suggested, in an untitled manuscript written
the same year: 'Every person has a private life which, on further
acquaintance, can be perceived as through a window (Titres,
quoted in ibid.).
A related drawing Magritte created in 1946 for a text of Paul luard
(illustrated in ibid.) incorporates a window with closed curtains,
which mysteriously infers the intimate secrets of the private life. The
present painting with its internalized landscape is, by contrast, more
worldly in its implications, perhaps suggesting a visual metaphor
artists have often found appealing, in which woman is landscape,
woman is the world. Magritte has inverted the place of the outside
world, seen just as this young woman would have viewed it through
such a window, by transposing it into her innermost being. As
a further complicating notion, like a visual double entendre, the
window may be regarded as another kind of glassa mirrorwhich
refects back to the viewer that world which exists before her. This
ambiguous confation of inner and outer worlds, to constitute the
enigmatic totality of a single person, is classic Magritte.
The method that Magritte practiced in this combination of images
typically for him comprising two visually disjunctive elementsis that
idiosyncratic approach to creating pictorial parables he employed for
most of his career, which he outlined in his 1938 lecture La ligne
de vie. 'The basic device was the placing of objects out of context,
Magritte explained. 'The objects chosen had to be of the most
everyday kind so as to give the maximum effect of displacement...
Such in general were the means devised to force objects of the
ordinary to become sensational, and so establish a profound link
between consciousness and the external world... This is how we see
the world, we see it outside ourselves and yet the only representation
we have of it is inside us (trans. D. Sylvester, in op. cit., 1997, vol.
5, pp. 20 & 21).
Rene Magritte, Le viol, 1945. Muse National d'Art Moderne

Centre Pompidou, Paris.
2015. BI, ADAGP, Paris/Scala, Florence.
MODERN SCULPTURE FROM

THE THYSSEN-BORNEMISZA COLLECTION
(LOTS 366-368)
104
366
WILHELM LEHMBRUCK (1881-1919)
Kleine Sinnende
signed W. LEHMBRUCK (on the side of the base)
Conceived in 1910-1911, this cast circa 1920, possibly by Cassirer
20,000-30,000
$32,000-47,000
28,000-42,000
PROVENANCE:
Acquired by the present owner in 1988.
LITERATURE:
Wilhelm Lehmbruck Museum, ed., Wilhelm Lehmbruck, Sammlung, Plastik,

Malerei, vol. I, Recklinghausen, 1964, p. 24 (the plaster version illustrated p. 51).
A. Hoff, Wilhelm Lehmbruck, Life and Work, London, 1969, (another cast
illustrated p. 73).
G. Hndler, Wilhelm Lehmbruck, Die Zeichnungen der Reifezeit, Stuttgart,
1985, no. 13 (another cast illustrated p. 19).
D. Schubert, Die Kunst Lehmbrucks, Dresden, 1990, no. 122 (another cast
illustrated p. 416).
D. Schubert, Wilhelm Lehmbruck, Catalogue raisonn der Skulpturen 18981919, Worms, 2001, no. 55, p. 208 (other casts illustrated pp. 212-217).
l367
ANTOINE PEVSNER (1884-1962)
Construction spatiale aux troisime et quatrime dimensions
signed, numbered PEVSNER 2/3 and stamped with the foundry mark Susse Fondeur Paris
(on the side of the base); inscribed DE Paris P O (underneath)
bronze with gold patina (two superimposed elements)
Height: 39 in. (100.5 cm.)
Conceived in 1961, this version cast in May 1962 in an edition of three
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Galerie Ren Drouin & Cie, Paris, by whom acquired directly from the artist
in 1962.
The Joseph H. Hazen Foundation Inc, New York; sale, Sotheby Parke Bernet,
New York, 25 October 1972, lot 52.
EXHIBITED:
Los Angeles, Los Angeles County Museum, on loan, 1965.

Cambridge, Fogg Art Museum, on loan, 1966.
Buffalo, New York, Albright-Knox Art Gallery, on loan, 1968.
Cambridge, Fogg Art Museum, on loan, 1968-1970.
LITERATURE:
P. Peissi & C. Giedion-Welcher, Antoine Pevsner, Neuchtel, 1961, no. 118

(another cast illustrated pp. 118-119).
E. Lebon & P. Brull, Antoine Pevsner, Catalogue raisonn de luvre sculpt,
Paris, 2002, no. 72-b, p. 204 (another cast illustrated p. 205).
Considered to be one of the last major works of Antoine Pevsner,

Construction spatiale aux troisime et quatrime dimensions
demonstrates Pevsners lifelong interest in the nature of threedimensional, abstract sculpture, illustrating his belief that it should
incorporate and interact with the notions of time and space. With
his brother, Naum Gabo, Pevsner had, in 1920 issued the Realistic
Manifesto, which became the theoretical basis of the Constructivist
movement. In an era of immense change, when scientifc discoveries
ushered in a new conception of the universe and the structure of
societies was being overturned by revolution and war, Gabo and
Pevsner believed that art needed to exist within reality, in real space
and time. For the rest of his career, Pevsner continued to explore these
concepts, creating dynamic works or spatial constructions in which
mass and volume, the traditional sculptural elements, are broken
down, integrated with the space surrounding the work itself.
A construction of curved planes of bronze, Construction spatiale aux
troisime et quatrime dimensions is imbued with a sense of rhythmic
dynamism, as if the interlocking parts weere slowly rotating and
shifting as the viewer moves around the work. This sense of movement
is aided by the presence of linear striations on the planes of bronze.
The thin lines evoke an outward force that seems to radiate from the
centre of the sculpture. Pevsner had frst introduced this technique in
the 1930s, as a means of imbuing the metal with a sense of lightness.
The contorted shapes and the linear surface of the bronze planes lend
the sculpture a sense of movement and weightlessness, transforming
the physical mass of bronze into an abstract vision of curving forms.
Of the three casts, the frst, cast in May 1962, is in the collection of
the Israel Museum in Jerusalem and the third, cast in December 1962,
is in the collection of the Wilhelm Lehmbruck Museum in Duisburg.
The present lot is the only cast currently in private hands.
106
368
ALEXANDER ARCHIPENKO (1887-1964)
The Queen of Sheba
signed, dated and numbered Archipenko 1961 2/8 (on the back at the right)
Conceived in 1961, this version cast in in an edition of eight during the artists
lifetime
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
The artists estate.

Kovler Gallery, Chicago.
Anonymous sale, Parke-Bernet Galleries, 11 March 1971, lot 53.
EXHIBITED:
Los Angeles, UCLA Art Galleries, Archipenko, a memorial exhibition, 1967,

no. 64 (illustrated p. 56); this exhibition later travelled to ten museums across
the United States between 1967 and 1969.
LITERATURE:
Exh. cat., Alexander Archipenko, St. Gallen, 1962, no. 28 (another cast
illustrated p. 31).
New day for Old Cubist, in Life Magazine (European Edition), 26 March
1962 (another cast illustrated p. 78).
Journal of the Archives of American Art, vol. 7, no 2, April 1967 (another cast
illustrated p. 12).
Exh. cat., Archipenko, a memorial exhibition, Los Angeles, 1967, no. 64
D.H. Karshan, Archipenko, International Visionary, Washington, D.C., 1969,
no. 74 (another cast illustrated pl. 157, p. 99).
H. Schmoll & A. Heilman, Alexander Archipenko, Alexander Archipenkos Erbe
Werke von 1908 bis 1963 aus dem testamentarischen Vermchtnis, vol. I,
Saarbrcken, 1986, no. 105, p. 218 (another cast illustrated p. 219).
Exh. cat., Alexander Archipenko, A Centennial Tribute, Washington, 1986
(another cast illustrated fg. 40, p. 85).
A. Barth, Alexander Archipenkos plastisches uvre, vol. II, Werkverzeichnis,
Frankfurt, 1997, no. 348, p. 600 (the plaster version illustrated p. 601).
Exh. cat., Alexander Archipenko, Vision and Continuity, New York, 2005, no.
65 (another cast illustrated p. 212).
Frances Archipenko Gray has confrmed the authenticity of this work.

Archipenko has been lauded as the leading and most infuential
sculptor of the pre-war Paris avant-garde, creating a new unique
modernist language, which would leave a lasting legacy on twentiethcentury sculpture. Christa Lichenstern states, The esteem in which
Archipenko was held as sculptor, frst in Germany and later in
the United States, reinforces his position as a unique modernist
phenomenon in the history of sculpture (Canto dAmore, exh. cat.,
Kunstmuseum Basel, 1996, pp. 152).
108
Although Archipenkos aesthetic changed throughout the years, altering

from a Cubist aesthetic to a more Classical leaning, the artist never
lost the power and potency in his work. This is refected in the The
Queen of Sheba. By choosing the character the Queen of Sheba, an
important fgure in all the Christian and Jewish, Arabian and Ethiopian
traditions, Archipenko highlights the synthesis in his work between the
imagery of the archaic, religious and modernist. What was important
for Archipenko was invention, which he spent his lifetime in relentless
pursuit of. Archipenko exclaimed two months before his death, To
invent! Does anything more important exist? In truth, I don't think so
(quoted in Y. Taillandier, "Conversation avec Archipenko," XX Sicle,
vol. 25, no. 22, Christmas 1963).
Closely allied with Paris's artistic vanguard, Archipenko was among
the earliest sculptors to attempt a truly three-dimensional equivalent
of Cubism, establishing an entirely new vocabulary for twentiethcentury sculpture. Alfred H. Barr, Jr., the frst director of The Museum
of Modern Art, described Archipenko in 1936 as, the frst to work
seriously and consistently at the problem of Cubist sculpture (Cubism
and Modern Art, exh. cat., The Museum of Modern Art, New York,
1936, p. 104). Infuenced by the Cubist notion of integrating the fgure
with surrounding space, Archipenko embraced negative space as an
active element of sculptural articulation, imbuing it with equal value.
By introducing the void as a positive element in sculpture, he helped
change the traditional concept of sculptural form in the early 20th
century. Drawing a new equivalent between the dialectics of plane and
shadow and the play of presence and absence implied by concave and
convex shapes, Archipenko incorporated light into his sculpture, which
is used to great effect in The Queen of Sheba. This was important in
perceiving the human form as it added an element of dynamism to his
work, which emphasised the effects of movement and life.
Colour and texture was also important to Archipenko, who, as seen
in the present work, plays with the surface of the bronze, juxtaposing
polishes planes with textured areas to allow the light to fall differently
on them. This interest in colour and light was signifcant to the artist
throughout his career.
What remains imbued in Archipenkos work

and is seen in The Queen of Sheba is a timeless
quality, which speaks of a spiritual truth. The
search for a timeless representation of women
brought the artist close to abstraction, not in terms
of producing non-representational forms, but in
the way he treated his subjects abstractly, as an
enduring motif, a devotional object of some sort,
shared by many cultures and civilisations
(M. Bartelik, Refashioning the Figure: The Sketchbooks of Archipenko
c.1920, Henry Moore Institute Essays on Sculpture no. 41, Leeds,
2003, n.p.).
PROPERTY FROM A EUROPEAN COLLECTOR
l369
MAX OPPENHEIMER (1885-1954)
Der kleine Haushalt: Nachttisch
signed MOPP. (lower right)
oil on canvas
25 x 19 in. (65 x 50.1 cm.)
Painted circa 1930
25,000-35,000
PROVENANCE:
Acquired directly from the artist by the father of the present owner in the late 1930s.
EXHIBITED:
Vienna, Knstlerhaus, Herbstausstellung, November 1932 - January 1933, no. 118.

LITERATURE:
M.-A. von Puttkamer, Max Oppenheimer 1885-1954, Leben und malerisches

Werk, Vienna, 1999, no. 200, p. 270.
$39,000-54,000
35,000-49,000
110
We are grateful to Mag. Paul Rachler, Knstlerhaus Archiv, Vienna, for the
confrmation that the above painting is documented in the Einlaufbuch
from 1932 where this work is registered as number 3112.
PROPERTY FROM A PRIVATE LONDON COLLECTION
l370
WILLI BAUMEISTER (1889-1955)
Abraxas
signed and dated Baumeister 47 (lower right); dedicated and inscribed s.h.
Heinz 2.5.48. (lower left)
oil and resin on card laid down on panel
19 x 14 in. (49.2 x 37.5 cm.)
Executed in 1947
30,000-50,000
PROVENANCE:
Heinz Rasch, Wuppertal, a gift from the artist on 2 May 1948.

Private collection, London, a gift from the above in 1957.
LITERATURE:
W. Grohmann, Willi Baumeister, Life and Work, London, 1964, no. 1133, p.
314 (titled Schablone II).
P. Beye & F. Baumeister, Willi Baumeister, Werkkatalog der Gemlde, vol. II,
Ostfldern 2002, no. 1541 (illustrated).
$47,000-78,000
42,000-70,000
111
371
AUGUST MACKE (1887-1914)
Schlafende Reiter
oil on canvas
15 x 16 in. (38.5 x 43 cm.)
Painted in 1910
150,000-200,000
$240,000-310,000
210,000-280,000
PROVENANCE:
Lothar Erdmann, Berlin, by 1913.

Anne Abels, Cologne.
Acquired from the above by the father of the present owners on 3 May 1956.
EXHIBITED:
Mnster, Westflisches Landesmuseum fr Kunst und Kulturgeschichte,

August Macke, Retrospektive zum 100. Geburtstag, February 1987.
LITERATURE:
G. Vriesen, August Macke, Stuttgart, 1953, no. 169, p. 276.

G. Vriesen, August Macke, Stuttgart, 1957, no. 169, p. 317 (illustrated).
U. Heiderich, August Macke, Gemlde, Werkverzeichnis, Ostfldern, 2008,
Depicting a scene of idyllic repose, Schlafende Reiter was painted

by August Macke in 1910. Executed in bright colours and displaying
a gentle simplicity of forms, the painting illustrates Mackes vivid
style. The previous year, while spending his honeymoon in Paris,
the artist almost certainly became acquainted with the revolutionary
work of the Fauves. By the end of 1910, Macke had certainly been
confronted with Fauvism, for that year he visited a large Matisse
exhibition at the Thannhauser in Munich which deeply impressed
him. Matisses uncompromising use of colour and direct lines gave
Macke confrmation of the validity of his own artistic approach. In
its spontaneous, radiant rendition, Schlafende Reiter shows Mackes
enthusiastic personal take on Fauvism, while affrming the artists
distinctively peaceful and joyful vision of nature.
The year 1910 when Schlafende Reiter was painted would mark
a crucial moment in Mackes career, as that year the artist met Franz
Marc. The encounter was signifcant, for in Marc, Macke found not
only a close friend, but also a likeminded painter. Through Marc,
Macke was later introduced to painters such as Wassily Kandinsky,
Gabriel Mnter and Alexej von Jawlensky. The following year, Macke
fgured among the founders of the Avant-garde group Der Blaue
Reiter. Although committed to the groups ambition to foster in
painting a genuine, direct and personal response to nature, Macke
tended to reject the mystical, spiritual dimension professed by Marc
and Kandinsky. Instead, he pursued his own vision of art, which under the aegis of Fauvism would occupy him until his premature
death, during the First World War, in 1914. Paying homage to his
friend, Marc would lament the loss as follows: We painters know that
without his harmonies, whole octaves of colour will disappear from
German art, and the sounds of the colours remaining will become
duller and sharper. He gave a brighter and purer sound to colour than
any of us; he gave it the clarity and brightness of his whole being.
(Franz Marc, Eulogy to Macke cited in Anna Meseure, August Macke,
Cologne, 2000, p. 92).
112
*372
LYONEL FEININGER (1871-1956)
Architecture with Stars II
signed Feininger (upper left); signed, dated and inscribed Lyonel Feininger, 1945,
Architecture with Stars, II (on the stretcher)
oil on canvas
16 x 28 in. (41.5 x 71.6 cm.)
Painted in 1945
250,000-350,000
$390,000-540,000
350,000-490,000
PROVENANCE:
The artists estate, until at least 1964.

Marlborough Gallery, New York, by 1969 (no. 335).
Anonymous sale, Villa Grisebach, Berlin, 27 May 1994, lot 49.
Acquired art the above sale by the present owner.
EXHIBITED:
New York, Buchholz Gallery, Lyonel Feininger: Recent Paintings, Watercolors,

January February 1946, no. 13.
Munich, Bayerische Akademie der Schnen Knste, Lyonel Feininger,
September October 1954, no. 27; this exhibition later travelled to
Hannover, Kestner-Gesellschaft, October November 1954.
Amsterdam, Stedelijk Museum, Lyonel Feininger, December 1954 January
1955, no. 27.
New York, Willard Gallery, Lyonel Feininger, Oils and Watercolors 1940 to
1955, February March 1956, no. 7.
New York, Willard Gallery, Lyonel Feininger, November December 1958,
no. 9.
New York, Willard Gallery, Lyonel Feininger, Architecture, Paris - New York,
March 1961, no. 6 (illustrated).
Berlin, Amerika Haus, Lyonel Feininger. Werke aus dem Nachlass, September
October 1964, no. 17 (illustrated).
New York, Marlborough - Gerson Gallery, Lyonel Feininger, April - May 1969,
Munich, Galerie Ilse Schweinsteiger, Expressionisten 2, Aquarelle,
Zeichnungen, lbilder, Winter 1982, no. 14 (illustrated).
New York, Serge Sabarsky Gallery, Expressionists: Paintings, Watercolors
and Drawings by 12 German Expressionists, December 1984, no. 17, pp. 38
Halle, Staatliche Galerie Moritzburg, Zurck in Amerika: Lyonel Feininger 19371956, May August 2009, no. 19, pp. 187 & 222 (illustrated).
LITERATURE:
Exh. cat., Hommage Lyonel Feininger, Rtrospective Aquarelles et Dessins

1894 1955, Paris, 1989.
H. Hess, Feininger, London, 1961, no. 461, p. 293 (illustrated).
U. Luckhardt, Lyonel Feininger: Die Zeichnungen und Aquarelle, Cologne,
1998, p. 223.
Achim Moeller, Managing Principal of The Lyonel Feininger Project LLC,

New York Berlin has confrmed the authenticity of this work, which
is registered under no. 1337-04-22-14.
The work will be included in the Lyonel Feininger Catalogue Raisonn
of Paintings edited by Achim Moeller.
Moon Over Manhattan, 1940s

Andreas Feininger / Getty Images
Painted in 1945, Lyonel Feiningers Architecture with Stars II takes as its

subject the Manhattan skyline at night. American-born Feininger had
moved to Germany in 1887 and remained there until 1937, when the
Nazi regime forced him to leave and return to his native New York.
Presenting a nocturnal cityscape under a softly luminous blue sky in
which two shining stars and a sickle moon hang, Architecture with Stars II
captures the atmospheric glow of the city at night.
On his arrival in New York, Feininger was at frst overwhelmed by the
city; he wrote, I fnd myself in a state of continual wonderment There
is nothing that does not affect me in some way; every step I takeis a
source of pure delight (Feininger, quoted in B. Haskell, Lyonel Feininger:
At the Edge of the World, exh. cat., New York, 2011, p. 154). However,
his joy in rediscovering New York quickly faded as he experienced a sense
of dislocation and displacement, coupled with dire fnancial circumstances.
It was not until 1940 that the artist began to readjust and from this
point he started to paint again, looking to the geometric architecture
of Manhattan and its soaring skyscrapers adorned with thousands of
windows, as a source of inspiration. The arrangement of buildings
in Architecture with Stars II demonstrates Feiningers interest in the
architectural formation of the city. Feininger has captured the effects of
light on a section of the skyline, depicting the dark shadow on one area
and the bright white illumination of the building behind.
In contrast to the artists earlier work from his time in Germany, when he
depicted street scenes with rigid, architectonic linear forms, Architecture
with Stars II demonstrates Feiningers new, looser graphic style in which
he used light-flled planes of roughly applied colour to create the structure
of the composition. Feininger wrote in 1942, three years before painting
the present work, I am busy at work on a collection of architectural
visions New York as a subject for translation into symbol of Space
and Atmosphere New York is the most amazing city in its atmosphere,
colour, and contrasts in the whole world Some of [my work] is in a
defnitely new application of oil technique, using some graphic elements
of line in felds of vigorous colour (Feininger, quoted in H. Hess, Lyonel
Feininger, New York, 1959, p. 148).
PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION, ENGLAND
l373
EMIL NOLDE (1867-1956)
Einschiffung (Embarkation)
signed Emil Nolde (lower right); signed and inscribed
Emil Nolde : Einschiffung. (on the stretcher)
oil on canvas
28 x 34 in. (73 x 88.3 cm.)
Painted in 1911
400,000-600,000
$630,000-930,000
560,000-830,000
PROVENANCE:
Bonde Bonnichsen, Stemmild, Denmark.

F. H. Ulrich, Dsseldorf, by 1957.
Galerie Wilhelm Grohennig, Dsseldorf, by 1966.
Wilhelm Reinold, Hamburg, by whom acquired from the above on 8 June 1966.
Private collection, Hamburg, by descent from the above; sale, Christies,
London, 2 February 2004, lot 30.
Private collection, Switzerland, by whom acquired at the above sale, and
thence by descent; sale, Sothebys, London, 4 February 2010, lot 228.
EXHIBITED:
Tnder, Tnder Museum, Emil Nolde, February 1951, no. 31.

Odense, Fyns Stiftsmuseum, Emil Nolde, October 1956, no. 9.
Kiel, Kunsthalle, Emil Nolde, December 1956 - January 1957, no. 9.
LITERATURE:
The artists handlist, 1910, no. 367 (titled Holzeinschiffen III).

The artists handlist, 1930.
M. Urban, Emil Nolde, Catalogue Raisonn of the Oil-Paintings, vol. I, 18951914, London, 1987, no. 453, p. 392 (illustrated).
Emil Nolde, Summer Clouds, 1913. Museo Thyssen-Bornemisza, Madrid.

Museo Thyssen-Bornemisza / Scala, Florence.
Nolde-Stiftung Seebll
Painted in 1911, Emil Noldes Einschiffung is one of a series of

powerful seascapes that incorporates a human, figurative presence
into the dramatic evocation of the sea. With richly expressive, intense
swathes of impastoed colour, Nolde has depicted two horses making
their way towards a boat across the choppy waters of the roiling sea.
The repeated hues of turquoise, blue and white that Nolde has used
to depict the water and the storm-laden sky above emphasise the
indomitable presence of this elemental force, while the high horizon
line of the composition immerses the viewer in the agitated mass of
water in this evocative vision of the landscape.
Nolde was born and lived for much of his life in the German province
of Schleswig-Holstein. Occupying a strip of land between the North
and the Baltic Seas, Nolde was surrounded by the sea for much of his
life. The tempestuous force of the ocean particularly enthralled Nolde:
the artist recalled a stormy sea crossing that he had once experienced,
I stood gripping the rail, gazing and wondering as the waves and the
ship tossed me up and downfor years afterwards, that day remained
so vividly in my mind that I incorporated it into my sea paintings with
their wild, mountainous green waves and only at the topmost edge
a silver of sulphorous sky. (E. Nolde, Emil Nolde, exh. cat., London,
1995-96, p.132).
PROPERTY FROM A PRIVATE GERMAN COLLECTION
l374
ERICH HECKEL (1883-1970)
Junge Mnner
signed and dated Erich Heckel 24 (lower left); signed and dated Erich
Heckel 24 (on the reverse) and signed, dated and inscribed Erich Heckel:
Junge Mnner 1924 (on the stretcher)
oil on canvas
32 x 38 in. (83.2 x 96.5 cm.)
Painted in 1924
50,000-80,000
$78,000-120,000
70,000-110,000
118
PROVENANCE:
The artists estate.

Acquired from the above in 1999; sale, Sothebys, London, 8 February 2006, lot 435.
EXHIBITED:
Hamburg, Galerie K. Westenhoff, Erich Heckel 1883-1970, lbilder,

Aquarelle, Zeichnungen, October - November 1993, p. 6 (illustrated p. 7).
Kampen, Galerie Pels-Leusden, Sommergste III, July - October 2000, no. 27.
Schleswig, Stiftung Schleswig-Holsteinische Landesmuseen Schloss Gottorf,
Erich Heckel, Aufbruch und Tradition, Eine Retrospektive, April - August
2010, no. 90 (illustrated); this exhibition later travelled to Berlin, BrckeMuseum, September 2010 - January 2011.
LITERATURE:
P. Vogt, Erich Heckel, Recklinghausen, 1965, no. 5, p. 275 (illustrated).
The sitters of this work are believed to be the artist and Stefan George,
whom the artist greatly admired.
(recto)
l375
CONRAD FELIXMULLER (1897-1977)
Der Floh (recto); Fltensonate (verso)
signed C.Felixmller. (recto, lower left); signed and dated
C.Felixmller 1940 (verso, lower right)
oil on canvas
52 x 29 in. (134 x 75 cm.)
Painted in 1928 (recto) and 1940 (verso)
80,000-120,000
$130,000-190,000
120,000-170,000
PROVENANCE:
The artists estate, and thence by descent; sale, Christies, London, 24 June
2010, lot 333.
(verso)
EXHIBITED:
Berlin, Galerie Fritz Gurlitt, Conrad Felixmller, Sonderausstellung, 1929, n.n.

(recto); this exhibition later travelled to Dresden, Stettin, Prague and Munich.
Halle, Moritzburg, Conrad Felixmller, Gemlde und Graphik, 1949, no. 63 (verso).
Bautzen, Kreisrat, Ausstellung des "Kreises Sorbischer Bildender Knstler",
1949, n.n. (verso).
Bautzen, Kreisrat, Allgemeine Ausstellung, 1953, no. 1 (verso).
Bautzen, Kreisrat, Sorbische Kunstausstellung, 1954, no. 3
(verso; illustrated n.p.).
Berlin, (Ehemalige) Nationalgalerie, Conrad Felixmller, Malerei von 19131973, 1973, no. 33 (verso).
Dresden, Staatliche Kunstsammlungen, Albertinum, Conrad Felixmller,
Gemlde, Aquarelle, Zeichnungen, Druckgraphik, 1975, no. 61 (verso);
this exhibition later travelled to Rostock, Kunsthalle and Berlin, Staatliche
Museen zu Berlin (Ost), Nationalgalerie, Kupferstichkabinett, Sammlung der
Zeichnungen.
LITERATURE:
H. Spielmann, ed., Conrad Felixmller, Monographie und Werkverzeichnis

der Gemlde, Cologne, 1996, no. 413, p. 261 (recto, illustrated) & no. 828,
p. 321 (verso, illustrated).
376
ALEXEJ VON JAWLENSKY (1864-1941)
Stilleben mit Gockel
signed A.jawlensky. (upper left) and signed with the initials A.J. (upper right)
oil on board
21 x 19 in. (54 x 49.8 cm.)
Painted in 1910
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
The artists estate, and thence by descent.

Galerie Beyeler, Basel, by whom acquired from the above in 1957.
Private collection, Locarno, by 1959.
Anonymous sale, Hauswedell & Nolte, Hamburg, 94th Auction, 1960, lot 597.
Galerie Fricker, Paris.
Acquired from the above by the father of the present owners on 1 July 1964.
EXHIBITED:
Basel, Galerie Beyeler, Alexej von Jawlensky, January - February 1957, no. 5
[titled Stilleben mit kleiner Tonfgur (Gockel)].
Saarbrcken, Saarland-Museum, Zusatz-Blatt, July - August 1957, no. 3.
Dusseldorf, Kunstverein fr die Rheinlande und Westfalen, Alexej von
Jawlensky, September 1957, no. 23; this exhibition later travelled to
Hamburg, Kunstverein, October - November 1957.
Stuttgart, Wrttembergischer Kunstverein, Alexej von Jawlensky, February
- March 1958, no. 25 (titled Stilleben mit kleiner Tonfgur); this exhibition
later travelled to Mannheim, Stdtische Kunsthalle, March - April 1958.
Los Angeles, Stephen Silagy Galleries, Alexej von Jawlensky, 1958, no. 22
(illustrated).
London, Redfern Gallery, Alexej von Jawlensky, October 1960, no. 57.
LITERATURE:
C. Weiler, Alexej Jawlensky, Cologne, 1959, no. 738, p. 280 (illustrated;

titled Mit Gockel).
C. Weiler, Jawlensky, Heads, Faces, Meditations, London, 1971, no. 1314, p.
135 (titled With cockerel).
M. Jawlensky, L. Pieroni-Jawlensky & A. Jawlensky, Alexej von Jawlensky,
Catalogue Raisonn of the Oil Paintings, vol. I, 1890-1914, London, 1991,
120
In the still lifes, I was not searching for

the material object; instead, I wanted to
express an inner vibration by means of
form and colour.
(A. Jawlensky, quoted in The Blue Rider In the Lenbachhaus, Munich,
Munich, London and New York, 2000, n.p.)
PROPERTY FROM A PRIVATE COLLECTION, PARIS
377
OSKAR SCHLEMMER (1888-1943)
Mdchen mit Frchtekorb I
oil and India ink on glass
11 x 6 in. (30 x 15 cm.)
Executed circa 1940
20,000-30,000
$32,000-47,000
28,000-42,000
EXHIBITED:
Stuttgart, Staatsgalerie im Wrttembergischen Kunstverein, Oskar

Schlemmer: der Maler, der Wandgestalter, der Plastiker, der Zeichner, der
Graphiker, der Bhnengestalter, der Lehrer, August - September 1977,
no. 176; this exhibition later travelled to Hamburg, Kunstverein, October November 1977.
LITERATURE:
K. von Maur, Oskar Schlemmer, Oeuvrekatalog der Gemlde, Aquarelle,

Pastelle und Plastiken, Munich, 1979, no. G 685, p. 194 (illustrated).
PROVENANCE:
Richard Herre, Stuttgart, by whom acquired directly from the artist.

Margot Krner, Winterbach, by descent from the above, and thence by
descent to the present owner.
122
This subject is closely related to the large scale wall painting Frhling,
of the same year, one of a series of four large scale works depicting
the seasons which Schlemmer painted for the Robert Bosch Hospital in
Stuttgart (ibid., no. G 407).
378
ANTON FAISTAUER (1887-1930)
Stilleben mit Fischen und Steinkrug
oil on canvas
24 x 29 in. (62.5 x 75.2 cm.)
Painted in 1929
40,000-60,000
PROVENANCE:
Acquired by the father of the present owner in the 1950s.

LITERATURE:
F. Fuhrmann, Anton Faistauer 1887-1930, Salzburg, 1972, no. 373, p. 165

(illustrated pl. 35).
$63,000-93,000
56,000-83,000
123
379
ANTON FAISTAUER (1887-1930)
Sdfranzsische Landschaft (Aix-en-Provence)
signed and dated a. faistauer 1926 (upper right)
oil on canvas laid down on panel
21 x 29 in. (54.2 x 73.5 cm.)
Painted in 1926
30,000-50,000
$47,000-78,000
42,000-70,000
124
PROVENANCE:
The artist's estate, until at least 1930.

Acquired by the father of the present owner in the 1950s.
EXHIBITED:
Pittsburgh, Carnegie Institute, International exhibition of paintings, October December 1930, no. 266 (titled Landscape).
LITERATURE:
F. Fuhrmann, Anton Faistauer 1887-1930, Salzburg, 1972, no. 308, p. 154

(illustrated).
PROPERTY FROM A PRIVATE WASHINGTON DC COLLECTION
l*380
FRANZ SEDLACEK (1891-1945)
Die Strae
signed with the monogram and dated f s 39 (lower left); signed and
inscribed FRANZ SEDLACEK WIEN DIE STRASZE (on the reverse)
oil on panel
29 x 43 in. (75 x 110 cm.)
Painted in 1939
PROVENANCE:
Acquired by the family of the present owner in the 1950s.

EXHIBITED:
30,000-50,000
Vienna, Knstlerhaus, Frhjahrausstellung, 1940.

Dsseldorf, Kunstverein, Wiener Kunst in Dsseldorf, September - October
1941.
Pittsburgh, Carnegie Institute, International exhibition of paintings, October December 1950, no. 294.
$47,000-78,000
LITERATURE:
42,000-70,000
G. Spindler & A. Strohhammer, Franz Sedlacek, Monografie mit Verzeichnis

der Gemlde, Vienna, 2011, no. WV 130, p. 211 (illustrated).
125
l381
ELLEN THESLEFF (18691954)
Italian landscape
signed and dated 1925 Thesleff (lower left)
oil on canvas
15 x 17 in. (40.2 x 45.5 cm.)
Painted in Italy circa 1924-1925
20,000-30,000
$32,000-47,000
28,000-42,000
PROVENANCE:
The Association of Finnish Artists Annual Lottery, 1930, no. 30.

Private collection, Helsinki, winner of the above prize, and thence by descent
to the present owner.
EXHIBITED:
[Probably] Helsinki, Salon Strindberg, Ellen Thesleff, 1926.

LITERATURE:
L. Bcksbacka, Ellen Thesleff, Helsinki, 1955, no. 609, p. 161.
Thesleff made altogether nine trips to Italy between 1895 and 1939
always including Florence for a longer sojourn. She was educated in
Paris at the Acadmie Colarossi which she attended 1891-1893, but
it was Florence which was to become her main source for inspiration.
The hills of the surrounding Tuscan counryside, the pictures in the
Uffzi Gallery with Botticelli taking the number one place, the bridges
of the Arno river, the city townscape with the cupola of the dome
seen from Fiesole, the seashore in Forte dei Marmi were food for
her phantasy and visionary ideas. She painted her inner landscapes
following her own voice thus always seeking to surprise herself: In art
you ought to surprise yourself, (ibid., p. 12), she wrote Thyra. Thesleff
was also an excellent fgure and portrait painter with fascinating
interpretations of character and movement.
THE PROPERTY OF A DISTINGUISHED AUSTRIAN COLLECTOR
382
PIET MONDRIAN (1872-1944)
Farm Buildings in White and Red near a Green Field
PROVENANCE:
oil on canvas
13 x 15 in. (34.8 x 40 cm.)
Adolf Hirschfeld, Amsterdam.

Private collection, Austria; sale, Christies, Amsterdam, 31 May 1994, lot 226.
Private collection, Switzerland; sale, Sothebys, London, 28 November 1995, lot 343.
40,000-60,000
LITERATURE:
$63,000-93,000
J. M. Joosten & R. P. Welsh, Piet Mondrian, Catalogue Raisonn of the Naturalistic

Works (until early 1911), Blaricum, 1998, no. A516, p. 358 (illustrated).
56,000-83,000
127
l383
GEORG KOLBE (1877-1947)
Kniende I - Nereide
signed with the initials GK (on the left foot) and stamped with the foundry
mark H. NOACK BERLIN FRIEDENAU (on the right foot)
bronze with red-brown patina
Height: 12 in. (30.6 cm.)
Conceived in 1922, this work is one of twenty fve examples cast between
May 1923 and early 1924, and one of only three known examples with this
foundry mark
30,000-50,000
$47,000-78,000
42,000-70,000
128
PROVENANCE:
Private collection, Frankfurt, since the 1930s, and thence by descent.

LITERATURE:
U. Berger, Georg Kolbe, Leben und Werk, Berlin, 1990, p. 268.
Dr. Ursel Berger has confrmed the authenticity of this work.
l384
TAMARA DE LEMPICKA (1898-1980)
Femme au turban blanc II
PROVENANCE:
oil on canvas
13 x 10 in. (35 x 27 cm.)
Painted circa 1954
Anonymous sale, Sothebys, New York, 29 September 1994, lot 110B.

Pinhas collection, Los Angeles, by whom acquired at the above sale; sale,
Christies, New York, 7 November 2007, lot 409.
60,000-80,000
LITERATURE:
$94,000-120,000
84,000-110,000
A. Blondel, Tamara de Lempicka, Catalogue raisonn 1921-1979, Lausanne,

1999, no. B.350, p. 377 (illustrated).
129
l385
lan moyen
signed and numbered Lobo 6/8 (on top of the base); with the foundry
mark Susse Fondeur Paris (on the back of the base)
Height: 29 in. (73.8 cm.) including the bronze base
Conceived in 1977 and cast in 1979 in an edition of eight plus four
artists proofs
40,000-60,000
LITERATURE:
Exh. cat., Lobo, Albi, 1978 (another cast illustrated).

Exh. cat., Lobo, Zurich, 1979, no. 38 (another cast illustrated).
J.-. Muller, Lobo, Catalogue raisonn de luvre sculpt, Lausanne, 1985,
no. 453 (another cast illustrated).
Exh. cat., Lobo, Zurich, 1985, no. 56 (another cast illustrated).
Exh. cat., Matres impressionnistes et modernes, Paris, 1989, no. 33/B
Exh. cat., Baltasar Lobo, Geneva, 2010, pp. 62-63 (another cast illustrated).
$63,000-93,000
56,000-83,000
130
Galera Freites will include this work in their forthcoming Baltasar Lobo
catalogue raisonn under the archive number 7716.
l*386
OSSIP ZADKINE (1890-1967)
Torse de femme
signed O ZADKINE (on the marble base)
ebony on a marble and wooden base
Height: 17 in. (43.5 cm.) excluding base
Executed in 1953; this work is unique
80,000-120,000
PROVENANCE:
Acquired directly from the artist in 1953; sale, Christies, Amsterdam,

8 December 1988, lot 297.
LITERATURE:
S. Lecombre, Ossip Zadkine, luvre sculpt, Paris, 1994, no. 441, pp. 501 &
704 (illustrated p. 501).
$130,000-190,000
120,000-170,000
131
PROPERTY FROM THE COLLECTION OF SHMUEL AND TAMARA GIVON, TEL AVIV
l*387
JANKEL ADLER (1895-1949)
Venus of Kirkcudbright
signed Adler (lower right)
oil on canvas
43 x 34 in. (111.5 x 86.4 cm.)
Painted in 1943
70,000-100,000
$110,000-160,000
98,000-140,000
PROVENANCE:
Shmuel and Tamara Givon, Tel Aviv, by whom acquired in the 1960s.
EXHIBITED:
London, Redfern Gallery, Jankel Adler, June - July 1943, no. 10.
New York, Kndler Gallery, Jankel Adler, 1948. no. 4.
Dsseldorf, Kunsthalle, Jankel Adler, November - December 1985, no. 76,
p. 129 (illustrated); this exhibition later travelled to Tel Aviv, Museum of Art,
January - February 1986, and Lodz, Sztuki Musuem, March - April 1986.
LITERATURE:
P. Fierens, Jankel Adler, Brussels, 1947, no. 27, p. 5.

Exh. cat., The Shmuel and Tamara Givon Collection, Tel Aviv, 2014, p. 85
(Illustrated).
Jankel Adler was born in Poland in 1895, son a of a coal merchant,

brother of 11 children. In 1916 he went to study art with Prof.
Gustav Wiethucher in the Barmen school of applied arts, becoming
involved with several Avant-Garde movements such as the Junge
Rheinland in Dusseldorf and the Yung Yiddish group in Lodz. He was
also associated with the Johanna Ey gallery circle and befriended
artists such as Otto Dix (Dix painted Adlers portrait in 1926) and Elsa
Lasker Schuler.
Adler was soon awarded public commissions in Dusseldorf, and in
1931 Adler and Paul Klee worked in the Dusseldorf Art Academy and
shared studios on the same floor. Adler described Klees influence
on his work: 'Klee made the background which reflects the intricate
moving of our different lives. Klee had the courage to walk this clean
swept platform of the twentieth centuryhe made a survey of this
place for others who will come'. (Adler on Paul Klee in Horizon,
pp.266).
With the rise to power of Nazi Germany, Adler was forced to flee
Germany in 1933, and moved to Paris. Shortly afterwards, his works
were removed from public German collections and a number included
in the notorious 1937 Entartete Kunst exhibition.
132
With the progression of hostilities in Europe, he relocated to the South

of France in 1938, and joined the Free Polish Army in 1940, before being
evacuated to Glasgow. Due to poor health he was released from the
army in 1941 and settled there. Adler befriended fellow Polish refugee
artist Joseph Herman, developed a new style of painting very typical of
the period, and met younger local artists including Robert Colquhoun and
Robert MacBryde.
During his Scottish period he painted mainly the human form, in paintings
relating to his refugee status, such as the 1942 The Orphans, formerly in
the collection of Joseph Herman and The Mutilated, painted in 1942 in
the collection of Tate Britain. He also painted a series of tender female
portraits, such as the present painting Venus of Kirkcudbright which are
considered to be among the highlights of his uvre.
In 1943 Adler and Herman relocated to London, and Adler obtained a
studio space in Bedford Gardens, which became a meeting place for
artists, writers and poets such as Sydney Graham, George Barker and
Dylan Thomas. The young artists Lucien Freud and Francis Bacon were
visitors. Colquhoun, MacBryde, John Minton, Joseph Herman and Adler
had their studios in the same building.
During his London period, Adler was considered a Modernist, a member
of the continental school. His work was widely exhibited in London
galleries Redfern Gallery, Reid & Lefevre, Gimpel Fils, Waddington Gallery
and overseas, in Belgium, Palestine and in the United States. Adler died
suddenly in 1949 in the UK.
Shmuel (Zagorsky) Givon immigrated to Palestine in 1935 from Germany.
He worked as an agricultural laborer in Herzliya, where he met his wife to
be Tamara. In 1938 they were among the founding members of the Kfar
Ruppin Kibbutz, in the valley of Beit Shaan. In 1949 the couple and young
daughter left the Kibbutz and moved to Jaffa.
Givon fell in love with the art world. He became a collector before he
became an art professional in 1974. He kept close ties with members of
the late Paris school such as Pinchus Kremegne and Gregoire Michonze.
Givon was a close friend of Nina Adler, Jankel Adlers daughter.
The Givon collection comprised of three main themes, works by the artists
of the Jewish Paris School, early Israeli art covering the formative years
1920-1930, and, in later years, he supported and collected Israeli cutting
edge contemporary art, mainly by artists represented by his gallery.
l*388
GEORGES ROUAULT (1871-1958)
Le tribunal de province
signed G Rouault (lower right); signed again G Rouault (on the reverse)
and inscribed Tribune de Province (on the stretcher)
25 x 40 in. (65.1 x 102.2 cm.)
Painted in 1938
150,000-200,000
$240,000-310,000
210,000-280,000
PROVENANCE:
Sam Salz, Inc., New York.

Edward G. Robinson, Los Angeles, by 1953.
Acquired by the present owner, circa 1995.
EXHIBITED:
New York, The Museum of Modern Art, Forty Paintings from the Edward
G. Robinson Collection, March - April 1953, no. 29; this exhibition later
travelled to Washington D.C., The National Gallery of Art, Smithsonian
Institute, May - June 1953.
LITERATURE:
B. Dorival & I. Rouault, Rouault, Luvre peint, vol. II, Monte Carlo, 1988,
no. 1809, p. 141 (illustrated; with inverted dimensions).
A rare and important work, formerly in the collection of the Hollywood

actor Edward G. Robinson Le tribunal de province was painted at the
pinnacle of Rouaults career in the late 1930s. Having studied under
the tutelage of Gustave Moreau at the Ecole des Arts Dcoratifs
beginning in 1890, it was not however until 1937 that the artists
public reputation grew, when forty-two paintings were shown as part
of the large Exposition des Artistes Indpendents, staged in connection
with the Paris Exposition Universelle.
During this time Rouault created only a handful of his judgement
paintings, including Le tribunal de province, which remain the most
sophisticated and complex works of the artists career, and encapsulate
incredibly poignant themes. These were fostered by Rouaults reading
of the novel La femme pauvre by the fervent Roman Catholic author
Lon Bloy. Bloys preaching of spiritual revival through poverty and
suffering, along with themes such as that of the judge and the
condemned man, burned a lasting impression in the artists memory.
Given frsthand access to the court by the Deputy Public Prosecutor,
Rouault was taken aback by the arbitrary nature by which judgements
were made. He put himself in the place of the defendant, lawyer
and judge, and gave them all the same red, bloated faces. 'No other
painter of his time pored over these blemishes on the face of society.
None used drawing and colour as he did to reveal to us, without
acrimony, our unfathomable existence' (in P. Courthion, Georges
Rouault, New York, 1977, p. 16).
In his depiction of Le tribunal de Province, we see the imposing form
of the judge, fanked by his two assessors, prevailing over the court
from behind his desk. 'If I made such lamentable fgures of the judges,
it was because I no doubt revealed the anguish I felt at the sight of
a human being who has to judge other men. If it so happened that
I confused the head of the judge with that of the prisoner, this error
merely betrayed my own confusion...I cannot condemn the judges
themselves' (quoted in B. Dorival & I. Rouault, Rouault: Loeuvre peint,
vol. I, Monte-Carlo, 1988, p. 74).
134
389
EDOUARD VUILLARD (1868-1940)
La manche gigot
stamped with the signature E Vuillard (Lugt 2497a; lower left)
oil on board
8 x 7 in. (21.5 x 19.4 cm.)
25,000-35,000
$39,000-54,000
35,000-49,000
PROVENANCE:
The artists studio.

Ker-Xavier Roussel.
Bernard Reichenbach, Paris.
M. Knoedler & Co., Inc., New York (no. A 5650).
Hammer Galleries, New York (no. 17112-3), by whom acquired from the
above on 22 March 1956.
Arthur Tooth & Sons, London (no. C7417).
Anonymous sale, Christies, London, 25 June 2008, lot 603.
EXHIBITED:
Tokyo, Nichido Gallery, Edouard Vuillard, October 1970, no. 10 (illustrated).

LITERATURE:
Art News, no. 55, May 1956, p. 56 (illustrated).

A. Salomon & G. Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue
of Paintings and Pastels, vol. I, Paris, 2003, no. III-9, p. 170 (illustrated).
136
*390
ODILON REDON (1840-1916)
Femme nue au rocher
signed ODILON REDON (lower left)
oil on canvas
19 x 25 in. (50.5 x 65.5 cm.)
70,000-100,000
$110,000-160,000
98,000-140,000
PROVENANCE:
Ar Redon, Paris, by descent from the artist.

Jacques Dubourg, Paris.
Anonymous sale, Galerie Charpentier, Paris, 21 June 1960, lot 90.
Wildenstein & Co., Paris.
The Museum of Contemporary Art, Nagaoka, Japan.
Acquired by the present owner, circa 1993.
EXHIBITED:
Tokyo, Isetan Museum, Odilon Redon, March 1980, no. 7 (illustrated).

LITERATURE:
D. Wildenstein, Odilon Redon, Catalogue raisonn de luvre peint et

dessin, vol. II, Mythes et lgendes, Paris, 1994, no. 747, p. 14 (illustrated;
titled 'La mythologie').
137
l*391
ANDR DERAIN (1880-1954)
Arlequin tenant une guitare
oil on canvas
45 x 35 in. (116 x 88.9 cm.)
Painted circa 1930
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:

Svensk-Franska Konstgalleriet, Stockholm.
Martin Aronowitsch, Stockholm, by whom acquired from the above in the early
1930s, and thence by descent; sale, Christies, London, 28 November 1988, lot 22.
EXHIBITED:
Stockholm, Liljevalchs Konsthall, Czanne till Picasso, Fransk konst i svensk go,
September 1954, no. 109 (titled Tsigane la guitare).
Bordeaux, Galerie des Beaux-Arts, La peinture franaise en Sude, Hommage
Alexander Roslin et Adolf Ulrik Wertmller, May - September 1967, no. 70, p.
65 (titled Tsigane la guitare, and dated 1932).
LITERATURE:
J. Baschet, Au temps des Fauves, in Lillustration, 9 March 1935, p. 283

(illustrated).
B. G. Wennerg, Mon uvre dart la plus prcieuse, Malm, 1942 (illustrated p. 150).
M. Kellerman, Andr Derain, Catalogue raisonn de luvre peint, Paris, 1996,
In the preface to the Derain Exhibition held at the Paul Guillaume

Gallery in Paris in October 1916, Guillaume Apollinaire chronicled
the beginnings of a change in Derains style: After his youthful
truculence, Derain has turned towards sobriety and moderation.
Derains latest imprinted work is with that expressive nobility
that can justifably be called antique. It is derived from the great
masters and also from the early French schools particularly that of
Avignon . . . (Exh. cat., Derain, London, 1967, p. 6)
The change in his art became particularly noticeable after he
visited Paris in 1921; he became more sympathetic toward the
classical past. It was about this time that Braque painted a series
of monumental female fgures which took ancient Greece as
their inspiration. Similarly Picasso painted subjects derived from
Antiquity. All these coincided with a widespread revision of
antiquity in terms of modern experience by many artists of the
avant-garde of the period. Concurrently Derains art showed
another development in subject matter. In 1919, Derain had
designed sets, curtains and costumes for Diaghilevs ballet Le
Boutique Fantastique and became very much interested in the
theatrical and ballet world, particularly the Commedia dellArte
and their pierrots and harlequins.
The iconography of the Commedia dellArte to which Picasso had
turned for his decors for Parade in 1919, evidently held a strong
appeal for artists at that time. (D. Sutton, Andr Derain, London,
1959, p. 40). Derain painted several Pierrot and Harlequin pictures,
the most celebrated of which, Arlequin and Pierrot, painted in
1924, is in the collection Jean Walter-Paul Guillaume, in the Muse
de lOrangerie, Paris (inv. RF 1960-41). According to Waldemar
George in Derain in Histoire de lArt Contemporaine, 1933, p.
163, its theme was inspired by an engraving of a scene from the
Commedia dellArte and is thought to have been commissioned by
Paul Guillaume.
138
l*392
MOSE KISLING (1891-1953)
Mme Jacques Gurard
PROVENANCE:
signed Kisling (upper right)

oil on canvas
28 x 21 in. (73 x 54 cm.)
Painted in 1930
Galerie Tamnaga, Tokyo.

Acquired from the above by the present owner, circa 1990.
25,000-35,000
$39,000-54,000
35,000-49,000
140
LITERATURE:
J. Kessel & J. Kisling, Kisling, vol. I, 1891-1953, Turin, 1971, no. 116, p. 169
(illustrated).
This work is sold with a photo-certifcate from Jean Kisling.
PROPERTY FROM A DISTINGUISHED PRIVATE BELGIAN COLLECTION
l393
MOSE KISLING (1891-1953)
Nu au divan rouge
PROVENANCE:
signed Kisling (lower left)

oil on canvas
21 x 29 in. (54.7 x 73.4 cm.)
Painted in 1925
Anonymous sale, Blache, Versailles, 13 June 1979, lot 156.

Private collection, Japan; sale, Christies, London, 25 June 2003, lot 180.
Acquired at the above sale by the father of the present owner.
40,000-60,000
H. Troyat & J. Kisling, Kisling, vol. II, 1891-1953, Turin, 1982, no. IV,
$63,000-93,000
LITERATURE:
56,000-83,000
141
PROPERTY FROM A PRIVATE NEW YORK COLLECTION
l*394
LEONARD TSUGUHARU FOUJITA
(1886-1968)
Deux flles
signed Foujita (lower right); signed again and inscribed Foujita Paris
(on the stretcher)
oil on canvas
9 x 8 in. (24.1 x 19.3 cm.)
50,000-80,000
$78,000-120,000
70,000-110,000
PROVENANCE:
Robert Lehman, New York, by 1969, and thence by descent to the

present owner.
To be included in the forthcoming catalogue of the works by

Tsuguharu Foujita (Volume IV) being prepared by Sylvie Buisson.
Robert Lehman assumed leadership of the family-owned business
Lehman Brothers, in 1925, and would go on to run the family business
for many years. From 1911 he began to build upon his fathers already
impressive collection, to assemble by the late 1960s one of the most
important private art collections in the United States. In 1957, nearly
three hundred works were used for an exhibition of the collection at the
Muse de l'Orangerie in Paris. After his death in 1969, the Robert Lehman
Foundation donated close to 3,000 works of art to the Metropolitan
Museum of Art, where he had been a Trustee most of his life.
l395
LEONARD TSUGUHARU FOUJITA
(1886-1968)
Jeune flle la marguerite
signed L. Foujita (lower centre); signed and dated XI 60 L. Foujita
(on the reverse)
oil on canvas
13 x 8 in. (33.2 x 22.4 cm.)
Painted in November 1960
PROVENANCE:
Anonymous sale, Christies, London, 3 December 1971, lot 214.

Acquired at the above sale by the family of the present owner.
LITERATURE:
S. Buisson, Lonard-Tsuguharu Foujita, vol. II, Paris, 2001, no. 60.70, p. 481
(illustrated).
50,000-70,000
$78,000-110,000
70,000-97,000
143
396
Jeunes flles et enfants sur la terrasse Sainte-Maxime
signed Lebasque (lower left)
oil on canvas
63 x 51 in. (162 x 130.3 cm.)
Painted in 1914
400,000-600,000
$630,000-930,000
560,000-830,000
PROVENANCE:
Marthe Lebasque, the artists daughter, Paris.

Private collection, France, by whom acquired from the above; sale, Christies,
New York, 7 November 2007, lot 361.
EXHIBITED:
Paris, Galerie Georges Petit, Henri Lebasque, March 1927, no. 21 or 26.
Paris, Galerie Odette Ptrids, Henri Lebasque, exposition de quelques
uvres, peintures, aquarelles et dessins, November - December 1938, no. 1.
Nice, Galerie des Ponchettes, Henri Lebasque, July - September 1957, no. 34.
Nice, Muse Massna, Henri Lebasque, April - May 1965, no. 19.
Le Cannet-Rocheville, Htel de Ville, En hommage Henri Lebasque qui vcut
et peignit au Cannet de 1922 1937, March 1970, no. 11 (illustrated).
LITERATURE:
P. Vitry, Henri Lebasque, Paris, 1928, p. 69 (illustrated).

D. Bazetoux, Henri Lebasque, Catalogue raisonn, vol. I, Neuilly-sur-Marne,
2008, no. 1241, p. 304 (illustrated).
Henri Lebasque frst visited the French Riviera in 1906 at the

suggestion of the Fauve painter Henri Manguin. In 1924, Lebasque
relocated to the region to permanently take advantage of its
unparalleled light. In the intervening years, the artist who would earn
the sobriquet Painter of Joy and Light returned often. In 1914, for
example, he brought his family to the town of Sainte-Maxime, about
halfway between Cannes and Saint Tropez. Here, he would undertake
a series of family portraits, such as Jeunes filles et enfants sur la
terrasse Sainte-Maxime, set on the terrace of their oceanfront house.
Lisa A. Banner interprets the Sainte-Maxime Terrasse series as an
example of Lebasques attempt to resolve thematic or compositional
problems in his work by painting the same subject several times in
nearly identical attitudes (intro., Lebasque, exh. cat., Montgomery
Gallery, San Francisco, 1986, n.p.). As the strikingly similar painting La
Terrasse (fg. 1) reveals, the present work represents one of a group
of paintings done in various shapes and sizes, of the same family
group breakfasting on the terrace, with sunlight streaming in through
the open arches (ibid., n.p.).
144
Both paintings feature a frame of foliage around two sides of the canvas,
but Lebasque moves this border from the left and upper edges of the
canvas in La Terrasse to the upper and right edges in Jeunes filles et enfants
sur la terrasse Sainte-Maxime. The fruit that spills across the table in the
earlier painting is replaced with lush red fowers in the present works
lower right corner. Finally, the introspective, even isolated feeling of the
young women in the frst painting is supplanted by a frm sense of their
interconnectedness in the present canvas.
Banner locates in Lebasques work a characteristic mysterious aspectthe
absence of detail in his portrayal of faces. She goes on to note that the
artist achieves greater intimacy with his subjects by this technique, leaving
them the anonymity of disguise by careful omission of facial distinction and
coaxing greater expression from the limbs and body poses of his sitters
(ibid). Indeed, in the present composition, the fve fgures dispositions are
conveyed more through their physical attitudes than their miens. One fgure
is turned away from the viewer entirely, and three others wear sun hats
which further mask their already ambiguous facial expressions.
Though their faces are obscured, the angles of the fgures heads,
emphasized by the slants of their bonnets, create an intimate play of
regards. The viewers eye frst rests on the girl with the black-banded
hat, then follows her gaze toward the pink-clad fgure holding out her
necklace. The slope of this girls glance then directs the onlookers eye
toward the woman in blue, whose own down-turned profle gestures
toward the child playing with the dog in the canvass lower left corner. By
choreographing this subtle dance of gazes, the artist invites the spectator
into the close circle of his family. Though the scene takes place outdoors,
under the dappled light of the French Riviera, Lebasque achieves an
intimacy that rivals the interior domesticity of his contemporaries Edouard
Vuillard and Pierre Bonnard.
THE PROPERTY OF A EUROPEAN COLLECTOR
*397
Etude de femmes
signed Renoir (lower left)
oil on canvas
11 x 11 in. (29.1 x 30.2 cm.)
Painted circa 1890
100,000-200,000
$160,000-310,000
140,000-280,000
146
PROVENANCE:
Galerie de lElyse [Alex Maguy], Paris.

Acquired from the above by the grandfather of the present owner in the 1970s.
LITERATURE:
A. Vollard, Tableaux, pastels et dessins de Pierre-Auguste Renoir, vol. II, Paris,

1918 (illustrated pl. 24).
G.-P. & M. Dauberville, Renoir, Catalogue raisonn des tableaux, pastels,
dessins et aquarelles, vol. II, 1882-1894, Paris, 2009, no. 1026, p. 216
[illustrated in a larger composition; titled Etudes (personnages)].

*398
La couseuse
indistinctly signed Renoir (lower left)
oil on canvas
12 x 7 in. (32.6 x 20 cm.)
200,000-300,000
PROVENANCE:
Ambroise Vollard, Paris.

Galerie Tanner, Zurich.
Georges Bloch, Zurich, by whom acquired from the above on 8 October 1949;
sale, Christies, London, 28 November 1989, lot 274.
Simon and Jean Tiroche, by whom acquired at the above sale, and thence by
descent; sale, Christies, London, 19 June 2013, lot 433.
$320,000-470,000
280,000-420,000
This work will be included in volume V of the catalogue raisonn des

Tableaux, Pastels, Dessins et Aquarelles de Pierre-Auguste Renoir being
prepared by Guy-Patrice Dauberville published by Editions Bernheim- Jeune.
This painting will be included in the forthcoming Renoir catalogue
critique being prepared by the Wildenstein Insitute and established
from the archives funds of Franois Daulte, Durand-Ruel, Venturi,
THE PROPERTY OF A PRIVATE SWISS COLLECTOR
l*399
AFTER PIERRE-AUGUSTE RENOIR
(1814-1919) AND LOUIS MOREL (1887-1975)
Danseuse au tambourin I
LITERATURE:
signed Renoir (lower centre left); numbered A, stamped with the foundry
mark CIRE C.VALSUANI PERDUE and inscribed BRONZE (lower right)
24 x 17 in. (62 x 44.2 cm.)
Conceived in plaster in 1918
P. Hsrts, Renoir Sculptor, New York, 1947, no. 22 (the terracotta version
illustrated, pl. XLIV).
B. Ehrlich White, Renoir, his life, art, and letters, New York, 1984, p. 277 (the
terracotta version illustrated).
15,000-20,000
In 1918, after the departure of Richard Guino, with whom he had

collaborated on roughly twenty sculptures, Renoir engaged the services of
the young sculptor Louis Morel. Together they created three terracotta reliefs
on Dionysian themes, including the present subject. It is a moving fact
that the very last sculptures of this old man, who was paralyzed and not far
from his end, evoked music and dance (Hsrts, op. cit., p. 33). As Guino
had done before him, Morel modelled the reliefs from drawings by Renoir,
whose hands were arthritic and incapable of working in even the most
malleable materials. Renoir had planned a further relief depicting a dancing
fgure wearing a wreath, but became too ill to continue working on it.
$24,000-31,000
21,000-28,000
PROVENANCE:
Galerie Tanner, Zurich.

Emil G. Bhrle, Zurich, by whom acquired from the above in 1936, and
thence by descent to the present owner.
400
Paysage avec maison
stamped with the signature Renoir. (Lugt 2137b; lower right)
oil on canvas
7 x 11 in. (20 x 28.8 cm.)
Painted circa 1905
70,000-100,000
$110,000-160,000
98,000-140,000
PROVENANCE:
Galerie Benezit, Paris.

Prof. Horstmann, Hamburg.
Anonymous sale, Ketterer, Stuttgart, 21 May 1960, lot 515.
Acquired at the above sale by the father of the present owners.
EXHIBITED:
Berlin, Galerie Flechtheim, A. Renoir, Christmas 1928, no. 68

(titled Das Haus in Cagnes).
LITERATURE:
A. Vollard, Pierre-Auguste Renoir, Tableaux, pastels et dessins, Paris, 1918,

vol. II, p. 20 (illustrated).
G.-P. & M. Dauberville, Renoir, Catalogue raisonn des tableaux, pastels,
dessins et aquarelles, vol. IV, 1903-1910, no. 2986, p. 184 (illustrated)

149
*401
La danse (tude)
signed and dated Lebasque (lower left)
oil on canvas
27 x 47 in. (69 x 120.8 cm.)
Painted in 1917
30,000-50,000
$47,000-78,000
42,000-70,000
150
PROVENANCE:

LITERATURE:
D. Bazetoux, Henri Lebasque, Catalogue raisonn, vol. I, Paris, 2008, no.

Christine Lenoir and Maria de la Ville Fromoit have confrmed the

authenticity of this painting.
This painting is a study for La musique et la danse, a decorative panel
for the vestibule of the Direction des Beaux-Arts, rue de Valois, Paris.
402
MAXIMILIEN LUCE (1858-1941)
Rolleboise, la baignade
PROVENANCE:
signed Luce (lower right)

oil on canvas
53 x 57 in. (135 x 145.5 cm.)

Anonymous sale, Sothebys, New York, 4 May 2005, lot 406.
Acquired at the above sale; sale, Christies, New York, 7 November 2007, lot 357.
120,000-180,000
LITERATURE:
$190,000-280,000
170,000-250,000
J. Agamemnon, "Luce Rolleboise ou la dernire priode de Luce, sites et motifs",

in Annales historiques du Mantois, Mantes, 1979, vol. 6, no. 6, p. 37 (illustrated).
D. Bazetoux, Maximilien Luce, Catalogue de luvre peint, vol. II, Paris, 1986, no.
151
l*403
Le bal de province
signed CASSIGNEUL (lower centre); signed, dated and inscribed
Cassigneul 1969 le Bal de province (on the reverse)
oil on canvas
24 x 19 in. (61 x 50 cm.)
Painted in 1969
25,000-35,000
$39,000-54,000
35,000-49,000
152
404
Femme dans un fauteuil
signed Lebasque (lower right)
oil on canvas
23 x 36 in. (60.2 x 92.4 cm.)
Painted circa 1934
45,000-65,000
PROVENANCE:
Maurice Rollin, Paris, and thence by descent; sale, Christies, Paris,

3 December 2013, lot 86.
Christine Lenoir and Maria de la Ville Fromoit have confrmed the

authenticity of this work.
$71,000-100,000
63,000-90,000
153
THE PROPERTY OF A PRIVATE COLLECTOR
405
MAXIMILIEN LUCE (1858-1941)
Une rue de Paris
signed Luce (lower left)
18 x 14 in. (48 x 37.1 cm.)
Painted in 1905
30,000-50,000
$47,000-78,000
42,000-70,000
154
PROVENANCE:
Private collection, London; sale, Christies, London, 7 February 2007, lot 227.
LITERATURE:
D. Bazetoux, Maximilien Luce, Catalogue de luvre peint, vol. II, Paris, 1986,
l*406
Avenue Foch
signed CASSIGNEUL (lower left); signed again and inscribed Avenue Foch
Cassigneul (on the reverse)
oil on canvas
28 x 36 x in. (73 x 92.2 cm.)
Painted in 1976
PROVENANCE:
Galerie Tamnaga, Paris (no. F-555).

40,000-60,000
$63,000-93,000
56,000-83,000
155
l407
GEORGES BRAQUE (1882-1963)
La vague
PROVENANCE:
signed G Braque (lower left)

oil on canvas
10 x 16 in. (27.5 x 41.3 cm.)
Painted circa 1932
Marguerite Aim Maeght, Paris.

Galerie Maeght, Paris.
Galerie Beyeler, Basel.
Galleria Marescalchi, Bologna.
Acquired from the above by the grandfather of the present owner.
30,000-50,000
EXHIBITED:
$47,000-78,000
42,000-70,000
Basel, Galerie Beyeler, Georges Braque, July - October 1968, no. 34

(illustrated; dated circa 1930).
Humlebk, Denmark, Louisiana Museum of Modern Art, Georges Braque,
March - May 1969, no. 235.
Basel, Galerie Beyeler, Georges Braque, July - September 1969, p. 54.
LITERATURE:
Maeght, ed., Catalogue de luvre de Georges Braque, Peintures 19281935, Paris, 1962, p. 91 (illustrated).
J. Prvert, Varengeville, Paris, 1968, (illustrated).
156
l408
Paysage de Provence
signed aDerain (lower right)
oil on canvas
25 x 51 in. (63.5 x 130 cm.)
35,000-55,000
$55,000-86,000
49,000-77,000
PROVENANCE:

Galerie Ruaz, Paris.
Private collection, Paris, by whom acquired from the above in the 1940s.
Anonymous sale, Sothebys, London, 23 March 2006, lot 75.
Private collection, Italy, by whom acquired at the above sale; sale, Christies,
EXHIBITED:
Paris, Muse National dArt Moderne, Orangerie des Tuileries, Derain,

December 1954 - January 1955, no. 56.
LITERATURE:
G. Hilaire, Derain, Genve, 1959, no. 143, p. 196 (illustrated pl. 143; titled
Le Chteau and dated 1925).
M. Kellermann, Andr Derain, Catalogue raisonn de luvre peint, vol. II,
1915-1934, Paris, 1996, no. 643, p. 64 (illustrated).
157
l*409
Bouquet dans une cruche
signed Bernard Buffet (centre right) and dated 1998 (lower right); inscribed
Bouquet dans une cruche (on the stretcher)
oil on canvas
25 x 19 in. (65 x 50 cm.)
Painted in 1998
40,000-60,000
$63,000-93,000
56,000-83,000
158
PROVENANCE:

Carel Gallery, Florida.
Private collection, by whom acquired from the above circa 2005, and thence
by descent to the present owner, circa 2014.
l*410
La rivire
signed Bernard Buffet (upper right) and dated 1993 (upper left); inscribed
La rivire (on the stretcher)
oil on canvas
23 x 31 in. (60 x 81 cm.)
Painted in 1993
50,000-80,000
PROVENANCE:

Gallery Rienzo, New York.
Private collection, by whom acquired from the above circa 2003, and thence
by descent to the present owner, circa 2014.
$78,000-120,000
70,000-110,000
159
THE PROPERTY OF A PRIVATE FRENCH COLLECTOR
411
ARMAND GUILLAUMIN (1841-1927)
Roquebrune, cte de lEstrel
signed Guillaumin (lower right)
oil on canvas
18 x 21 in. (46 x 55 cm.)
Painted circa 1920
20,000-30,000
$32,000-47,000
28,000-42,000
160
PROVENANCE:
Private collection, Neuilly-sur-Seine, and thence by descent to the present owner.
This work will be included in the second volume of the Armand

Guillaumin catalogue raisonn being prepared by the Comit Guillaumin.
PROVENANCE:
*412
GUSTAVE CAILLEBOTTE (1848-1894)
The artists estate, and thence by descent.

Galerie Schmit, Paris.
Private collection, Germany, by whom acquired from the above in 1987;
sale, Christies, London, 19 June 2013, lot 314.
Bord de Seine Argenteuil

stamped with the signature G. Caillebotte. (lower right)
oil on canvas
32 x 25 in. (81.3 x 65.4 cm.)
Painted in 1890-1891
70,000-100,000
$110,000-160,000
98,000-140,000
EXHIBITED:
Paris, Galerie Schmit, 25e exposition, Matres franais, XIX-XXe sicles, 1987,
no. 9 (illustrated; dated 1890).
LITERATURE:
M. Berhaut, Caillebotte, sa vie et son uvre, catalogue raisonn des peintures

et pastels, Paris, 1978, no. 388, p. 212 (illustrated).
M. Berhaut, Gustave Caillebotte, catalogue raisonn des peintures et pastels,
Paris, 1994, no. 412, p. 224 (illustrated).
161
THE PROPERTY OF A EUROPEAN PRINCESS
413
EUGNE BOUDIN (1824-1898)
Trouville, le port
PROVENANCE:
signed, dated and inscribed Trouville E. Boudin 94 (lower left)

oil on panel
12 x 18 in. (32.7 x 46 cm.)
Painted in 1894
Raphel Grard, Paris.

Anonymous sale, Htel Drouot, Paris, 8 July 1931, lot 4.
Private collection, United Kingdom; sale, Christies, London, 29 November
1995, lot 101.
Acquired at the above sale, and thence by descent to the present owner.
50,000-80,000
LITERATURE:
$78,000-120,000
70,000-110,000
162
R. Schmit, Eugne Boudin, vol. III, 1824-1898, Paris, 1973, no. 3314, p. 271
(illustrated).
414
Laveuses au bord de la Touques
signed and dated E. Boudin 85. (lower right)
oil on panel
10 x 16 in. (25.6 x 41.5 cm.)
Painted in 1885
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Andr Schller, Paris.

Jules Thinet, Paris, and thence by descent; sale, Christies, Paris, 14 June
2010, lot 46.
EXHIBITED:
Paris, Galerie Brame et Lorenceau, Quelques tableaux par Boudin,

May 1949, no. 25.
Paris, Galerie Hector Brame, Eugne Boudin, peintures, pastels, aquarelles,
November - December 1956, no. 12.
LITERATURE:
R. Schmit, Eugne Boudin, vol. II, 1824-1898, Paris, 1973, no. 1942, p. 243 (illustrated).
Eugne Boudin is famous among the great late 19th century painters for
his beach views, his seascapes and his bustling northern French ports.
But, inspired by the work of Daubigny and Corot, the artist also liked
to paint modest washerwomen on riverbanks, in particular the banks of
the Touques river in Normandy, making these working-class women the
central focus of his composition.
'In their subject these paintings are the antithesis of Boudins beach
scenes. Unlike the fashionable visitors idling in the sand, these local
women are hard at work. Boudin rarely shows them turning to each
other and chattering; instead they are seen from behind, their backs bent,
intent on their task. [...] By the nature of their task, these washerwomen
provided Boudin with an ideal subject combining as it did observation
of the human fgure with description of water, sky and landscape.' (V.
Hamilton, Boudin at Trouville, Glasgow, 1992, p. 123).
163
415
ACHILLE LAUG (1861-1944)
La route de Belvze vers le relais
signed and dated A.Laug 1918 (lower right)
oil on canvas
21 x 28 in. (53.7 x 72.3 cm.)
Painted in 1918
25,000-35,000
$39,000-54,000
35,000-49,000
164
PROVENANCE:

This work will be included in the catalogue raisonn of Achille Laug

currently being prepared by Nicole Tamburini.
416
ACHILLE LAUG (1861-1944)
Vue gnrale d'Alet-les-Bains
PROVENANCE:
signed and dated Achille Laug 1928 (lower left)

oil on canvas
29 x 51 in. (75.3 x 130 cm.)
Painted in 1928
The artists atelier sale, Htel Drouot, Paris, 5 March 1976, lot 77.
Private collection, by whom acquired at the above sale; sale, Htel Drouot,
35,000-45,000
$55,000-70,000
This work will be included in the catalogue raisonn of Achille Laug

currently being prepared by Nicole Tamburini.
49,000-63,000
165
PROPERTY FROM A PRIVATE COLLECTION, SWITZERLAND
l*417
Les deux meules
PROVENANCE:
signed Vlaminck (lower left)

oil on canvas
21 x 25 in. (54.3 x 65.3 cm.)
Jean-Claude Bellier, Paris.

Acquired from the above by the present owner on 14 September 1993.
30,000-50,000

$47,000-78,000
42,000-70,000
166
THE PROPERTY OF A SWISS COLLECTOR
l*418
Voiliers dans le port
signed Vlaminck (lower right)
oil on canvas
35 x 45 in. (89.4 x 116.2 cm.)
Painted circa 1937
80,000-120,000
$130,000-190,000
PROVENANCE:
Catherine-Elisabeth Frossard de Saugy, Moudon.


120,000-170,000
167
*419
MAURICE UTRILLO (1883-1955)
Rue Corte (Corse)
signed Maurice Utrillo. V. (lower right)
oil on canvas
23 x 32 in. (60 x 81.2 cm.)
150,000-250,000
$240,000-390,000
210,000-350,000
PROVENANCE:
Fiquet collection, Paris.

Paul Ptrids, Paris; his collection sale, Artcurial, Paris, 30 November 2010, lot 12.
EXHIBITED:
Paris, Galerie Hortense Fiquet, Maurice Utrillo de 1905 1925, May 1925,
no. 30 (illustrated).
Paris, Galerie Paul Ptrids, Maurice Utrillo, uvres importantes de 19051914, May - June 1953, no. 35, p. 15 (titled 'Rue en Corse').
Paris, Galerie Charpentier, Cent tableaux par Utrillo, 1959, no. 52 (titled Rue
en Corse).
Munich, Haus der Kunst, Maurice Utrillo - Suzanne Valadon, June September 1960, no. 42.
Paris, Galerie Paul Ptrids, 50 toiles de matres, May - June 1969, no. 40
(illustrated; titled Rue Murato en Corse).
Tokyo, Grand Magasin Mitsukoshi, Utrillo - Valadon, May - August 1972,
no. 19 (illustrated); this exhibition later travelled to Osaka, Grand Magasin
Mitsukoshi, Matsuyama, Grand Magasin Mitsukoshi, Takamatsu, Grand
Magasin Mitsukoshi, Sapporo, Grand Magasin Mitsukoshi, Nagoya, Maison
de la culture du dpartement dAichi and Matsue, Grand Magasin Ichihata.
Tokyo, Galeries Isetan, Maurice Utrillo et Suzanne Valadon, October November 1978, no. 32 (illustrated; dated 1913); this exhibition later
travelled to Nara, Art Museum, Nagoya, Aichi Prefectural Museum of Art,
and Fukuoka, Prefectural Centre of Culture.
Albi, Muse Toulouse-Lautrec, Maurice Utrillo, Suzanne Valadon, June
September 1979, no. 20 (titled Rue Corte en Corse).
Tokyo, Tokyo Shimbun, Utrillo, October 1985 - February 1986, no. 15
(illustrated); this exhibition later travelled to Kasama, Nichido Museum of
Arts, February - March 1986.
Tokyo, Gallery Art Point, Utrillo, June - July 1987, no. 3 (illustrated).
Osaka, Kintetsu Museum of Art, Utrillo et les artistes de Montmartre, June
- October 1990, no. 2 (illustrated); this exhibition later travelled to Kyoto,
Daimaru Museum of Art and Tokyo, Daimaru Museum of Art.
Tokyo, Daimaru Museum, Maurice Utrillo, September-December 1992, no.

29 (illustrated p. 56; titled Corse: rue Corte); this exhibition later travelled
to Kyoto, Daimaru Museum, Osaka, Daimaru Museum Umeda, Shimonoseki,
Daimaru Bunka Hall and Onomichi, Municipal Museum.
Tokyo, Odakyu Museum, Utrillo-Valadon, May 2000 - February 2001,
no. 15 (illustrated); this exhibition later travelled to Fukushima, Municipal
Museum of Modern Art, Iwaki, Osaka, Daimaru Museum, Umeda, Fukuoka,
Mitsukoshi Museum, Niigata, Nijtsu Municipal Museum of Art and
Takashimaya Museum, Yokohama, Kanagawa.
Paris, Pinacothque, Valadon-Utrillo, March - September 2009, no. 61, p.
241 (illustrated).
LITERATURE:
R. Rey, in LAmour de lart, April 1924, no. 4, p. 48 (illustrated).

G.-J. Gros, Maurice Utrillo, Paris, 1927 (illustrated pl. 15).
A. Basler, Maurice Utrillo, Paris, 1929 (illustrated pl. 9).
A. Basler, Maurice Utrillo, Paris, 1931, p. 45 (illustrated).
M. Mermillon, Collection des matres, Utrillo, Paris, 1948 (illustrated pl. 40).
E. Heuz, Mdecines peintures: Maurice Utrillo, Paris, 1954, no. V
(illustrated).
P. Ptrids, Luvre complet de Maurice Utrillo, vol. I, Paris, 1959, no. 407,
p. 472 (illustrated p. 473; titled Rue en Corse).
Kodansha, ed., 25 Great Masters of Modern Art, Utrillo, Japan, 1980, pl. 22.
G. Bernier, Maurice Utrillo, Cremona, 1980, no. 17 (illustrated; dated 1913).
J. Fabris, Maurice Utrillo, Paris, 1992, p. 190 (illustrated pp. 190-191).
J. Fabris & B. de Montgolfer, Catalogue du Muse, Maurice Utrillo, Sannois,
Y. Paternotte, J. Fabris & B. de Montgolfer, Catalogue du Muse, Maurice
Utrillo, Suzanne Valadon, Sannois, 2006, no. 8, p. 93 (illustrated p. 21; dated
circa 1913).
J. Fabris & C. Paillier, Luvre complet de Maurice Utrillo, vol. I, Paris, 2009,
no. 467, pp. 545 & 697 (illustrated p. 545).
Jean Fabris and Cdric Paillier have confrmed the authenticity of this work.
168
PROPERTY FROM A PRIVATE COLLECTION, VALENCIA
420
HENRY MORET (1856-1913)
Paysage
signed and indistinctly dated Henry Moret 19.. (lower left)
oil on canvas
32 x 23 in. (81.5 x 60.5 cm.)
Painted circa 1905
40,000-60,000
$63,000-93,000
56,000-83,000
170
PROVENANCE:
Acquired in Paris in the 1920s, and thence by descent to the present owner.
Jean-Yves Rolland will include this work in his forthcoming Henry

Moret catalogue raisonn.
421
Varennes-sous-Dun (Sane-et-Loire)
signed and dated Maurice, Utrillo, V, 1928 (lower left); signed, dated and
inscribed Varennes-sous-Dun-(Sane-et-Loire) Maurice, Utrillo, V, 1928,
(on the reverse)
oil on board
15 x 20 in. (38.5 x 51.1 cm.)
Painted in 1928
PROVENANCE:
Private collection, United States, and thence by descent; sale, Sothebys,

New York, 8 May 2008, lot 425.
45,000-65,000
$71,000-100,000
63,000-90,000
171
422
Les bords de la Touques, clair de lune
PROVENANCE:
signed and dated E. Boudin -90 (lower left)

oil on canvas
15 x 21 in. (40 x 55.3 cm.)
Painted in 1890
M. Grard, Paris.
Anonymous sale, Galerie Fischer, Lucerne, 21 November 1961, no. 1727.
Anonymous sale, Christies, London, 30 March 1981, lot 39B.
30,000-50,000
$47,000-78,000
42,000-70,000
172
LITERATURE:
R. Schmit, Eugne Boudin, vol. III, 1824-1898, Paris, 1973, no. 2713, p. 59
(illustrated)
423
Environs de Brest. Embouchure de llorn
signed and dated E. Boudin - 73. (lower left)
oil on canvas
21 x 35 in. (55.5 x 90.2 cm.)
Painted in 1873
60,000-80,000
$94,000-120,000
84,000-110,000
PROVENANCE:
Allard et Nol, Paris.

Galerie Bernheim-Jeune, Paris.
Sir Stephenson H. Kent, London, and thence by descent; sale, Galerie
Charpentier, Paris, 18 March 1959, lot 32.
Arthur Tooth & Sons, London; sale, Christies, London, 27 November 1964, lot 68.
Private collection, New York, by whom acquired at the above sale.
Private collection, Maryland, by descent from the above; sale, Sothebys,
New York, 16 March 2011, lot 6.
LITERATURE:
L. Cario, Eugne Boudin, Paris, 1928 (illustrated pl. 13; titled La rade de Brest).
R. Schmit, Eugne Boudin, Catalogue raisonn de luvre peint, vol. I,
1824-1898, Paris, 1973, no. 865 (illustrated p. 306).
173
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
*424
TAKANORI OGUISS (1901-1986)
Terrasse de lhtel
signed and dated 1931 Oguiss (lower right)
oil on canvas
23 x 31 in. (60 x 81 cm.)
Painted in 1931
30,000-50,000
$47,000-78,000
42,000-70,000
174
PROVENANCE:
Anonymous sale, Htel Drouot, Paris, 22 June 1988, lot 122.

This work is sold with a certifcate from Mrs Emiko Oguiss Halpern.
PROPERTY FROM A PRIVATE INDONESIAN COLLECTION
*425
Eglise de Stains (Seine)
PROVENANCE:
signed Maurice, Utrillo, V, (lower right);

inscribed - Eglise de Stains, (Seine), (lower left)
oil on canvas
18 x 21 in. (46 x 55 cm.)
Painted circa 1937

Sidney C. Weil, Illinois.
70,000-100,000
Jean Fabris and Cdric Paillier have confrmed the authenticity of this work.
$110,000-160,000
98,000-140,000
175
l*426
Vase de feurs
signed Derain. (lower right)
oil on canvas
25 x 21 in. (65 x 54 cm.)
Painted circa 1919
PROVENANCE:

Dr Raeber, Basel.
Private collection, Switzerland, by whom probably acquired from the above,
and thence by descent to the present owner.
LITERATURE:
18,000-25,000
$29,000-39,000
26,000-35,000
176
D. Henry, Andr Derain, Leipzig, 1920 (illustrated; titled Blumen).

M. Kellerman, Andr Derain, Catalogue raisonn de luvre peint, vol. II,
1915-1934, Paris, 1996, no. 670, p. 74 (illustrated).
l427
KEES VAN DONGEN (1877-1968)
Roses dans un vase
signed van Dongen. (lower right)
oil on Masonite
18 x 10 in. (46.1 x 27.5 cm.)
40,000-60,000
PROVENANCE:

Acquired from the above by the family of the present owner.
Jacques Chalom des Cordes will include this work in his forthcoming
Van Dongen catalogue critique being prepared under the sponsorship
of the Wildenstein Institute.
$63,000-93,000
56,000-83,000
177
l428
LOUIS VALTAT (1869-1952)
Le fchu rouge
stamped with the initials L.V (Lugt L.1771 bis, lower left)
oil on canvas
15 x 18 in. (38.1 x 46.2 cm.)
Painted in 1902
12,000-18,000
$19,000-28,000
17,000-25,000
178
PROVENANCE:
Private collection, United Kingdom, by 1990.

LITERATURE:
J. Valtat, Louis Valtat, Catalogue de luvre peint, vol. I, 1869-1952,

Neuchtel, 1977, no. 337, p. 38 (illustrated).
NOTES
CONDITIONS OF SALE BUYING AT CHRISTIES

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A BEFORE THE SALE
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4 VIEWING LOTS PRE-AUCTION
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Estimates can change. Neither you, nor anyone
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2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above,
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7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires years or if you want to spend more than on previous
and emeralds) may have been treated to improve occasions, please contact our Credit Department on
their look, through methods such as heating and +44 (0)20 7839 9060.
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RIGHT DOCUMENTS
less strong and/or require special care over time.
(b) All types of gemstones may have been improved If in our opinion you do not satisfy our bidder
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(c) We do not obtain a gemmological report for to register you to bid, and if you make a successful
every gemstone sold in our auctions. Where we bid, we may cancel the contract for sale between
do get gemmological reports from internationally you and the seller.
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from 4 BIDDING ON BEHALF OF
American gemmological laboratories will describe
ANOTHER PERSON
any improvement or treatment to the gemstone. If you are bidding on behalf of another person,
Reports from European gemmological laboratories that person will need to complete the registration
will describe any improvement or treatment only requirements above before you can bid, and supply
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technology, laboratories may not agree whether a has been agreed in writing with Christies before
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(d) For jewellery sales, estimates are based on the 5 BIDDING IN PERSON
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have been treated or enhanced.
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help, please contact the Credit Department on +44
(a) Almost all clocks and watches are repaired in (0)20 7839 9060.
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any individual component part of any watch is The bidding services described below are a free
authentic. Watchbands described as associated service offered as a convenience to our clients and
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authentic. Clocks may be sold without pendulums, or otherwise), omission or breakdown in providing
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these services.
(b) As collectors watches often have very fine and
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battery or further repair work may be necessary,
Your request for this service must be made no
for which you are responsible. We do not give a
later than 24 hours prior to the auction. We
warranty that any watch is in good working order.
will accept bids by telephone for lots only if our
Certificates are not available unless described in
staff are available to take the bids. If you need
the catalogue.
to bid in a language other than in English, you
(c) Most wristwatches have been opened to find out must arrange this well before the auction. We
the type and quality of movement. For that reason, may record telephone bids. By bidding on the
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REGISTERING TO BID
livebidding and click on the Bid Live icon to see
1 NEW BIDDERS
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you are a returning bidder who has not bought of Sale, internet bids are governed by the Christies
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owners; and
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C
AT THE SALE
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We may, at our option, refuse admission to our
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The reserve cannot be more than the lots low
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The auctioneer may, at his or her sole option, bid
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at 50% of the low estimate for the lot. If no bid
is made at that level, the auctioneer may decide to
go backwards at his or her sole option until a bid
is made, and then continue up from that amount.
In the event that there are no bids on a lot, the
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Bidding generally starts below the low estimate and
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8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her
discretion as set out in paragraph C3 above, when
the auctioneers hammer strikes, we have accepted
the last bid. This means a contract for sale has been
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We will issue an invoice only to the registered
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You agree that when bidding in any of our sales
that you will strictly comply with all local laws and
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D
THE BUYERS PREMIUM, TAXES

AND ARTISTS RESALE ROYALTY
1 THE BUYERS PREMIUM
In addition to the hammer price, the successful
bidder agrees to pay us a buyers premium
on the hammer price of each lot sold. On all
lots we charge 25% of the hammer price up
to and including 50,000, 20% on that part of
the hammer price over 50,000 and up to and
including 1,000,000, and 12% of that part of the
hammer price above 1,000,000.
2 TAXES
The successful bidder is responsible for any applicable
tax including any VAT, sales or compensating use
tax or equivalent tax wherever they arise on the
hammer price and the buyers premium. It is
the buyers responsibility to ascertain and pay all
taxes due. You can find details of how VAT and
VAT reclaims are dealt with in the section of the
catalogue headed VAT Symbols and Explanation.
VAT charges and refunds depend on the particular
circumstances of the buyer so this section, which
is not exhaustive, should be used only as a general
guide. In all circumstances EU and UK law takes
precedence. If you have any questions about VAT,
please contact Christies VAT Department on +44
(0)20 7839 9060 (email: VAT_london@christies.
com, fax: +44 (0)20 3219 6076).
3 ARTISTS RESALE ROYALTY
In certain countries, local laws entitle the artist or
the artists estate to a royalty known as artists resale
right when any lot created by the artist is sold. We
identify these lots with the symbol next to the
lot number. If these laws apply to a lot, you must
pay us an extra amount equal to the royalty. We
will pay the royalty to the appropriate authority on
the sellers behalf.
The artists resale royalty applies if the hammer
price of the lot is 1,000 euro or more. The total
royalty for any lot cannot be more than 12,500
euro. We work out the amount owed as follows:
Royalty for the portion of the hammer price
(in euros)
4% up to 50,000
3% between 50,000.01 and 200,000
1% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000
over 500,000, the lower of 0.25% and 12,500 euro.
We will work out the artists resale royalty using the
euro to sterling rate of exchange of the European
Central Bank on the day of the auction.
E
WARRANTIES
1 SELLERS WARRANTIES
For each lot, the seller gives a warranty that the
seller:
(a) is the owner of the lot or a joint owner of
the lot acting with the permission of the other
co-owners or, if the seller is not the owner or a joint
owner of the lot, has the permission of the owner to
sell the lot, or the right to do so in law; and
(b) has the right to transfer ownership of the lot
to the buyer without any restrictions or claims by
anyone else.
If either of the above warranties are incorrect, the
seller shall not have to pay more than the purchase
price (as defined in paragraph F1(a) below) paid
by you to us. The seller will not be responsible to
you for any reason for loss of profits or business,
expected savings, loss of opportunity or interest,
costs, damages, other damages or expenses. The
seller gives no warranty in relation to any lot
other than as set out above and, as far as the seller
is allowed by law, all warranties from the seller
to you, and all other obligations upon the seller
which may be added to this agreement by law, are
excluded.
2 OUR AUTHENTICITY WARRANTY
We warrant, subject to the terms below, that the lots in
our sales are authentic (our authenticity warranty).
If, within five years of the date of the auction, you
satisfy us that your lot is not authentic, subject to the
terms below, we will refund the purchase price paid
by you. The meaning of authentic can be found in
the glossary at the end of these Conditions of Sale. The
terms of the authenticity warranty are as follows:

(a) It will be honoured for a period of five years
from the date of the auction. After such time, we
will not be obligated to honour the authenticity
warranty.
(b) It is given only for information shown in
UPPERCASE type in the first line of the
catalogue description (the Heading). It does
not apply to any information other than in the
Heading even if shown in UPPERCASE type.
(c) The authenticity warranty does not apply
to any Heading or part of a Heading which
is qualified. Qualified means limited by a
clarification in a lots catalogue description or
by the use in a Heading of one of the terms listed
in the section titled Qualified Headings on the
page of the catalogue headed Important Notices
and Explanation of Cataloguing Practice. For
example, use of the term ATTRIBUTED TO
in a Heading means that the lot is in Christies
opinion probably a work by the named artist but no
warranty is provided that the lot is the work of the
named artist. Please read the full list of Qualified
Headings and a lots full catalogue description
before bidding.
(d) The authenticity warranty applies to the
Heading as amended by any Saleroom Notice.
(e) The authenticity warranty does not apply
where scholarship has developed since the auction
leading to a change in generally accepted opinion.
Further, it does not apply if the Heading either
matched the generally accepted opinion of experts
at the date of the sale or drew attention to any
conflict of opinion.
(f) The authenticity warranty does not apply if
the lot can only be shown not to be authentic by
a scientific process which, on the date we published
the catalogue, was not available or generally
accepted for use, or which was unreasonably
expensive or impractical, or which was likely to
have damaged the lot.
(g) The benefit of the authenticity warranty
is only available to the original buyer shown on
the invoice for the lot issued at the time of the
sale and only if the original buyer has owned the
lot continuously between the date of the auction
and the date of claim. It may not be transferred to
anyone else.
(h) In order to claim under the authenticity
warranty you must:
(i) give us written details, including full supporting
evidence, of any claim within five years of the date
of the auction;
(ii) at Christies option, we may require you to
provide the written opinions of two recognised
experts in the field of the lot mutually agreed by
you and us in advance confirming that the lot is
not authentic. If we have any doubts, we reserve
the right to obtain additional opinions at our
expense; and
(iii) return the lot at your expense to the saleroom
from which you bought it in the condition it was
in at the time of sale.
(i) Your only right under this authenticity
warranty is to cancel the sale and receive a refund
of the purchase price paid by you to us. We
will not, in any circumstances, be required to pay
you more than the purchase price nor will we
be liable for any loss of profits or business, loss of
opportunity or value, expected savings or interest,
costs, damages, other damages or expenses.
(j) Books. Where the lot is a book, we give an
additional warranty for 14 days from the date of
the sale that if on collation any lot is defective in
text or illustration, we will refund your purchase
price, subject to the following terms:
(a) This additional warranty does not apply to:
(i) the absence of blanks, half titles, tissue guards
or advertisements, damage in respect of bindings,
stains, spotting, marginal tears or other defects not
affecting completeness of the text or illustration;
(ii) drawings, autographs, letters or manuscripts,
signed photographs, music, atlases, maps or
periodicals;
(iii) books not identified by title;
(iv) lots sold without a printed estimate;
(v) books which are described in the catalogue as
sold not subject to return; or
(vi) defects stated in any condition report or
announced at the time of sale.
(b) To make a claim under this paragraph you must
give written details of the defect and return the lot
to the sale room at which you bought it in the same
condition as at the time of sale, within 14 days of
the date of the sale.
F
PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you must
pay the purchase price being:
(i) the hammer price; and
(ii) the buyers premium; and
(iii) any amounts due under section D3 above; and
(iv) any duties, goods, sales, use, compensating or
service tax or VAT.
Payment is due no later than by the end of the
seventh calendar day following the date of the
auction (the due date).
(b) We will only accept payment from the
registered bidder. Once issued, we cannot change
the buyers name on an invoice or re-issue the
invoice in a different name. You must pay
immediately even if you want to export the lot and
you need an export licence.
(c) You must pay for lots bought at Christies in
the United Kingdom in the currency stated on the
invoice in one of the following ways:
(i) Wire transfer
You must make payments to:
Lloyds Bank Plc, City Office, PO Box 217, 72
Lombard Street, London EC3P 3BT. Account
number: 00172710, sort code: 30-00-02 Swift
code: LOYDGB2LCTY. IBAN (international bank
account number): GB81 LOYD 3000 0200 1727
10.
(ii) Credit Card.
We accept most major credit cards subject to certain
conditions. To make a cardholder not present
(CNP) payment, you must complete a CNP
authorisation form which you can get from our
Cashiers Department. You must send a completed
CNP authorisation form by fax to +44 (0)20 7389
2869 or by post to the address set out in paragraph
(d) below. If you want to make a CNP payment
over the telephone, you must call +44 (0)20 7839
9060. CNP payments cannot be accepted by all
salerooms and are subject to certain restrictions.
Details of the conditions and restrictions applicable
to credit card payments are available from our
Cashiers Department, whose details are set out in
paragraph (d) below.
(iii) Cash
We accept cash subject to a maximum of 5,000
per buyer per year at our Cashiers Department only
(subject to conditions).
(iv) Bankers draft
You must make these payable to Christies and there
may be conditions.
(v) Cheque
You must make cheques payable to Christies.
Cheques must be from accounts in pounds sterling
from a United Kingdom bank.
(d) You must quote the sale number, your
invoice number and client number when making
a payment. All payments sent by post must be sent
to: Christies, Cashiers Department, 8 King Street,
St Jamess, London SW1Y 6QT.
(e) For more information please contact our
Cashiers Department by phone on +44 (0)20 7839
9060 or fax on +44 (0)20 7389 2869.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of
the lot will not pass to you until we have
received full and clear payment of the
purchase
price, even in circumstances
where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will
transfer to you from whichever is the earlier of the
following:
(a) When you collect the lot; or
(b) At the end of the seventh day following the
date of the auction or, if earlier, the date the lot is
taken into care by a third party warehouse as set out
on the page headed Storage and Collection, unless
we have agreed otherwise with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full
by the due date, we will be entitled to do one or
more of the following (as well as enforce our rights
under paragraph F5 and any other rights or remedies
we have by law):
(i) to charge interest from the due date at a rate of
5% a year above the UK Lloyds Bank base rate from
time to time on the unpaid amount due;
(ii) we can cancel the sale of the lot. If we do this,

we may sell the lot again, publicly or privately on
such terms we shall think necessary or appropriate,
in which case you must pay us any shortfall between
the purchase price and the proceeds from the
resale. You must also pay all costs, expenses, losses,
damages and legal fees we have to pay or may suffer
and any shortfall in the sellers commission on the
resale;
(iii) we can pay the seller an amount up to the net
proceeds payable in respect of the amount bid by
your default in which case you acknowledge and
understand that Christies will have all of the rights
of the seller to pursue you for such amounts;
(iv) we can hold you legally responsible for the
purchase price and may begin legal proceedings
to recover it together with other losses, interest,
legal fees and costs as far as we are allowed by law;
(v) we can take what you owe us from any amounts
which we or any company in the Christies Group
may owe you (including any deposit or other partpayment which you have paid to us);
(vi) we can, at our option, reveal your identity and
contact details to the seller;
(vii) we can 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;
(viii) to exercise all the rights and remedies of
a person holding security over any property in
our possession owned by you, whether by way
of pledge, security interest or in any other way
as permitted by the law of the place where such
property is located. You will be deemed to have
granted such security to us and we may retain such
property as collateral security for your obligations
to us; and
(ix) we can take any other action we see necessary
or appropriate.
(b) If you owe money to us or to another
Christies Group company, we can use any
amount you do pay, including any deposit or other
part-payment you have made to us, or which we
owe you, to pay off any amount you owe to us
or another Christies Group company for any
transaction.
5 KEEPING YOUR PROPERTY
If you owe money to us or to another Christies
Group company, as well as the rights set out in F4
above, we can use or deal with any of your property
we hold or which is held by another Christies
Group company in any way we are allowed to
by law. We will only release your property to you
after you pay us or the relevant Christies Group
company in full for what you owe. However, if we
choose, we can also sell your property in any way
we think appropriate. We will use the proceeds of
the sale against any amounts you owe us and we will
pay any amount left from that sale to you. If there is
a shortfall, you must pay us any difference between
the amount we have received from the sale and the
amount you owe us.
G COLLECTION AND STORAGE
1 COLLECTION
Once you have made full and clear payment, you
must collect the lot within seven days from the date
of the auction.
(a) You may not collect the lot until you have
made full and clear payment of all amounts due to
us.
(b) If you have paid for the lot in full but you do
not collect the lot within 90 calendar days after
the sale, we may sell it, unless otherwise agreed in
writing. If we do this, we will pay you the proceeds
of the sale after taking our storage charges and any
other amounts you owe us and any Christies
Group company.
(c) Information on collecting lots is set out on
an information sheet which you can get from the
bidder registration staff or Christies Cashiers +44
(0)20 7839 9060.
2 STORAGE
(a) If you have not collected the lot within seven
days from the date of the auction, we or our
appointed agents can:
(i) charge you storage fees while the lot is still at
our saleroom; or
(ii) remove the lot at our option to a warehouse
and charge you all transport and storage costs
(b) Details of the removal of the lot to a warehouse,
fees and costs are set out at the back of the catalogue
on the page headed Storage and Collection. You
may be liable to our agent directly for these costs.
H TRANSPORT AND SHIPPING

1
TRANSPORT AND SHIPPING
We will enclose a transport and shipping form
with each invoice sent to you. You must make all
transport and shipping arrangements. However,
we can arrange to pack, transport and ship your
property if you ask us to and pay the costs of
doing so. We recommend that you ask us for an
estimate, especially for any large items or items
of high value that need professional packing before
you bid. We may also suggest other handlers,
packers, transporters or experts if you ask us to do
so. For more information, please contact Christies
Art Transport on +44 (0)20 7839 9060. See
the information set out at www.christies.com/
shipping or contact us at arttransport_london@
christies.com. We will take reasonable care when
we are handling, packing, transporting and shipping
a lot. However, if we recommend another company
for any of these purposes, we are not responsible for
their acts, failure to act or neglect.
2 EXPORT AND IMPORT
Any lot sold at auction may be affected by laws
on exports from the country in which it is sold
and the import restrictions of other countries.
Many countries require a declaration of export
for property leaving the country and/or an import
declaration on entry of property into the country.
Local laws may prevent you from importing a lot
or may prevent you selling a lot in the country you
import it into.
(a) You alone are responsible for getting advice
about and meeting the requirements of any laws or
regulations which apply to exporting or importing
any lot prior to bidding. If you are refused a licence
or there is a delay in getting one, you must still
pay us in full for the lot. We may be able to help
you apply for the appropriate licences if you ask
us to and pay our fee for doing so. However, we
cannot guarantee that you will get one. For more
information, please contact Christies Art Transport
Department on +44 (0)20 7839 9060. See the
information set out at www.christies.com/
shipping or contact us at arttransport_london@
christies.com.
(b) Lots made of protected species
Lots made of or including (regardless of the
percentage) endangered and other protected species
of wildlife are marked with the symbol ~ in the
catalogue. This material includes, among other
things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and
Brazilian rosewood. You should check the relevant
customs laws and regulations before bidding on any
lot containing wildlife material if you plan to import
the lot into another country. Several countries
refuse to allow you to import property containing
these materials, and some other countries require
a licence from the relevant regulatory agencies in
the countries of exportation as well as importation.
In some cases, the lot can only be shipped with
an independent scientific confirmation of species
and/or age and you will need to obtain these at
your own cost. If a lot contains elephant ivory, or
any other wildlife material that could be confused
with elephant ivory (for example, mammoth ivory,
walrus ivory, helmeted hornbill ivory), please see
further important information in paragraph (c) if
you are proposing to import the lot into the USA.
We will not be obliged to cancel your purchase and
refund the purchase price if your lot may not be
exported, imported or it is seized for any reason by
a government authority. It is your responsibility
to determine and satisfy the requirements of any
applicable laws or regulations relating to the export
or import of property containing such protected or
regulated material.
(c) US import ban on African elephant ivory
The USA prohibits the import of ivory from the
African elephant. Any lot containing elephant
ivory or other wildlife material that could be
easily confused with elephant ivory (for example,
mammoth ivory, walrus ivory, helmeted hornbill
ivory) can only be imported into the US with
results of a rigorous scientific test acceptable to Fish
& Wildlife, which confirms that the material is not
African elephant ivory. Where we have conducted
such rigorous scientific testing on a lot prior to sale,
we will make this clear in the lot description. In
all other cases, we cannot confirm whether a lot
contains African elephant ivory, and you will buy
that lot at your own risk and be responsible for any
scientific test or other reports required for import
into the USA at your own cost. If such scientific test
is inconclusive or confirms the material is from the
African elephant, we will not be obliged to cancel
your purchase and refund the purchase price.
(d) Lots containing material that originates

from Burma (Myanmar)
Lots which contain rubies or jadeite originating in
Burma (Myanmar) may not generally be imported
into the United States. As a convenience to US
buyers, lots which contain rubies or jadeite of
Burmese or indeterminate origin have been marked
with the symbol in the catalogue. In relation to
items that contain any other types of gemstones
originating in Burma (e.g. sapphires) such items may
be imported into the United States provided that the
gemstones have been mounted or incorporated into
jewellery outside of Burma and provided that the
setting is not of a temporary nature (e.g. a string).
(e) Lots of Iranian origin
Some countries prohibit or restrict the purchase and/
or import of Iranian-origin works of conventional
craftsmanship (works that are not by a recognised
artist and/or that have a function, for example:
carpets, bowls, ewers, tiles, ornamental boxes). For
example, the USA prohibits the import of this
type of property and its purchase by US persons
(wherever located). Other countries, such as Canada,
only permit the import of this property in certain
circumstances. As a convenience to buyers, Christies
indicates under the title of a lot if the lot originates
from Iran (Persia). It is your responsibility to ensure
you do not bid on or import a lot in contravention
of the sanctions or trade embargoes that apply to you.
(f) Gold
Gold of less than 18ct does not qualify in all
countries as gold and may be refused import into
those countries as gold.
(g) Jewellery over 50 years old
Under current laws, jewellery over 50 years old
which is worth 34,300 or more will require an
export licence which we can apply for on your
behalf. It may take up to eight weeks to obtain the
export jewellery licence.
(h) Watches
(i) Many of the watches offered for sale in
this catalogue are pictured with straps made of
endangered or protected animal materials such as
alligator or crocodile. These lots are marked with
the symbol ~ in the catalogue. These endangered
species straps are shown for display purposes only
and are not for sale. Christies will remove and
retain the strap prior to shipment from the sale
site. At some sale sites, Christies may, at its
discretion, make the displayed endangered species
strap available to the buyer of the lot free of charge
if collected in person from the sale site within one
year of the date of the sale. Please check with the
department for details on a particular lot.
(ii) The importation of luxury watches such as
Rolex into the United States is highly restricted.
Such watches may not be shipped to the United
States and can only be imported personally.
Generally, a buyer may import only one watch into
the United States at a time. In this catalogue, these
watches have been marked with a . This will not
affect your responsibility to pay for the lot. For
further information please contact our specialists in
charge of the sale.
For all symbols and other markings referred to in
paragraph H2, please note that lots are marked as a
convenience to you, but we do not accept liability
for errors or for failing to mark lots.
I
OUR LIABILITY TO YOU
(a) We give no warranty in relation to any
statement made, or information given, by us or our
representatives or employees, about any lot other
than as set out in the authenticity warranty and,
as far as we are allowed by law, all warranties and
other terms which may be added to this agreement
by law are excluded. The sellers warranties
contained in paragraph E1 are their own and we
do not have any liability to you in relation to those
warranties.
(b) (i) We are not responsible to you for any reason
(whether for breaking this agreement or any other
matter relating to your purchase of, or bid for, any
lot) other than in the event of fraud or fraudulent
misrepresentation by us or other than as expressly set
out in these Conditions of Sale; or
(ii) give any representation, warranty or guarantee
or assume any liability of any kind in respect of
any lot with regard to merchantability, fitness
for a particular purpose, description, size, quality,
condition, attribution, authenticity, rarity,
importance, medium, provenance, exhibition
history, literature, or historical relevance. Except as
required by local law, any warranty of any kind is
excluded by this paragraph.
(c) In particular, please be aware that our written
and telephone bidding services, Christies LIVE,
condition reports, currency converter and
saleroom video screens are free services and we

are not responsible to you for any error (human or
otherwise), omission or breakdown in these services.
(d) We have no responsibility to any person other
than a buyer in connection with the purchase of any
lot.
(e) If, in spite of the terms in paragraphs (a) to (d)
or E2(i) above, we are found to be liable to you for
any reason, we shall not have to pay more than the
purchase price paid by you to us. We will not be
responsible to you for any reason for loss of profits
or business, loss of opportunity or value, expected
savings or interest, costs, damages, or expenses.
J
OTHER TERMS
1
OUR ABILITY TO CANCEL
In addition to the other rights of cancellation
contained in this agreement, we can cancel a sale of
a lot if we reasonably believe that completing the
transaction is, or may be, unlawful or that the sale
places us or the seller under any liability to anyone
else or may damage our reputation.
2 RECORDINGS
We may videotape and record proceedings at any
auction. We will keep any personal information
confidential, except to the extent disclosure is
required by law. However, we may, through this
process, use or share these recordings with another
Christies Group company and marketing partners
to analyse our customers and to help us to tailor
our services for buyers. If you do not want to be
videotaped, you may make arrangements to make
a telephone or written bid or bid on Christies
LIVE instead. Unless we agree otherwise
in writing, you may not videotape or record
proceedings at any auction.
3 COPYRIGHT
We own the copyright in all images, illustrations and
written material produced by or for us relating to a
lot (including the contents of our catalogues unless
otherwise noted in the catalogue). You cannot use
them without our prior written permission. We
do not offer any guarantee that you will gain any
copyright or other reproduction rights to the lot.
4 ENFORCING THIS AGREEMENT
If a court finds that any part of this agreement is not
valid or is illegal or impossible to enforce, that part
of the agreement will be treated as being deleted
and the rest of this agreement will not be affected.
5
TRANSFERRING YOUR RIGHTS

AND RESPONSIBILITIES
You may not grant a security over or transfer your
rights or responsibilities under these terms on the
contract of sale with the buyer unless we have
given our written permission. This agreement will
be binding on your successors or estate and anyone
who takes over your rights and responsibilities.
6 TRANSLATIONS
If we have provided a translation of this agreement,
we will use this original version in deciding any
issues or disputes which arise under this agreement.
7 PERSONAL INFORMATION
We will hold and process your personal information
and may pass it to another Christies Group
company for use as described in, and in line with,
our privacy policy at www.christies.com.
8 WAIVER
No failure or delay to exercise any right or remedy
provided under these Conditions of Sale shall
constitute a waiver of that or any other right or
remedy, nor shall it prevent or restrict the further
exercise of that or any other right or remedy. No
single or partial exercise of such right or remedy
shall prevent or restrict the further exercise of that
or any other right or remedy.
9 LAW AND DISPUTES
This agreement, and any non-contractual obligations
arising out of or in connection with this agreement, or
any other rights you may have relating to the purchase
of a lot will be governed by the laws of England and
Wales. Before we or you start any court proceedings
(except in the limited circumstances where the dispute,
controversy or claim is related to proceedings brought
by someone else and this dispute could be joined
to those proceedings), we agree we will each try to
settle the dispute by mediation following the Centre
for Effective Dispute Resolution (CEDR) Model
Mediation Procedure. We will use a mediator affiliated
with CEDR who we and you agree to. If the dispute is
not settled by mediation, you agree for our benefit that

the dispute will be referred to and dealt with exclusively
in the courts of England and Wales. However, we will
have the right to bring proceedings against you in any
other court.
10 REPORTING ON
WWW.CHRISTIES.COM
Details of all lots sold by us, including catalogue
descriptions and prices, may be reported on
www.christies.com. Sales totals are hammer
price plus buyers premium and do not reflect
costs, financing fees, or application of buyers or
sellers credits. We regret that we cannot agree
to requests to remove these details from www.
christies.com.
K
GLOSSARY
authentic: a genuine example, rather than a copy
or forgery of:
(i) the work of a particular artist, author or
manufacturer, if the lot is described in the
Heading as the work of that artist, author or
manufacturer;
(ii) a work created within a particular period or
culture, if the lot is described in the Heading as a
work created during that period or culture;
(iii) a work for a particular origin source if the lot
is described in the Heading as being of that origin
or source; or
(iv) in the case of gems, a work which is made of
a particular material, if the lot is described in the
Heading as being made of that material.
authenticity warranty: the guarantee we give in
this agreement that a lot is authentic as set out in
section E2 of this agreement.
buyers premium: the charge the buyer pays us
along with the hammer price.
catalogue description: the description of a lot
in the catalogue for the auction, as amended by any
saleroom notice.
Christies Group: Christies International Plc,
its subsidiaries and other companies within its
corporate group.
condition: the physical condition of a lot.
due date: has the meaning given to it in paragraph
F1(a).
estimate: the price range included in the catalogue
or any saleroom notice within which we believe
a lot may sell. Low estimate means the lower
figure in the range and high estimate means the
higher figure. The mid estimate is the midpoint
between the two.
hammer price: the amount of the highest bid the
auctioneer accepts for the sale of a lot.
Heading: has the meaning given to it in paragraph
E2.
lot: an item to be offered at auction (or two or
more items to be offered at auction as a group).
other damages: any special, consequential,
incidental or indirect damages of any kind or any
damages which fall within the meaning of special,
incidental or consequential under local law.
purchase price: has the meaning given to it in
paragraph F1(a).
provenance: the ownership history of a lot.
qualified: has the meaning given to it in paragraph
E2 and Qualified Headings means the section
headed Qualified Headings on the page of
the catalogue headed Important Notices and
Explanation of Cataloguing Practice.
reserve: the confidential amount below which we
will not sell a lot.
saleroom notice: a written notice posted next to
the lot in the saleroom and on www.christies.
com, which is also read to prospective telephone
bidders and notified to clients who have left
commission bids, or an announcement made by the
auctioneer either at the beginning of the sale, or
before a particular lot is auctioned.
UPPER CASE type: means having all capital
letters.
warranty: a statement or representation in which
the person making it guarantees that the facts set
out in it are correct.
VAT SYMBOLS AND EXPLANATION

You can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of
the catalogue headed Conditions of Sale
VAT payable
Symbol
No
Symbol
We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyers premium
and shown separately on our invoice.
For qualifying books only, no VAT is payable on the hammer price or the buyers premium.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyers premium but will not be shown separately
on our invoice.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see symbol above)
For wine offered in bond only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be
charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the
buyers premium and shown on the invoice.
VAT refunds: what can I reclaim?

If you are:
A non VAT registered
UK or EU buyer
UK VAT registered
buyer
EU VAT registered
buyer
No VAT refund is possible

No symbol and
* and
Subject to HMRCs rules, you can reclaim the Import VAT charged on the hammer price through
your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT
amount in the buyers premium is invoiced under Margin Scheme rules so cannot normally be
claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under
standard VAT rules (as if the lot had been sold with a symbol) then, subject to HMRCs rules,
you can reclaim the VAT charged through your own VAT return.
No Symbol and
The VAT amount in the buyers premium cannot be refunded. However,

on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT
rules (as if the lot had been sold with a symbol).
See below for the rules that would then apply.
If you provide us with your EU VAT number we will not charge VAT on the
buyers premium. We will also refund the VAT on the hammer price if you
ship the lot from the UK and provide us with proof of shipping, within three months
of collection.
* and
The VAT amount on the hammer and in the buyers premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol).
See above for the rules that would then apply.
If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:
Non EU buyer
No Symbol
1. We CANNOT offer refunds of VAT

amounts or Import VAT to buyers who do
not meet all applicable conditions in full. If
you are unsure whether you will be entitled
to a refund, please contact Client Services at
the address below before you bid.
2. No VAT amounts or Import VAT
will be refunded where the total refund is
under 100.
3. In order to receive a refund of VAT
amounts/Import VAT (as applicable) nonEU buyers must:
The VAT amount in the buyers premium cannot be refunded.

However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol). Subject to HMRCs rules,
you can then reclaim the VAT charged through your own VAT return.
We will refund the VAT amount in the buyers premium.
and
We will refund the VAT charged on the hammer price. VAT on the buyers premium can
only be refunded if you are an overseas business.
The VAT amount in the buyers premium cannot be refunded to non-trade clients.
(wine only)
No Excise Duty or Clearance VAT will be charged on the hammer price providing you export
the wine while in bond directly outside the EU using an Excise authorised shipper. VAT on the
buyers premium can only be refunded if you are an overseas business. The VAT amount in
the buyers premium cannot be refunded to non-trade clients.
* and
We will refund the Import VAT charged on the hammer price and the VAT amount
in the buyers premium.
(a) have registered to bid with an address

outside of the EU; and
(b) provide immediate proof of correct
export out of the EU within the required
time frames of: 30 days via a controlled
export for * and lots. All other lots
must be exported within three months of
collection.
4. Details of the documents which you
must provide to us to show satisfactory proof
of export/shipping are available from our
VAT team at the address below.
We charge a processing fee of 35.00

per invoice to check shipping/export
documents. We will waive this processing
fee if you appoint Christies Shipping
Department to arrange your export/
shipping.
5. If you appoint Christies Art Transport
or one of our authorised shippers to arrange
your export/shipping we will issue you
with an export invoice with the applicable
VAT or duties cancelled as outlined above.
If you later cancel or change the shipment
in a manner that infringes the rules outlined

above we will issue a revised invoice
charging you all applicable taxes/charges.
6. If you ask us to re-invoice you under
normal UK VAT rules (as if the lot had
been sold with a symbol) instead of under
the Margin Scheme the lot may become
ineligible to be resold using the Margin
Schemes. You should take professional
advice if you are unsure how this may
affect you.
7. All reinvoicing requests must be

received within four years from the date
of sale.
If you have any questions about VAT
refunds please contact Christies Client
Services on info@christies.com
Tel: +44 (0)20 7389 2886.
Fax: +44 (0)20 7839 1611.
SYMBOLS USED IN THIS CATALOGUE

The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed
Conditions of Sale.
Christies has a direct financial interest in the

lot. See Important Notices and Explanation of
Cataloguing Practice.
Owned by Christies or another Christies

Group company in whole or part. See Important
Notices and Explanation of Cataloguing Practice.
Christies has a direct financial interest in the lot

and has funded all or part of our interest with the
help of someone else. See Important Notices and
Explanation of Cataloguing Practice.
Artists Resale Right. See Section D3 of the

Conditions of Sale.
Lot offered without reserve which will be sold

to the highest bidder regardless of the pre-sale
estimate in the catalogue.
~
Lot incorporates material from endangered
species which could result in export restrictions.
See Section H2(b) of the Conditions of Sale.
Lot which may not be able to be shipped to the

US. See Section H2(h)of the Conditions of Sale.
Lot containing jadeite and rubies from Burma or

of indeterminate origin. See Section H2(d) of the
Conditions of Sale.
?, *, , , #,
See VAT Symbols and Explanation.
See Storage and Collection Pages on South

Kensington sales only.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.
IMPORTANT NOTICES AND EXPLANATION OF

CATALOGUING PRACTICE
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
EXPLANATION OF
CATALOGUING PRACTICE
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.
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
artists style but not necessarily by a pupil.
*Manner of
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
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
. 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.
Third party guarantors are required by us to disclose to
their clients their financial interest in any lots they are
guaranteeing. However, for the avoidance of any doubts,
if you are advised by or bidding through an agent on a lot
identified as being subject to a third party guarantee you
should always ask your agent to confirm whether or not he
or she has a financial interest in relation to the lot.
Please see http://www.christies.com/financialinterest/ 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 at the
front of the catalogue.
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.

PAYMENT
BOOKS
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.
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.
Please note that all lots from book department

sales will be stored at Christies King Street for
collection and not transferred to Cadogan Tate.
POST-WAR & CONTEMPORARY ART
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
SHIPPING AND DELIVERY
Christies Art Transport can organise local

deliveries or international freight. Please
contact them on +44 (0) 20 7389 2712 or
arttransport_london@christies.com.
To ensure that arrangements for the transport
of your lot can be finalised before the expiry
of any free storage period, please contact
Christies Art Transport for a quote as soon as
possible after the sale. As storage is provided
by a third party, storage fees incurred while
transport arrangements are being finalised
cannot be waived.
EXTENDED LIABILITY CHARGE
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.
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, STORAGE & RELATED CHARGES

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
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
185
WORLDWIDE SALEROOMS
AND EUROPEAN OFFICES
AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
+43 (0)1 533 881214

Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova
+91 (98) 1032 2399

Sanjay Sharma
SPAIN
BARCELONA
ISRAEL
TEL AVIV
+34 (0)93 487 8259

Carmen Schjaer
+972 (0)3 695 0695

Roni Gilat-Baharaff
MADRID
+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
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
PARIS
+33 (0)1 40 76 85 85
GERMANY
DSSELDORF
+49 (0)21 14 91 59 352

Arno Verkade
FRANKFURT
+49 (0)173 317 3975

Anja Schaller
(Consultant)
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
ITALY
MILAN
+39 02 303 2831

ROME
+39 06 686 3333

Marina Cicogna
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+31 (0)20 57 55 255

NORWAY
OSLO
+47 975 800 78

Katinka Traaseth
(Consultant)
PEOPLES REPUBLIC
OF CHINA
BEIJING
+86 (0)10 8572 7900

HONG KONG
+852 2760 1766

SHANGHAI
+86 86 (0)21 6355 1766

Jinqing Cai
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
SWEDEN
STOCKHOLM
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)
SWITZERLAND
GENEVA
+41 (0)22 319 1766

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

Dr. Bertold Mueller
TURKEY
ISTANBUL
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
UNITED ARAB EMIRATES
DUBAI
+971 (0)4 425 5647
+44 (0)20 7839 9060
+44 (0)20 7930 6074

NORTH AND
NORTHEAST
+44 (0)20 7752 3004

Thomas Scott
NORTHWEST AND
WALES
+44 (0)20 7752 3004

Jane Blood
SOUTH
+44 (0)1730 814 300

Mark Wrey
SCOTLAND
+44 (0)131 225 4756

Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN
+44 (0)20 7389 2032

CHANNEL ISLANDS
+44 (0)1534 485 988

Melissa Bonn
(Consultant)
IRELAND
+353 (0)59 86 24996

Christine Ryall
(Consultant)
UNITED STATES
NEW YORK
+1 212 636 2000
PORTUGAL
LISBON
+351 919 317 233

Mafalda Pereira
Coutinho
(Consultant)
E NQ UI RI ES Call the Saleroom or Office

For a complete salerooms & offices listing go to christies.com
EMA I L info@christies.com
14/04/15
186
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 2372

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 2035

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
London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com
Tel: +44 (0)20 7389 2548

Email: norchard@
christies.com
FINANCIAL SERVICES
Tel: +44 (0)20 7389 2624

Fax: +44 (0)20 7389 2204
HERITAGE AND
TAXATION
New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu
Tel: +44 (0)20 7389 2101

Fax: +44 (0)20 7389 2300
Email:rcornett@christies.
com
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES
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
New York
+1 212 974 4570
newyork@cfass.com
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.
com
CHRISTIES
INTERNATIONAL
REAL ESTATE
PRIVATE SALES
US: +1 212 636 2034

Fax: +1 212 636 2035
New York
Tel +1 212 468 7182
Fax +1 212 468 7141
VALUATIONS
Tel: +44 (0)20 7389 2464

Fax: +44 (0)20 7389 2038
Email: mwrey@christies.
com
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
CHRISTIES EDUCATION
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 7752 3083
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
09/04/15
187

PAUL CZANNE (1839-1906)
Baigneurs
watercolour over lithograph in black 15 x 19 in. (40.3 x 50.2 cm.) Executed in 1890-1900
800,0001,200,000
Impressionist & Modern Art Evening Sale

London, King Street 23 June 2015
Viewing
Contact
1923 June
8 King Street
London SW1Y 6QT
Jay Vincze, Head of department

jvincze@christies.com
+44 (0)20 7389 2536
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Works on Paper and Day Sale
New York 4 November 2015
Consignments accepted until 15 September
Contact
David Kleiweg de Zwaan
dkleiweg@christies.com
+1 212 636-2050
PROPERTY OF A DISTINGUISHED GENTLEMAN

ARISTIDE MAILLOL (1861-1944)
Le Cycliste
signed with monogram (on the top of the base)
Height: 38 in. (98.7 cm.)
Conceived in 1907; this bronze version cast in 1929
$250,000-350,000
PABLO PICASSO (1881-1973)

Trois poissons sur fond gris (A.R. 396)
engraved terracotta plate
Diameter 41.2 cm.
Conceived on 11 April 1957 and executed in a numbered edition of 175
10,000 15,000

Devant la mer
signed `Cassigneul (lower left); inscribed `Devant la mer (on the reverse)
oil on canvas
27 x 22 cm.
Painted in 1973
15,000 20,000
Picasso Ceramics Sale

London, South Kensington 25 June 2015
Impressionist & Modern Art Sale

Viewing
Contact
2024 June
85 Old Brompton Road
London SW7 3LD
Imogen Kerr
ikerr@christies.com
+44 (0)20 7752 3177
christies.com
Invitation to consign
Art Moderne
Paris October 22nd 2015 Evening sale
October 23rd 2015 Day sale
Contact
tudor Davies
tdavies@christies.com
+33 1 40 76 86 18
Jean Metzinger (1883-1956)

Paysage Ovale
signed and dated J.Metzinger 5/18
oil on canvas 28 x 21 in.
Painted in May 1918
Price realized: 313,500
HENRY MOORE, O.M., C.H. (1898-1986)

Recumbent Figure
bronze with a green patina 5 in. (13 cm.) long
100,000150,000
MODERN BRITISH AND IRISH ART DAY SALE

Viewing
Viewing
Contact
King Street
59 June
8 King Street
London SW1Y 6QT
South Kensington
1925 June
85 Old Brompton Road
London SW7 3LD
Pippa Jacomb
pjacomb@christies.com
+44 (0)20 7389 2293
christies.com
EDGAR DEGAS (1834 1917)
Jockeys
Sold privately by Christies to the

Ny Carlsberg Glyptotek, Copenhagen, 2015
Contact Europe
Contact Americas
Libert Nuti
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+44 (0) 20 7389 2441
Adrien Meyer
ameyer@christies.com
+1 212 636 2056
Jomar Statkun Courtesy of Garis & Hahn, Photography by Amy Obarski
Contemporary Art
in the Capitals of the
Art World, 2015
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IMPRESSIONIST &
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DAY SALE
WEDNESDAY 24 JUNE AT 2.00 PM
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Flora Turnbull, Paul van den Biesen,
Ben Van Rensburg, Lisa Varsani, Shanthi Veigas,
Julie Vial, Assunta Grafin von Moy,
Anastasia von Seibold, Tony Walshe, Gillian Ward,
Chris White, Rosanna Widen, Ben Wiggins,
Annette Wilson, Julian Wilson, Elissa Wood,
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05/05/15
INDEX
A
Adler, J., 387
Archipenko, A.,
Arp, J. H., 359
368
B
Baumeister, W., 370
Bonnard, P., 332, 335
Boudin, E., 413, 414, 422, 423
Braque, G., 407
Brasilier, A., 303, 304
Brauner, V., 357
Buffet, B., 314, 315, 317, 409, 410
C
Caillebotte, G., 412
Campigli, M., 354
Cassigneul, J.-P., 301, 302, 403, 406
Chagall, M., 311, 323, 326
Chirico, G. de, 353, 355, 363, 364
D
Degas, E., 336, 338
Derain, A., 391, 408, 426
Domnguez, O., 361, 362
Dongen, K. van, 310, 427
Dufy, J., 305
Dufy, R., 308, 309
E
Ernst, M.,
Lger, F., 345, 349

Lehmbruck, W., 366
Lempicka, T. de, 384
Lobo, B., 319, 324, 385
Loiseau, G., 327, 328
Luce, M., 402, 405
M
Macke, A., 371
Magnelli, A., 350, 351
Magritte, 365
Maillol, A., 321
Marc, R., 348
Marini, M., 352
Martin, H., 329, 330
Masson, A., 356
Metzinger, J., 343
Mir, J., 360
Mondrian, P., 382
Moret, H., 420
N
Nolde, E.,
O
Oguiss, T., 424
Oppenheimer, M.,
369
P
Pevsner, A., 367
Picasso, P., 347
Pissarro, C., 339
358
F
Faistauer, A., 378, 379
Feininger, L., 372
Felixmuller, C., 375
Foujita, L. T., 325, 394, 395
Friesz, E.-O., 331
G
Giacometti, D., 312, 313
Gilot, F., 316
Gris, J., 342
Guillaumin, A., 411
R
Redon, O., 322, 390
Renoir, P.-A., 340, 341, 397, 398, 399,
400
Rodin, A., 320

Rouault, G., 388
S
Schlemmer, O., 377
Sedlacek, F., 380
Sisley, A., 334
Heckel, E., 374

Herbin, A., 306, 344, 346
J
Jawlensky, A. von,
373
376
K
Kisling, M., 392, 393
Kolbe, G., 383
L
Laug, A., 415, 416
Laurencin, M., 337
Laurens, H., 318
Lebasque, H., 333, 396, 401, 404
Thesleff, E.,
Utrillo, M.,
381
419, 421, 425
V
Valtat, L., 428
Vlaminck, M. de,
Vuillard, E., 389
Z
Zadkine, O.,
386
307, 417, 418
8 KING STREET ST. JAMESS LONDON SW1Y 6QT

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IMPRESSIONIST & MODERN ART DAY SALE

INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,