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COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2014)
5
2 Calendar of Auctions
2 Christies International Print Department
2 Specialists and Services for this Auction
3 Auction Information
6 Property for Sale
132 Index
133 Important Notices and Explanation of Cataloguing Practice
134 Buying at Christies
135 Storage and Collection
136 Conditions of Sale and Limited Warranty
138 Salerooms and Offices Worldwide
140 Christies Specialist Departments and Services
145 Absentee Bids Form
146 Catalogue Subscriptions
F R O N T C O V E R :
Lot 100 (detail)
Succession Picasso/DACS, London 2014
I N S I D E F R O N T C O V E R :
Lot 173 (detail)
O P P O S I T E :
Lot 37 (detail)
I N S I D E B A C K C O V E R :
Lot 156 (detail)
B A C K C O V E R :
Lot 53
christies.com
Contents
6
19TH CENTURY PRINTS
(LOTS 1-37)
1
RUDOLPHE BRESDIN (1822-1885)
Le Bon Samaritain
lithograph, 1861, on two types of chine coll, a good, clear
impression, Prauds rst state B, before the transfer to a new
stone and the addition of the title in the lower margin, one of
approximately 175 impressions from the second or third edition
on these papers (there were also 125 on a single sheet of chine
coll), printed by Lemercier, Paris, 1867, on a wove support
sheet, probably the full sheet, a few pale foxmarks mainly in the
margins, the support sheet with pale mount-staining and surface
dirt, a short tear at the lower sheet edge, the subject in very
good condition
L. 565 x 445 mm., S. 890 x 629 mm.
2,500-3,500 $4,300-5,900
3,200-4,400
L I T E R AT UR E :
Van Gelder 100; Praud 29
2
RUDOLPHE BRESDIN
La comdie de la mort
lithograph, 1854, on chine appliqu, a ne impression of
Prauds very rare rst state (of ve), with wide margins, a small
surface abrasion in the upper subject, a pale stain in the upper
right margin, other minor defects
L. 218 x 151 mm., S. 320 x 240 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
L I T E R AT UR E :
Van Gelder 84; Praud 129
Praud records seven impressions of the rst state, including the
present one. Four of these are in public collections: The Hague,
Gemeentemuseum; Paris, Bibliothque National; Washington
National Gallery; and New York, Public Library.
7
3
FLICIEN ROPS (1833 -1898)
Les Sataniques
the complete set of ve burnished heliogravures, circa 1880, the frontispiece Satan semant livraie (Le Semeur dIvraie) (E. 783) on cream simili
Japan paper, a ne proof impression, inscribed Les Dmoniques/ No. 1 Le Semeur dIvraie in pencil, presumably by the artist, plates 1-4 on wove
paper, watermark J. WHATMAN TURKEY MILL 1889, ne proof impressions, signed in red crayon, titled and inscribed with extensive
explanations by the artist in pencil, the full sheets with deckle edges, paper tape along the sheet edges verso, the sheets slightly cockled, generally
in good condition
P. 282 x 207 mm. (and similar), S. 568 x 390 mm. (and similar) (5)
6,000-8,000 $11,000-13,000
7,600-10,000
P R OVE NANC E :
Roger Marx (1859-1913), Paris (L. 1800b); probably his posthumous sale, Drouot (expert L. Delteil),
Paris, 26 April 2 May 1914, lot 1105 (fr. 340).
Heinrich Stinnes (1867-1932), Mhlheim a. d. Ruhr, Cologne
(L. 1376) (frontispiece only); possibly R. Puppel, Berlin, 19-20 May 1938.
Sothebys, London, 14 December 1978, lot 359 (frontispiece; 220) and lot 360 (plate 1-4, 900).
L I T E R AT UR E :
Exsteens 784-787
8
4
ODILON REDON (1840-1916)
Tentation de Saint Antoine Texte de Gustave Flaubert
the complete set of ten lithographs, 1888, on chine appliqu paper, ne, rich
impressions, from the edition of sixty, printed by Becquet, published by Deman,
Brussels, the full sheets, within the original paper folder with the lithographic
frontispiece and title (some repaired tears and creases, the back of folder replaced),
generally in good condition (portfolio)
L. 291 x 208 mm. (and smaller), S. 450 x 310 mm. (and similar),
451 x 317 mm. (overall) (10)
30,000-50,000 $51,000-84,000
38,000-63,000
P R OVE NANC E :
Sothebys, London, 5 December 1984, lot 251 (13,000).
L I T E R AT UR E :
Mellerio 83-93
9
5
ODILON REDON
Songes
the complete set of six lithographs, 1891, on chine appliqu paper, ne, rich
impressions from the edition of eighty, printed by Becquet, published by
Dumont, Paris, the full sheets, the support sheets each with a moisture stain at
upper left, scattered foxing mostly in the margins, within the original grey paper
folder with the title on the front (some minor wear and discolouration) (portfolio)
L. 275 x 208 mm. (and smaller), S. 454 x 317 mm. (and similar),
464 x 325 mm. (overall) (6)
25,000-35,000 $43,000-59,000
32,000-44,000
P R OVE NANC E :
Christies, London, 6 December 1984, lot 344 (10,000).
L I T E R AT UR E :
Mellerio 110-115
10
6
JAMES ENSOR (1860-1949)
Mon portrait en 1960
etching, 1888, on simili Japan paper, signed,
dated and titled in pencil, counter-signed and
titled in pencil verso, light-staining, pale scattered
foxing, framed
P. 63 x 112 mm., S. 227 x 275 mm.
3,000-5,000 $5,100-8,400
3,800-6,300
P R OVE NANC E :
With Bob de Gryse, Ostende.
Purchased from the above, then by descent.
L I T E R AT UR E :
Delteil, Croquez, Taevernier, Elesh 34
7
JAMES ENSOR
La Mort poursuivant le troupeau des humains
etching and drypoint, 1896, on simili Japan
paper, Eleshs third state (of four), signed, dated,
titled and dedicated pour Ernestine Mollet in
pencil, counter-signed and titled in pencil verso,
with wide margins, light-staining, a few pale
foxmarks in the upper subject, a small stain in
the left margin, other staining at the upper and
lower sheet edges, otherwise generally in good
condition
P. 240 x 182 mm., S. 476 x 353 mm.
7,000-10,000 $12,000-17,000
8,800-13,000
P R OVE NANC E :
Ernestine Mollet, a gift from the artist.
With Bob de Gryse, Ostende.
Purchased from the above, then by descent.
L I T E R AT UR E :
Delteil, Croquez, Taevenier 104; Elesh 106
Ernestine Mollet was the wife of Ensors servant
August Van Yper.
11
8
JAMES ENSOR
Lorgueil, from: Les sept pchs capitaux
etching extensively handcoloured with watercolour, gouache and
crayon, 1904, on Japan paper, Eleshs fourth, nal state, signed in
pencil, with small margins, remains of old glue at the upper sheet
corners verso, otherwise in very good condition
P. 98 x 150 mm., S. 160 x 251 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
P R OVE NANC E :
Mira Jacob Wolfovska (1912-2004), Paris, with her blindstamp
(not in Lugt).
E XHI B I T E D:
James Ensor - Oeuvre grav Collection Mira Jacob, Editions Les Muse de
la Ville, Strasbourg/ Kunstmuseum Basel, 1995-96, no. 145.
L I T E R AT UR E :
Delteil; Croquez; Taevernier 122; Elesh 127
9
JAMES ENSOR
La luxure, from: Les sept pchs capitaux
etching extensively handcoloured with watercolour, 1888, on Arches
laid paper, signed, dated and titled in pencil, counter-signed and
titled in pencil verso, with wide margins, pale time staining, otherwise
in good condition
P. 96 x 137 mm., S. 226 x 298 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
P R OVE NANC E :
Mira Jacob Wolfovska (1912-2004), Paris, with her blindstamp
(not in Lugt).
E XHI B I T E D:
James Ensor - Oeuvre grav Collection Mira Jacob, Editions Les Muse de
la Ville, Strasbourg/ Kunstmuseum Basel, 1995-96, no. 70.
L I T E R AT UR E :
12
12
JAMES ENSOR
La kermesse au moulin
etching extensively handcoloured with watercolour, 1889, on China paper,
signed, dated and titled in pencil, with wide margins, in very good condition
P. 139 x 178 mm., S. 233 x 284 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
P R OVE NANC E :
Mira Jacob Wolfovska (1912-2004), Paris, without her blindstamp.
L I T E R AT UR E :
J. Janssens, James Ensor, Bonni Press Corporation, Naefels, Switzerland, Paris,
p. 42 (this impression illustrated).
11
JAMES ENSOR
Prise dune ville trange
etching extensively handcoloured with watercolour and touches of zinc white,
1888, on simili Japan paper, Eleshs fourth, nal state, signed, dated, titled,
and dedicated Epreuve teint de mes couleurs/ pour mon grand ami de France/ Albert
Croquez./ James Ensor in pencil, countersigned and titled by the artist and
inscribed by Croquez Epreuve colorie par J. Ensor en aot 1930 in pencil verso,
with wide margins, some soft creasing in the margins, remains of old tape at
lower left verso, faintly showing through recto, otherwise in good condition
P. 179 x 239 mm., S. 355 x 477 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
P R OVE NANC E :
Albert Croquez (1886-1949), Paris; a gift from the artist in 1930.
Mira Jacob Wolfovska (1912-2004), Paris, with her blindstamp (not in Lugt).
E XHI B I T E D:
James Ensor - Oeuvre grav Collection Mira Jacob, Editions Les Muse de la Ville,
Strasbourg/ Kunstmuseum Basel, 1995-96, no. 40.
L I T E R AT UR E :
10
JAMES ENSOR
Rue de Bon Secours Bruxelles
drypoint, 1887, on light simili Japan paper, signed and dated 1888 in pencil,
a ne early impression, printing with considerable burr and a light plate tone,
with margins, taped to the front paper mount, generally in good condition
P. 129 x 90 mm., S. 175 x 132 mm.
1,000-1,500 $1,700-2,500
1,300-1,900
P R OVE NANC E :
Auguste Joye (1878-1959), Brussels (L. 3084); possibly his posthumous sale,
Galerie Georges Giroux, Brussels, 9-10 June 1960.
Sothebys, London, 6 December 1983, lot 473 (450).
L I T E R AT UR E :
Deleteil, Croquez, Taevernier, Elesh 17
13
15
CAMILLE PISSARRO
Mendiant a la Bquille
lithograph, 1897, on chine coll, a ne impression of this very rare print,
second, nal state, numbered No. 1 in pencil, with wide margins,
scattered foxing and other minor defects in the margins, otherwise
generally in good condition
L. 252 x 308 mm., S. 314 x 452 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
L I T E R AT UR E :
Delteil 182
Delteil cites only two impressions of the rst state, and three to four
impressions of this, the second, nal state.
14
CAMILLE PISSARRO
Rue du Gros-Horloge Rouen
etching with drypoint, 1883-84, on Van Gelder laid paper, signed
in pencil, titled and annotated cuivre and 2e etat no 2, a ne, rich
impression of the rare second state (of three), printing with much tone,
the full sheet, with deckle edges at left and below, some mount-staining
and a few foxmarks, otherwise in good condition
P. 192 x 147 mm., S. 370 x 270 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
P R OVE NANC E :
L I T E R AT UR E :
Delteil 54
Loys Delteil records two impressions of the rst state; ve of the present
second state (four of which are numbered); about 12 of the third, nal state
and another 15 posthumous impressions.
13
CAMILLE PISSARRO (1830-1903)
Cours-la-Reine, ou Bords de la Seine, Rouen
etching with touches of drypoint, 1884, on light wove paper, not
signed but titled and annotated bords de la seine Rouen/ Zinc in pencil,
inscribed no. 1-2e etat (a revoir?) (partially erased), a very ne, unique
impression of the second state (of three), printing with much tone and
sharp plate edges, probably the full sheet, with deckle edges at left and
below, a few pinpoint foxmarks, otherwise in very good condition
P. 123 x 139 mm., S. 205 x 260 mm.
7,000-10,000 $12,000-17,000
8,800-13,000
P R OVE NANC E :
L I T E R AT UR E :
Delteil 49
Loys Delteil records one impression of the rst state; the present, unique
impression of the second state; two of the third state and a posthumous
edition of 18 impressions.
14
Pissarro referred to his monotypes as dessins imprims, or printed
drawings, and, like Degas, he revelled in the experimentation and freedom
the monotype technique allows. From letters written to his son Lucien, we
know that Pissarro worked rst in black in order to dene composition and
tonal values, later heightening the composition with colour (Letters, pp.
339-40). In the present example, the black ink was applied and then wiped
to create the tree. The pointed end of a brush was used to dene the two
bathers. Whilst the majority of the colour appears to be printed, there are
areas where the pigment remains proud of the surface, suggesting that the
artist continued working on the sheet after the plate was printed.
The present work relates directly to a painted version of Baigneuse debout
et Baigneuse agenouille (The Nikon Television Corporation collection,
Japan). In common with other instances where Pissarro re-interpreted
subjects in different media, the present monotype displays great
spontaneity with brisk application of pigment and bold colour.
16
CAMILLE PISSARRO
Baigneuse debout et Baigneuse agenouille
monotype in colours, circa 1895-6, on laid paper, signed with the
monogram in ink, with margins, some discolouration and minor
staining in the margins, a small hole towards the right sheet edge,
generally in very good condition, framed in a ne early Louis XIV
carved and gilt oak frame
L. 125 x 178 mm., S. 170 x 225 mm.
15,000-20,000 $26,000-34,000
19,000-25,000
L I T E R AT UR E :
cf. Pissarro & Venturi 941; cf. Wildenstein 1103
15
17
JAMES ABBOTT MCNEILL WHISTLER (1834-1903)
Yellow House, Lannion
lithograph in colours, 1893, on Japan paper, a very good
impression of this rare print, third, nal state, with wide margins,
time staining, a soft horizontal crease in the subject, scattered
pinpoint foxing
L. 242 x 162 mm., S. 381 x 279 mm.
15,000-25,000 $26,000-42,000
19,000-31,000
P R OVE NANC E :
Unidentied collectors mark, initials P.P. in a diamond
(not in Lugt).
L I T E R AT UR E :
Way 101; Levy 196; Spink/Stratis/Tedeschi 67
18
JAMES ABBOTT MCNEILL WHISTLER
Churchyard
lithograph, 1887, on wove paper, a good lifetime impression of
the only state (Way calls for 12 impressions only), with margins,
in good condition; together with Drury Lane Rags, lithograph,
1888, on laid paper, a good lifetime impression of the only state
(Way calls for 14 impressions), with margins, some foxing and
time staining at the sheet edges, generally in good condition
S. 320 x 201 mm.
S. 325 x 203 mm. (2)
3,000-4,000 $5,100-6,700
3,800-5,000
P R OVE NANC E :
Churchyard: Mlle. Rosalind Birnie Philip (1921), London
(Lugt 406).
Drury Lane Rags: Roger Marx (1859-1913), Paris (Lugt 2229).
L I T E R AT UR E :
Way 17; Levy 30; Spink, Stratis & Tedeschi 21
Way 21; Levy 34; Spink, Stratis & Tedeschi 25
16
19
HENRI DE TOULOUSE-LAUTREC (1864-1901)
Sortie de thtre
lithograph, 1896, on wove paper, a ne impression of this rare print, with
wide margins, deckle edges above and below, the sheet slightly toned,
otherwise in very good condition
L. 320 x 265 mm., S. 474 x 349 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
L I T E R AT UR E :
Delteil 169; Adhmar 218; Adriani 195; Wittrock 147
Wittrock records an edition of approximately twenty impressions, eleven of
which are in public collections.
20
PAUL CSAR HELLEU (1859-1927)
Madame Helleu derrire la harpe
drypoint, circa 1900-05, on Arches laid paper, a superb impression
of this very rare, presumably unique subject, printing with rich burr,
signed in black crayon, inscribed in pencil by another hand planche
dtruite / unique preuve, with margins, the sheet slightly reduced at
left, pale time staining, otherwise in very good condition
P. 437 x 335 mm., S. 558 x 380 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
P R OVE NANC E :
J. Chavasse (d. 1919) (L. 1430).
Unidentied collectors mark, initials P.P. in a diamond (not in Lugt).
E XHI B I T E D:
Paul Helleu 1859-1927, Muse Eugne Boudin, Honeur, 1993, no. 124.
21
MILE BERNARD (1868 1941)
Le retour du pardon ou Bretons en barque
lithograph printed in black with hand-colouring in yellow and pale blue,
1889, on wove paper, initialled in ink at lower left, light and mount
staining, backboard staining verso, framed
S. 329 x 251 mm.
2,500-3,500 $4,300-5,900
3,200-4,400
L I T E R AT UR E :
Morane 10
17
THE PARIS RAGE FOR PRINTS
`No one pays attention nowadays to anything but prints; its a rage,
the young generation produces nothing else.
(Camille Pissarro, in a letter to his son Lucien, 1897, quoted in: Carvalho/Vellekoop, p. 11).
In the 1890s a passion for printmaking swept through Paris. Inspired by the vivid, at colours, strong contours
and non-linear perspective of Japanese woodcuts, many artists turned to colour lithography as a truly modern
medium. This revolution in taste was led by a young group of artists known as the Nabis. The name derived
from the Hebrew word navi for prophet, reected the groups mystical bent their search for a purer, more
subjective vision of reality, characterised by expressive colour and decorative form. The artists were supported by a
coterie of inuential publishers, critics and collectors, most notably Andr Marty, the publisher of seminal quarterly
print album LEstampe originale, the art critic and writer Claude Roger-Marx, and the publicist and editor Andr
Mellerio. In addition to the Nabis - Pierre Bonnard, Maurice Denis, Paul Ranson and Edouard Vuillard - lithography
was enthusiastically embraced by other imminent artists of the Parisian avant-garde, perhaps most famously by
Henri de Toulouse-Lautrec, whose prints and posters came to dene the Belle Epoque.
The present collection comprises several key works of the period as well as great rarities, including: a trial proof
for Bonnards famous La Petite Blanchisseuse (lot 28); colour decompositions for Maurice Deniss Tendresse
(lot 32); the Album de la Revue Blanche (lot 24), a ground-breaking publication of the its time, rarely found
complete and in good condition; Bonnards series Quelques aspects de la vie de Paris (lot 29), a beautiful
evocation of Parisian street-life in the 1890s; and Paul Elie Ransons delightfully fierce and comical Tigre dans
les jungles (lot 37), which perhaps reveals its Asian influence most clearly.
The second part of the collection will be offered in the sale of Prints and Multiples at Christies South
Kensington on 4 December 2014.
L I T E R AT UR E :
C. Feller Ives, The Great Wave - The Inuence of Japanese Woodcuts on French Prints, Metropolitan Museum of Art, New
York, 1974.
P. Dennis Cate/ G. B. Murray/ R. Thompson, Prints Abound - Paris in the 1890s, National Gallery of Art,
Washington, D.C., London, 2000.
F. Roos Rosa de Carvalho/M. Vellekoop, Printmaking in Paris - The rage for prints at the n de sicle, Van Gogh
Museum, Amsterdam, Brussels, 2013.

22
PIERRE BONNARD (1867-1947)
Afche de La Revue Blanche
lithograph in colours, 1894, on thin wove paper, a very good
impression, printed by E. Ancourt, Paris, probably the full sheet,
laid on canvas, a repaired tear in the lower subject, occasional
soft creasing
S. 798 x 614 mm.
3,000-5,000 $5,100-8,400
3,800-6,300
L I T E R AT UR E :
Roger-Marx 32; Bouvet 30
18
23
PORTFOLIO
LEstampe Moderne
the complete edition in 24 volumes, 1897-99, comprising 96 lithographs and collotypes
after designs by contributing artists, mostly in colours, on simili Japan, with the suite of 96
duplicate impressions printed in black only, on China paper, and the four additional prints
reserved for subscribers, all stamped TIRAGE de LUXE and numbered No. 89 verso, each
subject with title and commentary on a tissue-thin cover sheet, with two text folders with title,
cover-page, preface and table of contents (without the second year), from the deluxe edition
of 150 (the total edition was 2000), published by Ch. Masson & H. Piazza, Paris, each with
the publishers blindstamp (Lugt 2790) recto, the full sheets, in very good condition, loose (as
issued), in the original greenish-grey paper wrappers with title and cover design by Alphonse
Mucha, each covered with glacine, in two brown, marbled portfolio boxes, not original, all in
very good condition (portfolio)
560 x 415 mm. (each volume)
600 x 440 mm. (each box)
4,000-6,000 $6,800-10,000
5,100-7,500
Including works after:
A. Agache, A. Artigue, P. Balluriau, J. Baseilhac, C. Bellanger, H. Bellery-Desfontaines, E. Berchmans,
A. Berton, J. G. Besson, L. Borgex, P. Bouisset, H. Boutet, P. Braquemond, L. Breslau, E. Burne-Jones,
G. Bussire, A. Calbet, P. de Chavannes, H. Christiansen, R. Collin, Cormon, G. Darbour, E. Delatre,
M. Delorme, M. Desvallires, H. Detouche, Dillon, E. Dinet, A. Donnay, C. Doudelet, G. Dubufe,M. Eliot,
R. Engels, E. Evenepoele, H. Fantin-Latour, G. de Feure, J. Flandrin, A. Giraldon, L. A. Girardot,
F.-A. Gorguet, F. Gottlob, J. Grans, E. Grasset, C. Gurin, F. Guiguet, H. Guinier, M. Guyon,
L.-W. Hawkins, P.-C. Helleu, H. Hran, C. Huard, A. Ibels, P. Jouve, J. Jacquemin, A. Jean, F. Jourdain,
A. Laurens, G. de Latenay, E. Laurent, C. Landre, M. Lenoir, A. Lepre, P. Leroy, A. Lvy, Lvy-Dhurmer,
F. Luigini, L. Malteste, H. Martin, F. M. Melchers, R. Mnard, L.-O. Merson, H. Meunier, L.-H. Monod,
A. Mucha (Bridges R10b & R10c), A. Muller, J.-A. Muenier, F. Piet, A. Point, R.-X. Prinstet, V. Prouv,
R. Ranft, A. Rassenfosse, M. Ralier-Dumas, P. Renouard, L. Rhead, M. Robbe, Roedel,
H. le Sidaner, L. Simon, T. Steinlen, G.-H. Stevens, E. Trigoulet, R.-A. Ulmann, J. Wly, E.-A. Wry,
A. Willette and A. Yank.
24
PORTFOLIO
Album de la Revue Blanche
the rare complete portfolio comprising 11 lithographs, including seven printed in colours,
and one wood engraving, 1895, on various papers, signed in pencil or crayon, the print by
Ibels unsigned, each numbered, copy number 10, from the edition of fty, published by the
Natanson Brothers, Paris, the full sheets, time-staining to several sheets, some minor defects,
generally in good condition, loose (as issued), in the original folder with a lithograph by
Bonnard on the cover, with cloth ties, in very good condition (portfolio)
398 x 290 mm. (album)
8,000-12,000 $14,000-20,000
11,000-15,000
The portfolio includes: Pierre Bonnard, cover (Roger-Marx 33) and Femme au paraplui (R.-M. 35);
Charles Cottet, Bretonnes; Maurice Denis, La visitation; Henri-Gabriel Ibels, Paysanne avec panier;
Paul Ranson, La liseuse couche; Odilon Redon, Cheval ail (Mellerio 127); Jzsef Rippl-Ronai, La
liseuse avec la lampe; Ker Xavier Roussel, La fantme; Paul Srusier, La marchande de chiffons;
Henri de Toulouse-Lautrec, Carnaval (Delteil 64; Adriani 42; Adhmar 54; Wittrock 61); Felix
Vallotton, Les trois baigneuses (Godefroy 132) and Edouard Vuillard, La couturiere (R.-M. 13).
20
25
PIERRE BONNARD (1867-1947)
Scne de famille
lithograph in colours, 1893, on smooth wove paper, signed in pencil,
numbered 59, from the edition of one hundred, published by Claude
Roger-Marx and Andr Marty for the third issue of LEstampe Originale,
Paris, printed by Charpentier with his blindstamp, with wide margins,
irregularly trimmed at left and right, the upper and lower sheet edges with
horizontal creases, pale foxing, some adhesive stains and surface dirt
L. 310 x 180 mm., S. 580 x 400 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Roger-Marx, Bouvet 4
26
PIERRE BONNARD
Couverture du 2me Album destampes originales
lithograph in colours, 1897, on cap China paper, from the edition
of one hundred, printed by A. Clot, published by A. Vollard, Paris,
with irregular margins, the sheet reduced, some handling creases,
repairs and made-up losses at the sheet edges
L. 570 x 870 mm., S. 670 x 920 mm.
2,000-3,000 $3,400-5,100
2,600-3,800
L I T E R AT UR E :
27
PIERRE BONNARD
Dans la rue
lithograph in colours, circa 1900, on wove paper, signed in pencil,
numbered 25, from the edition of one hundred, with wide margins,
presumably the full sheet, with light-and time staining, a backed tear at
the lower sheet edge, another, shorter tear at the upper left sheet edge,
some small nicks and paper losses at the sheet edges
L. 265 x 130 mm., S. 490 x 320 mm.
2,000-3,000 $3,400-5,100
2,600-3,800
L I T E R AT UR E :
21
28
PIERRE BONNARD
La petite blanchisseuse
lithograph in colours, 1896, on China paper, signed in pencil, inscribed 4e etat, a rare trial
proof, lacking the yellow stone, before the edition of one hundred, published in LAlbum des
Peintres-Graveurs, printed by A. Clot, Paris, the full sheet, the colours fresh, an unobtrusive
scuff in the upper subject, otherwise in very good condition
L. 295 x 200mm., S. 573 x 437 mm.
25,000-35,000 $43,000-59,000
32,000-44,000
L I T E R AT UR E :
22
29
PIERRE BONNARD
Quelques aspects de la vie de Paris
the complete set of 12 lithographs in colours and the title-page, 1899, the title-page on
China paper, otherwise on ne wove paper, R.-M. 61, 68 & 70 signed in pencil, R.-M. 61
numbered no. 66, R.-M. 68 & 70 numbered no. 16, published by A. Vollard, Paris, R.-M.
63 trimmed above and below, otherwise the full sheets, some with pale mount staining and
scattered foxing in the margins, generally in good condition
S. 530 x 403 mm. (and similar) (12)
15,000-20,000 $26,000-34,000
19,000-25,000
L I T E R AT UR E :
Roger-Marx 56-68; Bouvet 58-70
No one better captures the look of the street, the coloured patch seen through the Parisian mist, the
passing silhouettes, a young girls frail grace. A searching hand moving with simian pliancy seizes the
passing gesture, the evanescent faces of the street, born and vanished on the instant. It is the poetry
of life that is gone, a remembrance of things, of animals, of human beings. (Gustave Geffroy, quoted
in: Rediscovered Printmakers of the 19th Century, Merrill Chase Gallery, Chicago, 1978).
23
31
EDOUARD VUILLARD
Intrieur aux tentures roses, from: Paysages et Intrieurs
lithograph in colours, 1899, on China paper, not signed, from
the edition of one hundred, published by A. Vollard, Paris, the
full sheet, in good condition; with Intrieur a la suspension,
from the same series, trimmed just within the image
R.-M. 36: L. 340 x 273 mm., S. 391 x 308 mm.
R.-M. 35: S. 345 x 273 mm. (2)
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Roger-Marx 35 & 36
30
EDOUARD VUILLARD (1868-1940)
Cuisinire, from: Paysages et Intrieurs
lithograph in colours, 1899, on China paper, signed in pencil,
second, nal state, a rare signed impression from the mostly
unsigned edition of one hundred, published by A. Vollard,
Paris, with narrow margins, laid on card (as issued), very pale
discolouration at the sheet edges, otherwise in good condition
L. 350 x 280 mm., S. 370 x 290 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
L I T E R AT UR E :
Roger-Marx 42
24
32
MAURICE DENIS (1870-1943)
Tendresse, from: LEstampe originale, Album I
lithograph in colours, 1893, on wove paper, signed in purple ink,
numbered No 1, published in the Journal des Artistes, Paris, the
full sheet with deckle edges on three sides, very pale light-staining,
scattered foxing, otherwise generally in good condition; with three
working proofs, one signed in pencil
L. 250 x 298 mm., S. 580 x 415 mm. (and smaller) (4)
3,000-5,000 $5,100-8,400
3,800-6,300
P R OVE NANC E :
Henri M. Petiet (1894-1980), Paris (not in Lugt).
L I T E R AT UR E :
Callier 70
The three proofs include an impression printed in red ink only, from the
red and brown stones, inscribed refaire les mains/les cheveux/ couvres la
main dombre/ marques les plis trs foncs; another printed from the red
and blue stones; and an impression from the red, blue and brown stones,
signed in pencil.
33
MAURICE DENIS
Amour
twelve lithographs in colours including the title-page, 1892-99, the
title-page on laid paper, otherwise on wove paper, , plates III, V and
XI signed in pencil (C. 110, 112 & 118), plates V and XI numbered
No. 96 (?) and 6 respectively, lacking plate X (C. 117), from an
edition of one hundred, printed by A. Clot, published by A. Vollard,
Paris, 1910, with wide margins, the colours slightly attenuated
on some plates, mount-staining, occasional unobtrusive scattered
foxing, the title-page with a short tear in the lower margin, otherwise
generally in good condition; with two addition impressions, a
duplicate of the title-page (C. 107) and of plate III (C. 110)
S. 527 x 400 mm. (approximately) (14)
5,000-7,000 $8,500-12,000
6,300-8,800
L I T E R AT UR E :
Cailler 107-116, 118-119
25
34
JZSEF RIPPL-RNAI (1861-1927)
La fte de village
lithograph in colours, 1896, on Ingres Ecoles Canson laid paper,
signed in pencil, inscribed no.1, from the edition of one hundred,
published in the Album des Peintres-Gravures by Ambroise Vollard,
Paris, with wide margins, light-staining, pale scattered foxing in the
margins, taped to the front mount, framed
L. 395 x 535 mm., S. 450 x 600 mm.
3,000-5,000 $5,100-8,400
3,800-6,300
L I T E R AT UR E :
Jackson 36
35
MILE BERNARD (1868-1941)
La promenade ou Cinq femmes Paris
lithograph, circa 1888, on thin wove paper, signed and dated 89 in
pencil, dedicated A mon ami Albert Aurier, with margins, a short
repaired tear in the upper margin just touching the subject, other
minor defects
L. 198 x 230 mm., S. 240 x 317 mm.
1,200-1,800 $2,100-3,000
1,600-2,300
L I T E R AT UR E :
cf. Morane 4
36
PAUL GAUGUIN (1848-1903)
Mahna No Varua Ino
woodcut printed in red, yellow and black with touches of
handcolouring in red watercolour, 1893-94, on heavy Japan
paper, an impression of the fourth, nal state, from the edition of
approximately 25-35 impressions printed by Louis Roy, Paris, 1894,
the sheet reduced by circa 130 mm. into the subject at right, otherwise
trimmed to the subject, a tiny paper loss at the left sheet edge
S. 202 x 226 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
L I T E R AT UR E :
Gurin, Mongan, Kornfeld 19.IV.D
26
37
PAUL ELIE RANSON (1864-1909)
Tigre dans les jungles
lithograph in black and canary yellow, 1893, on simili Japan paper, signed in pencil, numbered N. 1,
from the edition of one hundred, published by Le Journal des Artistes in LEstampe Original (album
I), Paris, with margins, the sheet reduced, the subject in good condition
L. 369 x 283 mm., S. 450 x 323 mm.
12,000-18,000 $21,000-30,000
16,000-23,000
27
MODERN PRINTS
(LOTS 38-117)
VARIOUS PROPERTIES
38
EDVARD MUNCH (1863-1944)
Self-Portrait
lithograph, 1895, on soft laid China paper, signed in pencil, a ne,
rich impression of Wolls second state (of four), printing very evenly,
with wide margins, trimmed slightly irregularly at left, a diagonal
printers crease at upper right, some minor creases and surface dirt in
the margins, generally in very good condition
L. 462 x 320 mm., S. 587 x 382 mm.
50,000-70,000 $85,000-120,000
63,000-88,000
P R OVE NANC E :
L I T E R AT UR E :
Schieer 31; Woll 37
E. Prelinger/ M. Parke-Taylor, The symbolist prints of Edvard Munch The
Vivian and David Campbell Collection, Art Gallery of Ontario, Toronto
(exh. cat.), 1997, no. 14, p. 93-96 (another impression illustrated).
In his best prints Munch perfectly matched medium and content and created
highly condensed images, which are visually as simple as they are complex.
Self-Portrait is reduced to four elements charged with meaning: the skeleton
arm alludes to the hand of the artist, whilst presaging his inevitable death;
his white disembodied face hovers on a dark surface, calling to mind a death
mask, as well as that rst of all prints, the veil of Veronica with the face of
Christ; the inscription of the artists name and the date of the print at the top
mimics the entablature of a tombstone, a reference also to the lithographic
stone; and nally the intense, velvety black of the background, the colour of
mourning, signifying eternal night.
The present second state is the denitive version of Edvard Munchs Self-
Portrait. In the rst, unnished state the background is still patchy, without
the impenetrable blackness. In the third and fourth states, the skeleton arm
and the inscription at the top are obliterated, thus losing all the memento
mori connotations, which make this image one of the most chilling yet
touching self-portraits of modern art reminiscent in essence, if not in spirit
or style, to James Ensors Mon portrait en 1960 (see lot 6).
28
39
EDVARD MUNCH
Madonna
lithograph, 1895, on thin greyish-white China paper, not signed, a ne, early impression of
this highly important print, Wolls rare rst state (of seven), with narrow margins outside the
borderline, laid down onto tan card, the upper left corner torn and with associated paper losses
partially made up, a short tear at the lower left sheet corner, a long vertical crease from the upper
left to the chin, some pinpoint foxing, various other, lesser defects
L. 605 x 441 mm., S. 610 x 443 mm., support sheet 703 x 531 mm.
50,000-70,000 $85,000-120,000
63,000-88,000
L I T E R AT UR E :
Schieer 33; Woll 39
29
PROPERTY FROM THE AHLERS COLLECTION
40
EDVARD MUNCH
The Brooch (Eva Mudocci)
lithograph, 1903, on tissue-thin Japan paper, signed in pencil, a ne, early impression of the very rare rst state (of ve), before the image was
transferred to a new stone, printing quite lightly and transparently (Wolls type 1), with wide margins, presumably the full sheet, with deckle
edges at left and right, the tip of the lower right corner made-up, a skilfully repaired tear in the upper margin, another at the upper right sheet
corner, pale mount staining in the margins, some minor adhesive stains at the sheet edges, otherwise in good condition, framed
L. 605 x 460 mm., S. 775 x 575 mm.
80,000-120,000 $140,000-200,000
110,000-150,000
L I T E R AT UR E :
Schieer 212; Woll 244
Woll records only four impressions of the rst state, excluding this example: two in the Munch Museum, Oslo; one in the Bergesen Collection, Oslo; and
one in another private collection. Another impression, with the upper left part of the subject made up, was sold in these room on 18 September 2013.
30
THE PETER BENDIXEN COLLECTION
42
MAX BECKMANN
Malepartus, from: Hlle
lithograph, 1919, on simili Japan paper, signed and titled in pencil,
numbered 5/75, a ne, rich and slightly tonal impression, published
by I. B. Neumann, Berlin, with margins, the sheet reduced on all
sides, a pale moisture stain in the right margins, a short tear at the
right sheet edge, some minor creases and handling marks in the
margins, the subject in very good condition
L. 662 x 403 mm., S. 710 x 545 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
L I T E R AT UR E :
Hofmaier 146
Malepartus was the name of a nightclub in Frankfurt, which borrowed its
name from the foxs residence in Goethes epic poem Reineke Fuchs. It is
the juxtaposition of images of violence and misery with those of glamour
and decadence, which gives Beckmanns depictions of the inter-war years
their bite.
41
MAX BECKMANN (1884-1950)
Martyrium, from: Hlle
lithograph, 1919, on simiiliJapan paper, signed
and titled in pencil, numbered 34/75, published
by I. B. Neumann, Berlin, with wide margins,
the sheet slightly reduced in width, a few small
brown stains in the upper margin at centre, tape
stains at upper right and lower left sheet edges,
two short tears at the sheet edges, the lower
left sheet edge creased, pinpoint foxing in the
margins, and other minor defects, the subject in
good condition
L. 545 x 750 mm., S. 622 x 823 mm.
15,000-25,000 $26,000-42,000
19,000-31,000
L I T E R AT UR E :
Hofmaier 142
Although published in an edition of 75, Hlle is today perhaps the rarest of Beckmanns graphic cycles. At the time of publication, 25 of the sets were taken apart
and the prints sold individually by the publisher I. B. Neumann. Of the remaining fty complete sets, very few seem to have remained intact. Only two complete
sets have been offered at auction within the last thirty years and even individual plates rarely come to the market. The large format the largest in Beckmanns
printed oeuvre and the unusually dark and gruesome nature of the scenes depicted probably contributed to the low survival rate of these lithographs.
With an uninching eye and a wicked sense of humour - reminiscent of Otto Dixs most morbid and grotesque images Beckmann in eleven plates summarized
his experience of life in Berlin in 1918-19. It is a vision of a society torn apart by war, poverty, hunger, violence, ideology and decadence; a journey into the abyss.
Martyrium (lot 41) depicts the assassination of the socialist leader Rosa Luxemburg in Berlin on 15 January 1919, as it was reported in the communist newspaper
Die Rote Fahne nearly a month later. Luxemburg was hit with the butt of a rie, then shot in the head by members of the Social-Democratic Partys militia.
31
44
MAX BECKMANN
Eislauf
lithograph, 1922, on laid paper, signed in pencil, numbered 5/40
(one of forty numbered impressions from the total edition of two
hundred), published by Verlag R. Piper, Munich, the full sheet, in
very good condition
L. 405 x 240 mm., S. 707 x 527 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
L I T E R AT UR E :
Hofmaier 223
This print was probably intended for the portfolio Berliner Reise,
which shows the life and amusements of different strata of society in
1920s Berlin. The plate which became plate 5 of the portfolio, Der
Schlittschuhlufer (H. 217) is also a skating scene, but decidedly more
gloomy and under-class than this rather cheerful plate.
43
MAX BECKMANN
Die Familie, from: Hlle
lithograph, 1919, on simili Japan paper, signed and titled in pencil,
numbered 31/75, published by I. B. Neumann, Berlin, the full sheet,
the upper left sheet corner torn and re-attached, a few small brown
stains in the upper right margin, two very short tears at the upper
sheet edge, some minor creases in the margins, generally in good
condition
L. 745 x 440 mm., S. 870 x 613 mm.
15,000-25,000 $26,000-42,000
19,000-31,000
L I T E R AT UR E :
Hofmaier 149
In Die Familie Beckmann shows how war and violence has entered his own
domestic world, as his little son Peter plays enthusiastically with a soldiers
helmet and hand grenades.
32
45
PABLO PICASSO (1881-1973)
Lhomme au chien (Rue Schlcher)
etching, 1915, on laid vieux japon paper, signed in red crayon,
a very good, tonal and selectively wiped impression from the
edition of forty on this paper (there were also sixty impressions
on Arches and two on japon nacr), Baers third, nal state, after
the steel-facing of the plate, published by Lucien Vollard-Marcel
Lecomte, printed by Macquart, Paris, 1947, the full sheet, with
deckle edges at left, above and below, very pale mount staining
and a few small, unobtrusive stains at the deckle edges, generally
in good condition
P. 280 x 219 mm., S. 462 x 295 mm.
7,000-10,000 $12,000-17,000
8,800-13,000
L I T E R AT UR E :
Bloch 28; Baer 39
Picasso rst composed this print in 1915, but must have printed only
a few proofs at the time - Baer records only two impressions from
this period. He returned to the plate 15 years later, together with the
printer Louis Fort, and made a few small changes with the scraper,
but again printed only a handful of impressions (one before and a
total of four after some changes to the image), before an edition was
nally printed in 1947.
46
ROBERT DELAUNAY (1885-1941)
Saint Severin 1907
lithograph, 1926-28, on Arches wove paper, not signed, a very
rare proof, for the planned edition to be published by Editions
Spes, Paris, the full sheet, a deckle edge at left and below, a short
repaired tear the upper sheet edge at centre, otherwise in good
condition
L. 550 x 390 mm., S. 765 x 568 mm.
2,500-3,500 $4,300-5,900
3,200-4,400
L I T E R AT UR E :
cf. Loyer & Perussaux 2 (this version not recorded)
Delaunay rst created a lithograph (L. & P. 2) of this subject, closely
related to his cubist painting of 1909 (Solomon R. Guggenheim
Museum, New York) around 1923-1925. Not much later, probably
in 1926, the idea arose of producing a portfolio of ten lithographs,
all based on Delaunays paintings of the church of Saint-Severin in
Paris - a building he had been fascinated by since 1907. The portfolio
was to be accompanied by a text on the history of the church by Joris-
Karl Huysmans and published by Editions Spes in Paris. However, the
project was abandoned and the present lithograph is the only plate
realised and presumably was printed in only a few proof impressions.
In 1992 an impression of this lithograph, printed in black and ochre,
was offered at Kornfeld in Bern (26 June 1992, lot 22); together
with a maquette of the portfolio case, covered with cloth designed
by Sonia Delaunay, and a label reading DIX LITHOGRPAHIES /DE /
SAINT SEVERIN /PAR /R. DELAUNAY/ EDITIONS SPES/ PARIS, as well
as the printed text by Huysmans and two printed prospects for the
publication. It remains unclear why the portfolio was never produced.
33
47
LYONEL FEININGER (1871-1956)
The Gate
etching and drypoint, 1912, on tan simili Japan paper, signed in
pencil, a very good impression printing with much burr, from the
edition of 125 signed impressions (there was also a numbered edition
of 125 impressions), published by Paul Westheim, Weimar, in the
portfolio Die Schaffenden, 1919 (vol. 1), with their blindstamp, the
sheet trimmed on all sides, the blindstamp partially trimmed and with
a paper split, otherwise in good condition
P. 270 x 198 mm., S. 326 x 288 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
L I T E R AT UR E :
Prasse E 52
48
LYONEL FEININGER
Strasse in Paris
woodcut, 1918, on thin, brous Kozo Japan paper, signed and titled
in pencil, erroneously inscribed with the work number 1880 at lower
centre and with the correct work number 1883 at lower right, a
good impression of this rare, monumental print, second, nal state,
with wide margins, probably the full sheet, pale mount staining, a
small paper loss at the upper sheet edge and the upper right corner, a
few minor nicks at the sheet edges and corners, pale mount staining,
B. 543 x 412 mm., S. 696 x 496 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
L I T E R AT UR E :
Prasse W 97
34
50
CONRAD FELIXMLLER (1897-1977)
Menschen im Wald
woodcut printed from four blocks in pink, green, blue
and black, 1918, on cream laid paper, signed in pencil,
an impression from the edition of 75 published by the
Frauenbund zur Frderung neuer deutscher Kunst,
Hamburg, hand-printed by Voigt, Berlin, the full sheet,
the colours fresh, a thin spot with associated tiny hole
in the upper right margin, a short tear at the lower sheet
edge, another at the right sheet edge, some minor creases,
pinpoint foxmarks and small stains in the margins,
otherwise in good condition
B. 250 x 300 mm., S. 349 x 420 mm.
2,500-3,500 $4,300-5,900
3,200-4,400
L I T E R AT UR E :
Shn 135
49
OTTO DIX (1891-1969)
Matrose und Mdchen
lithograph printed in three colours, 1923, on laid paper,
signed and dated in pencil, numbered 15/65, Karschs
third, nal state b (with the third stone printing in pink),
from the edition published by Karl Nierendorf, Berlin,
with margins, the sheet probably slightly reduced above
and below, some soft creases at the corners, generally in
good condition
L. 483 x 375 mm., S. 584 x 465 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
L I T E R AT UR E :
Karsch 68 IIIb
FOR OTHER IMPORTANT PRINTS FROM THE PETER BENDIXEN COLLECTION, PLEASE SEE LOTS 147-152 AND 180-183 OF THIS CATALOGUE.
OTHER WORKS FROM THE COLLECTION WILL ALSO BE OFFERED IN THE SALE AT SOUTH KENSINGTON ON 18 SEPTEMBER 2014
AND IN THE SALES OF POST-WAR AND CONTEMPORARY ART IN AMSTERDAM ON 4 AND 5 NOVEMBER 2014.
35
*52
MAX PECHSTEIN (1881-1955)
Mutter und Kind
woodcut with watercolour in pink and green, 1912, on thin laid
Japan paper, signed and dated in pencil, from the edition of ten hand-
coloured impressions on this paper (there was also an edition of ten
with hand-colouring on laid paper), the full sheet, some creases and
surface dirt in the margins, generally in good original condition
B. 198 x 185 mm., S. 530 x 410 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Krger H 140
VARIOUS PROPERTIES
51
CONRAD FELIXMLLER
Geliebte Frau
steel-drypoint printed in sanguine, 1921, on stiff cream wove paper,
signed, dated, titled and inscribed Probedruck Stahlstich, a trial
proof of an unrecorded rst state, before the monogram at upper
right and before the edition of 25, a ne, rich impression printing
with much burr and plate tone, with margins, possibly the full sheet,
a deckle edge below, light-stained, remains of adhesive tape at the
sheet edges verso
P. 259 x 199 mm., S. 310 x 221 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
P R OVE NANC E :
Christies, London, 26 June 1984, lot 102 ( 2,000).
L I T E R AT UR E :
Shn 252
36
53
ERNST LUDWIG KIRCHNER (1880-1938)
Akt mit schwarzem Hut
woodcut, 1911/12, on laid paper, watermark initials SUG, signed in pencil, inscribed Eigendruck, the only known impression of the rst state
(of three, according to Gercken), a very ne, atmospheric impression, printing with much shading and subtle tone in places within the body
and before further changes to the block, the vertical crack in the block partially re-touched with grey wash by the artist, further touches of
wash in the upper left corner, with margins, slightly irregularly trimmed, pale light-staining, some minor nicks, creases and surface dirt in the
margins, generally in good condition
B. 658 x 215 mm., S. 733 x 340 mm.
200,000-300,000 $340,000-510,000
260,000-380,000
P R OVE NANC E :
A private American Collection; Galerie Kornfeld, Bern, 17 June 1988, lot 17 (CHF 410,000).
E XHI B I T E D:
Expressionistische Bilder - Sammlung Firmengruppe Ahlers, Lenbachhaus, Munich; Wilhelm Lehmbruck Museum, Duisburg; Kunsthalle Emden;
Kunsthalle Bielefeld; Rupertinum, Salzburg; Schirn Kunsthalle, Frankfurt am Main; Germanisches Nationalmuseum, Nuremberg, 1993-1997.
L I T E R AT UR E :
Schieer H 182; Dube H 207.
Magdalena M. Moeller, Ernst Ludwig Kirchner Meisterwerke der Druckgraphik, Stuttgart, 1990, no. 58, p. 130-31 (another impression illustrated).
Jutta Hlsewig-Johnen (ed.), Expressionistische Bilder Sammlung Firmengruppe Ahlers, Kthe Kollwitz-Museum (exh. cat.), Berlin (et al.),
Stuttgart, 1993, no. 24, p. 114 (the present impression illustrated).
Magdalena M. Moeller, Kirchner as a German Artist, in: Jill Lloyd, Magdalena M. Moeller (eds.), Ernst Ludwig Kirchner: the Dresden and Berlin
Years, Royal Academy of Arts, London, 2003, p. 23-25 (another impression illustrated).
Ina Conzen, Katja Nellman (et al.), Brcke, Bauhaus, Blauer Reiter Schtze der Sammlung Max Fischer, Staatsgalerie Stuttgart (exh. cat.),
Stuttgart, 2010, no. 81, p. 98-100 (another impression illustrated).
Felix Krmer (ed.), Ernst Ludwig Kirchner Retrospective, Stdel Museum (exh. cat.), Frankfurt am Main, 2010, no. 26, p. 86 and 254 (another
impression illustrated).
Lucas Cranach the Elder, Cupid complaining to Venus,
circa 1525
The National Gallery, London, UK
Kirchners Akt mit schwarzem Hut is one of Kirchners boldest, most confrontational
depictions of the female nude and an icon of German Expressionism. This image of
a standing woman, dressed only in slippers, black hat and choker, was inspired by a
reproduction of Lucas Cranachs Venus (Stdel Museum, Frankfurt am Main), which Kirchner
had seen in the studio of his fellow artist Otto Mueller. Whilst this was certainly the rst
inspiration, he presumably also knew Cranachs Cupid complaining to Venus, possibly the
version in London (National Gallery), in which Venus wears an equally incongruous wide-
brimmed hat. This large woodcut portrait of Dodo Groe, the artists girlfriend during his
Dresden years, was created in 1912, following his move to Berlin and the break-up with
Dodo. It is a highly ambiguous image, poised between seduction and confrontation, and one
of the most haunting Expressionist works in any medium. For Kirchner, Dodo remained the
ideal model, muse and lover: even many years later, in a diary entry of 1919, he praised her
beauty as superior to a Cranach Venus.
The woodcut, which was probably begun in Dresden and completed in Berlin, is closely
related to Kirchners painting Stehender Akt mit Hut of 1910 (Gordon 163; Stdel Museum,
Frankfurt am Main). In the woodcut however, Kirchner intensied the mannerist tendencies -
already present in Cranachs Venus by distorting the proportions and elongating the gure
even further. It is in woodcuts such as the present Akt mit schwarzem Hut that Kirchner, as
Magdalena Moeller wrote, produced his nest pictorial solutions (Moeller, Kirchner as a
German Artist, p. 25).
We are grateful to Professor Dr. Gnther Gercken, Ltjensee, Germany, for his assistance in
cataloguing this lot. Professor Gerken is currently preparing the catalogue raisonn of prints
by Ernst Ludwig Kirchner, the rst two volumes of which (1904-1911) have been published
last year (Galerie Kornfeld Verlag, Bern, 2013). Gercken records the present, probably
unique impression of the rst state, and 11 impressions of the second or third states, two of
which are in public collections (Stdel Museum, Frankfurt am Main; Graphische Sammlung,
Staatsgalerie Stuttgart).
38
*54
ERNST LUDWIG KIRCHNER
Mggelsee
woodcut printed from two blocks in black, violet and green, 1912, on stiff cream wove paper,
signed in pencil, inscribed Eigendruck, the only known impression of the rst state (of two), before
the spots on the sails are removed, a ne, rich yet transparent impression of this important early
colour woodcut, the violet in the sky partially reworked with watercolour by the artist, with wide
margins, probably the full sheet, mount staining, a repaired tear in the right margin, another short
tear at the upper sheet edge, framed
B. 375 x 302 mm., S. 500 x 397 mm.
150,000-250,000 $260,000-420,000
190,000-310,000
P R OVE NANC E :
Perry T. Rathbone, Boston (1911-2000).
William R. Valentiner, Detroit (1880-1958); a gift from above; inscribed in pencil verso:
For William Valentiner/ on his 60th Birthday/ from Perry Rathbone.
Galerie Kornfeld, Bern, 21 June 1991, lot 58 (CHF 145,000).
E XHI B I T E D:
On loan to the Harvard Art Museums (Busch-Reisinger Museum), Cambridge, Mass., 1993-2003.
L I T E R AT UR E :
Schieer H 178; Dube H 210
With Kirchners move to Berlin the previous year, 1911, the long summer days spent by the Moritzburg
Lakes outside of Dresden were a thing of the past. Instead, during the summer of 1912 Kirchner and the
other Brcke artists made excursions to the lakes surrounding Berlin, including the large Mggelsee near
Kpenick to the south-east of Berlin, in search of a cooling bath and inspiration. The atmosphere however,
as portrayed in this woodcut composed of two solid blocks of the complementary colours green and
violet and the very effectively used white paper tone, is one of serene contemplation rather than bucolic
abandon, as found in the bathing scenes of the Dresden years.
This very rare print only ve impressions are known is one of Kirchners most important colour
woodcuts of the Berlin period and one of his early large-scale landscapes in the medium.
We are grateful to Professor Dr. Gnther Gercken, Ltjensee, Germany, for his assistance in cataloguing
this lot. Professor Gercken is currently preparing the catalogue raisonn of prints by Ernst Ludwig Kirchner,
the rst two volumes of which (1904-1911) have been published last year (Galerie Kornfeld Verlag, Bern,
2013). Gercken records only the present impression of the rst state and four impressions of the second,
nal state.
40
While spending his rst winter in Frauenkirch above Davos, Kirchner in December 1918 received a commission from the Vereinigung fr Neue Kunst in
Frankfurt to print a woodcut. The subject of this print, meant as an annual edition (Jahresgabe) for the members of the arts club, was to be a portrait of
the Frankfurt art dealer Ludwig Schames, who had exhibited Kirchners work for the rst time in 1916.
Although Kirchners state of health had somewhat improved in the mountains, he was still suffering from frayed nerves and bouts of depression and
paralysis; it is hence somewhat surprising that Kirchner accepted the commission. It is unclear from his correspondence whether the edition was to be 120,
150 or even 180 - in any case it was very unlike Kirchner, who rarely printed more than a dozen impressions of each subject, to produce so large an edition.
As an added difculty, Kirchner did not have a printing press at the time and had to print each impression by rubbing it by hand.
The woodcut shows Ludwig Schames almost frontally as a close-up of his face and large, owing beard. In the undened background, Kirchner placed a
female gure, certainly one of Kirchners own carved wood sculptures, as an attribute of the art dealer Schames. Kirchner had not seen him for over two
years and must have created the portrait either from memory or with the help of a now lost photograph. Kopf Ludwig Schames, with its jagged edges,
extreme vertical format, and dense, rhythmic contrasts of black and white, became one of his most dramatic and monumental woodcut portraits.
We are grateful to Professor Dr. Gnther Gercken, Ltjensee, Germany, for his assistance in cataloguing this lot. Professor Gercken is currently preparing
the catalogue raisonn of prints by Ernst Ludwig Kirchner, the rst two volumes of which (1904-1911) have been published last year (Galerie Kornfeld
Verlag, Bern, 2013). Of the rst and third states Gercken records only a few impressions respectively.
55
Kopf Ludwig Schames
woodcut, 1918, on cream Asoka wove paper,
signed in pencil, Dubes second state (of three), a
remarkably transparent impression, from the edition
of probably 120 impressions hand-printed by the
artist for the Vereinigung fr Neue Kunst, Frankfurt
am Main, with margins, probably the full sheet,
partially printed to the edge of the sheet above (as
usual), pale light-staining, the sheet toned, a few
small, unobtrusive foxmarks, generally in good
condition, framed
B. 564 x 275 mm., S. 571 x 445 mm.
50,000-70,000 $85,000-120,000
63,000-88,000
P R OVE NANC E :
Possibly Gustav Schieer, Hildesheim/ Hamburg
(1857-1935); according to an inscription on the back
of the frame.
L I T E R AT UR E :
Schieer H 281; Dube H 330
E.W. Kornfeld, Ernst Ludwig Kirchner - Dresden,
Berlin, Davos, Bern, 1979, p. 128-29. (another
impression illustrated).
Magdalena M. Moeller, Ernst Ludwig Kirchner -
Meisterwerke der Druckgraphik, Stuttgart, 1990, p.268,
no. 127 (another impression illustrated).
41
VARIOUS PROPERTIES
56
Erotische Szene IV
lithograph, 1910, on white wove paper, signed in pencil, one of
only two known impressions, with margins, the signature faint,
some very pale light-staining, two short repaired tears at the lower
left sheet edge and one at the upper sheet edge at centre, otherwise
in good condition, framed
L. 170 x 210 mm., S. 239 x 283 mm.
15,000-20,000 $26,000-34,000
19,000-25,000
57
Kokotte im Caf mit Kellner
lithograph, 1916, on stiff wove paper, signed in pencil, the only known
impression of this print, with the artists estate stamp verso, with wide
margins, the sheet edges slightly irregularly trimmed, pale mount
staining, some minor pinpoint foxing, generally in good condition,
framed
L. 270 x 215 mm., S. 403 x 340 mm.
15,000-25,000 $26,000-42,000
19,000-31,000
P R OVE NANC E :
With the Kirchner estate stamp of the Kunstmuseum Basel (L. 1570b)
verso, numbered L308.
Private collection, Germany.
L I T E R AT UR E :
Schieer L 308; Dube L 320
Schieer and Dube record only one impression, presumably the present one,
and no other example has come to light since.
We are grateful to Professor Dr. Gnther Gercken, Ltjensee, Germany,
for his assistence in cataloguing this lot. Professor Gercken is currently
preparing the catalogue raisonn of prints by Ernst Ludwig Kirchner, the rst
two volumes of which (1904-1911) have been published last year (Galerie
Kornfeld Verlag, Bern, 2013). The present, probably unique impression will be
illustrated in a subsequent volume.
Kirchners erotic lithographs count amongst the greatest rarities of German Expressionist printmaking. The present lithograph is the fourth from a series
of seven erotic lithographs created in 1910 in Dresden. They presumably reect Kirchners own sexual experiences with his girlfriend Dodo Groe and are
joyful and unrestrained, while a second, much darker series of erotic lithographs created in Berlin in 1915, depict scenes between prostitutes and their -
usually dressed - customers.
Kirchner printed the entire series of 1910 from one stone (Gerckens stone H) by pulling only very few impressions of each subject before erasing and
re-using it for another scene. It is in fact doubtful whether he printed more than two impressions of each subject: Gercken records one complete set of
all seven scenes in the Kornfeld Collection, Bern/ Davos, ve of which are unique impressions. Only two plates are known in two impressions, including the
present one.
P R OVE NANC E :
A private American collection; sold Kornfeld, Bern, 17 June 1988, lot 16.
A private German collection, purchased at the above sale (CHF 40,000).
L I T E R AT UR E :
Schieer L 315; Dube L 188; Gercken 487
Gnther Gercken, Ernst Ludwig Kirchner - Lithographien - Neue
Erkenntnisse: Verzeichnis der Steine, Galerie Kornfeld (exh. cat.),
Bern 2007, no. 11, p. 36, 61, 64 (another impression illustrated).
42
58
ERICH HECKEL (1883-1970)
Stehende
woodcut with watercolour in ochre, 1912, on soft laid paper, signed and dated
in pencil, numbered in pencil (4), Dubes rst state (of two), one of a few
handcoloured impressions of this rare print, with margins, deckle edges above and
below, presumably the full sheet, minor moisture staining and some surface dirt in
the margins, some pale foxmarks, generally in good original condition, framed
B. 358 x 190 mm., S. 580 x 345 mm.
80,000-120,000 $140,000-200,000
110,000-150,000
P R OVE NANC E :
Private German collection; Villa Grisebach, Berlin,
1 June 1990, lot 22 (DM 110,000).
L I T E R AT UR E :
Dube H 234
To our knowledge, only three impressions of this print have been offered at auction within
the last thirty years, including the present one with handcolouring in ochre.
44
P R OVE NANC E :
Richard Doetsch-Benziger (1877-1958), Basel (with his bookplate).
L I T E R AT UR E :
Roethel 164-75
Klaus Weber (ed.), Punkt. Linie. Flche. - Druckgraphik am Bauhaus,
Bauhaus-Archiv Berlin Museum fr Gestaltung (exh. cat.), Berlin,
1999-2000, no. 14, p. 118-127 (other impressions illustrated).
Helmut Friedel/ Annegret Hoberg/ Melanie Horst, Kandinsky
- Das druckgrasche Werk - Complete Prints, Stdtische Galerie im
Lenbachhaus und Kunstbau/ Kunstmuseum Bonn (exh. cat.), 2008-
2009, no. 123-135 (other impressions illustrated).
*59
WASSILY KANDINSKY (1866-1944)
Kleine Welten
the complete portfolio of 12 prints, including four lithographs
in colours, two woodcuts in colours and two in black, and four
drypoints, 1922, on wove paper, all signed, with title, justication
and explanation page, the title page with the unsigned woodcut
vignette in black, the justication verso, copy no. 60 from the total
edition of 230 (numbers 1-30 were on Japan paper), published by
Propylen Verlag, Berlin, printed at the Staatliches Bauhaus, Weimar,
presumably the full sheets, the colours very fresh, in excellent
condition, all within their original paper mounts with protective
glacine sheets, within the original green half-leather folder with
yellow paper sides with the cover vignette on the front and the title
and artists name in gilt on the spine (portfolio)
468 x 352 x 17 mm. (overall)
150,000-250,000 $260,000-420,000
190,000-310,000
45
For me, the province of art and the province of nature thus became more and more widely separated,
until I was able to experience both as completely independent realms. (Kandinsky, Reminiscences, 1913,
quoted in: Friedel/ Hoberg/ Horst, p. 208)
Having created abstract works as early as 1910, Kleine Welten can be considered as the earliest purely
abstract major work of printmaking and the most important portfolio created at the Bauhaus. Possibly
still under the inuence of the Russian avant-garde, although more lyrical and playful in spirit, Kandinsky
created the series in 1922, shortly after joining the teaching staff at the Bauhaus: he took up his
position and within a short period of time, developed into an artist who made a strong impact on the
Bauhaus, but who was surely also shaped by it in return. For the connection between art, craft and
industrial shaping of form that the Bauhaus propagated led, under the overall concept of functionality,
to a clarication and objectication of the language of forms that corresponded with Kandinskys artistic
objectives in the 1920s. What seemed outdated to him, in any case, was the expressionistic pathos of the
pre-war era. (C. Schreier, The Creation of a Work is the Creation of a World Kandinsky and his Small
Worlds Portfolio, in: Friedel/ Hoberg/ Horst, p. 57)
46
VARIOUS PROPERTIES
60
MARC CHAGALL (1887-1985)
Saint Germain des Prs
lithograph in colours, 1954, on wove paper, signed in pencil, numbered
58/75, published in Derrire le Miroir by Maeght, Paris, presumably the
full sheet, in good condition
L. 382 x 282 mm., S. 399 x 282 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Mourlot 100; cf. Cramer books 24
61
MARC CHAGALL
The Flute Player
lithograph in colours, 1957, on Arches wove paper, signed in pencil,
numbered 37/90, published by Maeght, Paris, the full sheet, with
deckle edges at left and right, in very good condition
L. 250 x 420 mm., S. 382 x 571 mm.
3,000-5,000 $5,100-8,400
3,800-6,300
L I T E R AT UR E :
Mourlot 197
62
MARC CHAGALL
At the Dawn of Love
lithograph, 1983, on Arches wove paper, signed in pencil, numbered
28/50 (there were also 12 artists proofs printed only in black), the
colours fresh and bright, the full sheet, a deckle edge below, in very good
condition
L. 346 x 272 mm., S. 546 x 425 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Mourlot 1018
47
63
MARC CHAGALL
The Grande Corniche
lithograph in colours, 1967, on Arches wove paper, signed in
pencil, numbered 32/50 (there was also an edition of 25 on
Japan paper), published by Mourlot, Paris, with margins, a
deckle edge at right, a repaired paper split at the lower right
corner, otherwise in good condition, framed
L. 485 x 430 mm., S. 685 x 535 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
L I T E R AT UR E :
Mourlot 485a
64
AFTER MARC CHAGALL BY CHARLES SORLIER
The Tribe of Naphtali, from: The Twelve Maquettes of Stained
Glass Windows for Jerusalem
lithograph, 1964, on Arches wove paper, signed in pencil,
numbered LIV/LXXV (there was also an edition of 150
numbered in Arabic numerals), published by Fernand Mourlot,
Paris, the full sheet, a short tear at the lower left corner, a small
nick at the lower right sheet edge, otherwise in good condition
L. 615 x 460 mm., S. 745 x 526 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Charles Sorlier 21
48
65
SALVADOR DAL (1904-1989)
FlorDali (Flora Dalinae)
the complete set of ten etchings with drypoint and pochoir in colours, 1968, on Japon nacr paper, each signed
in pencil and numbered 47/75, from the edition of 175 on this paper (the total edition was 408), published by
diteur dArt, Paris, the full sheets, some foxing and time staining, otherwise in good condition, loose (as issued),
within the original tan suede-covered boards with the title in gold, generally in good condition (portfolio)
780 x 590 mm. (overall)
28,000-32,000 $48,000-54,000
36,000-40,000
L I T E R AT UR E :
Michler & Lpsinger 227-236
66
SALVADOR DAL
Dix Recettes dImmortalit
the complete set of 11 etchings with drypoint and heliogravure and
multiples, 1973, the prints on Auvergne Richard de Bas wove paper,
some in colour or gilt, the multiples in card, metal and plastic, with
title, text in French (with English translation) and justication,
signed by the artist, the publisher and the editor in pencil on the
justication, with the notarys stamp and signature, copy number
206 from the edition of 210, published by Audouin-Descharnes,
Paris, the prints all signed in pencil and numbered 206/210, also with
the notarys stamp, signature and numbering verso, the full sheets,
generally in good condition, all contained in nine individual paper
folders with text, within the original paper wrapper with title in gilt,
the original perspex case with cast metal phone handle, locks and
keys, brown cloth-covered slipcase, generally in very good condition
(portfolio)
655 x 490 x 130 mm. (overall)
6,000-8,000 $11,000-13,000
7,600-10,000
L I T E R AT UR E :
Michler & Lpsinger 567-577; Field 73-20
49
67
MAURITS CORNELIS ESCHER (1898-1972)
Sun and Moon
woodcut in colours printed from four blocks,
1948, on thin laid Japan paper, signed in pencil
and numbered No 10/20, inscribed houtsnede
eigendruck and Houtsnede Zon en Moon, the
full sheet, with deckle edges at left, right and
below, the colours fresh, light-staining and
foxing mainly in the margins
B. 250 x 275 mm., S. 330 x 348 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
P R OVE NANC E :
Christies, London, 26 June 1984, lot 92
(2,600).
L I T E R AT UR E :
Bool 357
*68
MAURITS CORNELIS ESCHER
Encounter
lithograph, 1944, on wove paper, with
partial watermark Holland, signed and
titled in pencil, numbered 7/30, with
wide margins, light-staining, a few skinned
patches at the upper sheet edge, otherwise in
good condition, framed
L. 340 x 465 mm., S. 450 x 600 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
L I T E R AT UR E :
Bool 331
50
70
JOAN MIR
One plate from: Serie I
etching printed with monotype colouring, 1947, on wove
paper, signed and dated New York 17/6/47 in pencil,
inscribed preuve dessai, a rare working proof printed at
Atelier 17 in New York in 1947, before the edition of 13
printed in Paris in 1952-53, with wide margins, light and
mount staining, backboard staining verso
P. 378 x 452 mm., S. 510 x 660 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
P R OVE NANC E :
Heinrich Neuerburg (1880-1956), Cologne (L. 1344a); then
by descent.
Dr. Walter Neuerburg (1912-86); his sale, Christies, New
York, 1 November 1988, lot 98 ($35,000).
L I T E R AT UR E :
cf. Dupin 75
69
JOAN MIR (1893-1983)
Femme et chien devant la lune
pochoir in colours, 1935, on wove paper, signed and dated
in pencil, numbered 5/60, published by Adlan, Barcelona,
with their stamp verso, the full sheet, a few pale foxmarks in
the margins, the tips of the upper and lower left sheet corners
slightly creased, otherwise in very good condition
L. 512 x 455 mm., S. 655 x 500 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
P R OVE NANC E :
Pierre Meuz (not in Lugt).
L I T E R AT UR E :
Dupin 18
Joan Mir visited New York in 1947 and where he worked at Stanley
William Hayters (1901-1988) pioneering print workshop Atelier 17,
creating the plates for Srie I and II (Lots 70-72). Hayters approach
to intaglio printing was innovative and experimental. His studio,
which had rst been established in Paris in 1927 before relocating to
New York at the outbreak of World War II, became a centre for the
European and American avant-garde. It was presumably here that
Mir met the American abstract painter Carl Holty (1900-1973), to
whom one of the proofs is dedicated (Lot 71). The following three
lots are some of only a few trial proofs printed by Mir at Atelier
17 in 1947, and reect Hayters inuence in their unconventional
methods of inking: with a roller (lot 70), ngerprints (lot 71), and by
selective wiping (lot 72). Each of the present impressions is unique.
The plates returned to Paris with Mir, where they were printed
by Lacourire and published by Maeght in a tiny edition of 13
impressions in 1952-53.
51
72
JOAN MIR
One Plate from: Serie II
etching with monotype colouring, 1947, on wove paper,
signed and dated New York 18/6/47 (partially erased), a rare
working proof printed at Atelier 17 in New York in 1947,
before the edition of 13 printed in Paris in 1952-53, the full
sheet, with deckle edges on all sides, a few pale stains in the
margins, otherwise in good condition
P. 374 x 453 mm., S. 505 x 655 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
P R OVE NANC E :
L I T E R AT UR E :
cf. Dupin 83
71
JOAN MIR
One Plate from: Serie I
etching with monotype colouring, 1947, on wove paper,
signed, dated New York 17/6/47 and dedicated pour Carl
Holty, avec toute mon amiti in pencil, inscribed preuve dessai,
a rare working proof printed at Atelier 17 in New York in
1947, before the edition of 13 printed in Paris in 1952-53,
the full sheet, with deckle edges on all four sides, pale light-
staining, a printers crease in the left margin extending slightly
into the subject, generally in very good condition
P. 375 x 453 mm., S. 515 x 660 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
P R OVE NANC E :
Carl Robert Holty (1900-73), New York; a gift from the
artist; then by descent.
Christies, New York, 16 November 1987, lot 204 ($24,000).
L I T E R AT UR E :
cf. Dupin 75
52
73
JOAN MIR
La Main
soft-ground etching and aquatint in colours,
1953, on BFK Rives wove paper, signed
and dated in pencil, inscribed H.C., one of
a few hors commerce impressions aside from
the edition of 75, the colours very fresh,
published by Maeght, Paris, the full sheet,
with deckle edges above and below, in very
good condition
P. 355 x 485 mm., S. 510 x 650 mm.
7,000-10,000 $12,000-17,000
8,800-13,000
L I T E R AT UR E :
Dupin 100
74
JOAN MIR
Femme au Miroir
lithograph in colours, 1956, on BFK Rives
wove paper, signed in pencil, numbered
50/150, published in Derrire le Miroir, 10
Ans dEdition, Maeght, Paris, the colours
very fresh and bright, the full sheet, a deckle
edge at left, in very good condition
L. 382 x 560 mm., S. 390 x 565 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
P R OVE NANC E :
L I T E R AT UR E :
Mourlot 242; cf. Cramer 36
53
75
JOAN MIR
Equinoxe
etching, aquatint and carborundum in colours, 1967, on wove paper, signed and dedicated
pour Sylvie avec mon affection in pencil, inscribed H.C., one of a few hors commerce
impressions aside from the edition of 75, published by Maeght, Paris, probably the full
sheet, a deckle edge at right, very pale scattered pinpoint foxing, otherwise in good
condition
P., S. 1045 x 737 mm.
25,000-35,000 $43,000-59,000
32,000-44,000
L I T E R AT UR E :
Dupin 428
54
76
JOAN MIR
One plate from: Serie III
etching and aquatint with extensive painting in watercolours by the artist, 1952-53, on
vellum, signed in black ink, numbered III/XIII, from the edition of 13 unique handcoloured
impressions, printed from the black plate only, published by Maeght, Paris, the full sheet, in
very good condition
P. 296 x 232 mm., S. 525 x 850 mm. (approximately)
10,000-15,000 $17,000-25,000
13,000-19,000
L I T E R AT UR E :
cf. Dupin 93
55
77
JOAN MIR
La Commedia dellArte VI
etching in colours, 1979, on Arches paper, signed and inscribed
E.A. in pencil, an artists proof aside from the edition of thirty
(there were also 15 hors commerce impressions), published by
Maeght, printed by Joan Barbar, Barcelona, the full sheet, in
very good condition
S. 565 x 762 mm.
2,000-3,000 $3,400-5,100
2,600-3,800
L I T E R AT UR E :
Dupin 1111
78
JOAN MIR
La Rvolte des Caractres
etching and aquatint in colours, 1982, on Guarro wove paper, signed,
inscribed Bat. and dated 12/VI.81 in pencil, the bon tirer impression
before the signed and numbered book edition of one hundred (there
were also 25 hors commerce impressions), published by Fata Morgana,
Montpellier, printed by Joan Barbar, Barcelona, the full sheet, in
good condition; together with the bon tirer impression of the
same etching printed in black (Dupin records only a few proofs
printed in black), on Arches wove paper, signed in pencil, inscribed
BAT. and dated 9/V.81. in pencil, the full sheet, in good condition
P. 196 x 155 mm., S. 638 x 496 mm.
P. 196 x 155 mm., S. 490 x 355 mm. (2)
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Dupin 1171; cf. Cramer books 254
79
JOAN MIR
Two plates from: Cartones (M. 452 & 453; cf. C. books 103)
two lithographs printed in colours, 1965, on Arches wove paper,
both signed in pencil, numbered 27/75, published by P. Matisse,
New York, the full sheets, both in very good condition; with
Mir Sculptures (M. 755), lithograph in colours, 1971, on
Arches wove paper, signed in pencil, numbered 116/150, before
the unsigned edition with text, published by the Walker Art
Centre, Minneapolis, the full sheet, in very good condition
M. 452: L. 305 x 425 mm., S. 420 x 548 mm.
M. 453: L. 505 x 635 mm., S. 545 x 707 mm.
M. 755: L. 855 x 727 mm., S. 858 x 730 mm. (3)
3,000-5,000 $5,100-8,400
3,800-6,300
56
81
HENRI LAURENS
A group of ve etchings
including Deux nues, 1929, on wove paper, signed in pencil,
numbered 9/59; Untitled, 1942, on wove paper, signed in pencil,
inscribed Bon tirer, before the edition of 65; Lextermine, 1947,
signed in pencil, numbered 17/30; Ondine, 1946, initialled in
pencil, numbered 13/15; Untitled, 1946, signed in pencil, inscribed
BaT; the full sheets, generally in good condition, framed
S. 443 x 570 mm. (and smaller) (5)
4,000-6,000 $6,800-10,000
5,100-7,500
P R OVE NANC E :
V. 12: Henri M. Petiet (1894-1980), Paris (not in Lugt).
L I T E R AT UR E :
Vlker 12, 14.1, 15, 18, 22.1
81
80
80
HENRI LAURENS (1885-1954)
A group of ve etchings
including Femme debout - face et dos, before 1921, on wove
paper, signed in pencil, numbered 20, from the edition of thirty; Le
Boxeur, circa 1921, on wove paper, signed in pencil, numbered 15,
from the edition of thirty; La Table, before 1921, on wove paper,
signed in pencil, numbered 2, from the edition of thirty; Valencia,
before 1927, on wove paper, signed in pencil, numbered 19/100;
and Le Guridon, before 1927, on wove paper, signed in pencil,
numbered 32/50; the full sheets, generally in good condition, framed
P. 248 x 189 mm., S. 490 x 328 mm. (and smaller) (5)
5,000-7,000 $8,500-12,000
6,300-8,800
L I T E R AT UR E :
Vlker 3, 6, 8-10
57
83
LOUIS MARCOUSSIS (1883-1941)
Planches de Salut
the complete portfolio from the deluxe edition of ten (numbered
2-11), published by Jeanne Bucher, Paris, 1931, including:
the book of 13 etchings (frontispiece, en-tte, ten plates and
cul-de-lampe), on Japon Imperial, with title, text and justication, signed
in black ink on the justication and numbered 3; an additional
suite of all the etchings, on Japon appliqu supported on Arches, each
signed in pencil, numbered 3/11; three impressions of plate I
(in the rst, second and third state), on Arches, each signed in pencil,
numbered 2/2; and the original pencil drawing for plate I, on
card, signed and dated 1930 in pencil; the full sheets, some foxing,
generally in good condition, with original paper wrappers
(book, portfolio, 3 loose etchings, 1 drawing)
P. 202 x 240 mm. (and similar), S. 330 x 420 mm. (and smaller)
308 x 407 mm. (the book and suite overall)
10,000-15,000 $17,000-25,000
13,000-19,000
L I T E R AT UR E :
Solange Milet 66-78
83
82
82
HENRI LAURENS
A group of four lithographs in colours
including Femme accroupie, 1950, on Arches wove paper, signed
in pencil, numbered 10/75 (faded), a deckle edge below, the sheet
slightly reduced above and at right; Femme assise au bras lev,
1950, on Arches wove paper, signed in pencil, numbered 68/75, the
full sheet, a deckle edge above and below; Femme couche, 1950,
on Arches wove paper, signed in pencil, numbered 32/75, the full
sheet, a deckle edge at left and right; Femme assise la jambe
leve, 1950, on Arches wove paper, signed in pencil, numbered
18/200, the full sheet, a deckle edge above and below, generally in
L. 585 x 330 mm. (and smaller).
S. 660 x 501 mm. (and smaller) (4)
3,000-5,000 $5,100-8,400
3,800-6,300
L I T E R AT UR E :
Vlker 27, 28, 29, 31
58
*84
PABLO PICASSO (1881-1973)
Honor de Balzac: Le Chef dOeuvre Inconnu
the complete book including 13 etchings, 1931, on BFK Rives paper,
hors texte, with title, text in French and justication, copy number
240 from the edition of 340, published by A. Vollard, Paris, the full
sheets, loose (as issued), one plate with a tear, otherwise in good
condition, with the paper wrappers and slipcase, in good overall
condition (book)
345 x 266 x 45 mm. (overall)
7,000-10,000 $12,000-17,000
8,800-13,000
L I T E R AT UR E :
Cramer books 20
85
PABLO PICASSO
Le Repos du sculpteur devant un centaure et une femme,
from: La Suite Vollard
etching, 1933, on Montval laid paper, watermark Vollard, signed
in pencil, from the edition of 260 (there was also an edition of fty
impressions with wider margins), published by A. Vollard, Paris,
1939, the full sheet, a deckle edge at left, very pale time and light-
staining, in good condition
P. 194 x 268 mm., S. 340 x 442 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Bloch 167; Baer 320
86
PABLO PICASSO
Le repos du sculpteur II: from La Suite Vollard
etching, 1933, on Montval laid paper, watermark Vollard, signed in
pencil, from the edition of 260 (there was also an edition of fty with
wider margins), published by A. Vollard, Paris, 1939, the full sheet,
a deckle edge at right, pale light-staining, otherwise in very good
condition, framed
P. 194 x 268 mm., S. 340 x 445 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
L I T E R AT UR E :
Bloch 172; Baer 325
59
In a room ooded with moonlight a handsome and god-like faun unveils
a sleeping woman. Based on Rembrandts etching Jupiter and Antiope,
1659 (B., Holl. 204), it contains many autobiographical allusions to the
artists passionate relationship with his lover Marie-Thrse Walter, whose
powerful physical allure is so evocatively portrayed in the curvaceous gure
of the sleeper. Unlike Rembrandts Jupiter, who leers lecherously at the
nubile Antiope, this faun gazes upon her, transxed by her beauty and
reaching out to caress the object of his desire.
At the time this aquatint was made, Marie-Thrse had given birth to their
daughter, Maya, and it has been suggested that this aquatint is Picassos
nostalgic evocation of a passion now passing, irrevocably changed with the
advent of parenthood. It is undoubtedly one of the most beautiful examples
of the artists graphic work, both poetic and mysterious - and a dazzling
display of his draughtsmanship and his command of the sugar-lift etching
technique.
*87
PABLO PICASSO
Faune devoilant une Femme, from: La Suite Vollard
aquatint, 1936, on Montval laid paper, watermark Picasso, signed in
pencil, from the edition of 260 (there was also an edition of fty with
wider margins), published by A. Vollard, Paris, 1939, the full sheet, a
deckle edge at right, pale light-staining, generally in good condition
P. 316 x 420 mm., S. 340 x 451 mm.
30,000-50,000 $51,000-84,000
38,000-63,000
L I T E R AT UR E :
Bloch 230; Baer 609
60
*88
PABLO PICASSO
Franoise en soleil
lithograph, 1946, on Arches wove paper, initialled in pencil by Fernand Mourlot, inscribed
with his reference 48 and numbered 6/6 verso, one of six proofs reserved for the artist and
the printer (aside from the edition of fty), the full sheet, a deckle edge above and below,
the sheet slightly toned, otherwise in very good condition
L. 540 x 445 mm., S. 654 x 500 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
L I T E R AT UR E :
Bloch 404; Mourlot 48
61
*90
PABLO PICASSO
Femme au Fauteuil
lithograph, 1948, on China paper, a proof impression of the rst state
(of six), initialled in pencil by the printer Fernand Mourlot verso,
inscribed with his reference 138, NOIR, de 133 bis, preuve unique,
one of six proofs reserved for the artist and the printer (there was no
edition of this state), the full sheet, a minor tear at the right sheet
edge, a repaired tear at the lower left sheet edge, some soft creases at
the sheet edges
L. 650 x 500 mm., S. 670 x 505 mm.
7,000-10,000 $12,000-17,000
8,800-13,000
L I T E R AT UR E :
cf. Mourlot 138
*89
PABLO PICASSO
Femme au Fauteuil
lithograph in colours, 1948, on Arches wove paper, a proof
impression of the second, nal state, without the black stone,
inscribed with the printer Fernand Mourlots reference 133 bis 1
tat sans noir, one of six proofs reserved for the artist and the printer
(there was no edition of this state), the full sheet, a deckle edge above
and below, generally in good condition
L., S. 652 x 500 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
L I T E R AT UR E :
cf. Mourlot 133
The present impression is incorrectly inscribed 1 tat verso. It is the second
state, without the black stone, after the reworking of the colour stones.
This is probably a unique proof; Mourlot does not record other impressions
printed without the black stone.
`In the old days pictures went forward towards completion by stages
A picture used to be a sum of additions. In my case a picture is a sum of
destructions. I do a picture then I destroy it It could be interesting to
preserve photographically, not the stages, but the metamorphoses of a
picture (Picasso, quoted in: Cahiers dArt, Paris, 1935, vol. 10, no. 10, p.
173-8, translated in: A. Barr, Picasso: Fifty Years of His Art, New York, 1946,
p. 272).
Lithography was ideally suited to Picassos stated method of picture-making:
the medium allows for an image to be created on a lithographic stone
or plate, to be printed, then erased, reworked and re-printed, until the
image is fully realised. Picasso began working at the lithographic studio of
Fernand Mourlot in 1945. By 1947 a system had been devised whereby each
successive stage of an image would be printed and preserved. This fullled
Picasso desire to preserve the metamorphoses of a picture.
This present collection (lots 88-97) includes various states from his famous
series Femme au Fauteuil, which reveal the sometimes dramatic and
surprising transformations the subject underwent in the course of Picassos
intense engagement with it. Each impression is one of only six proofs pulled
by Mourlot. These rare prints offer a unique insight into Picassos creative
process and his unrestrained and playful visual mind.
62
*91
PABLO PICASSO
Femme au Fauteuil
lithograph, 1948, on Arches wove paper, a proof impression of
the second state (of six), initialled in pencil by the printer Fernand
Mourlot, inscribed with his reference 138, NOIR, de 133 bis, preuve
unique verso, one of six proofs reserved for the artist and the printer
(there was no edition of this state), the full sheet, deckle edges above
and below, the sheet slightly toned, scattered foxing verso, generally in
good condition
S. 657 x 500 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
L I T E R AT UR E :
cf. Mourlot 138
*92
PABLO PICASSO
Femme au Fauteuil
lithograph, 1948, on Arches wove paper, a proof impression of the
third state (of six), initialled in pencil by the printer Fernand Mourlot,
inscribed with his reference 138, 3e tat and numbered 6/6 verso,
one of six proofs reserved for the artist and printer (there was no
edition of this state), the full sheet, a deckle edge at right and left, the
sheet slightly toned, faint scufng in the image, generally in good
condition
L. 700 x 547 mm., S. 765 x 565 mm.
12,000-18,000 $21,000-30,000
16,000-23,000
L I T E R AT UR E :
cf. Mourlot 138
63
*93
PABLO PICASSO
Femme au Fauteuil
fth state (of six), initialled in pencil by the printer Fernand Mourlot,
edition of this state), the full sheet, a deckle edge at right and left,
very pale foxing in the margin at lower right, the sheet slightly toned,
L. 697 x 545 mm., S. 760 x 563 mm.
20,000-300,000 $34,000-510,000
26,000-380,000
L I T E R AT UR E :
cf. Mourlot 138
*94
PABLO PICASSO
Femme au Fauteuil
sixth, nal state, initialled in pencil by the printer Fernand Mourlot,
edition of this state), the full sheet, a deckle edge at right and left, the
sheet slightly toned, otherwise in very good condition
L. 697 x 545 mm., S. 764 x 562 mm,
20,000-30,000 $34,000-51,000
26,000-38,000
L I T E R AT UR E :
cf. Mourlot 138
64
*97
PABLO PICASSO
Femme au Fauteuil No. 2
the second, nal state, initialled in pencil by the printer Fernand
Mourlot, inscribed with his reference 135, 2e tat and numbered 6/6
verso, one of six proofs reserved for the artist and the printer (there
was no edition of this state), the full sheet, with deckle edges at right
and left, pale mount staining and pinpoint foxing in the margins,
L. 700 x 547 mm., S. 763 x 563 mm.
18,000-25,000 $31,000-42,000
23,000-31,000
L I T E R AT UR E :
cf. Mourlot 135
*96
PABLO PICASSO
the rst state (of two), initialled in pencil by the printer Fernand
Mourlot, inscribed with his reference 135, 1e tat and numbered 6/6
verso, one of six proofs reserved for the artist and printer (there was no
edition of this state), the full sheet, a deckle edge above and below,
some minor scuffs in the lower left corner, the sheet slightly toned,
L., S. 660 x 500 mm.
12,000-18,000 $21,000-30,000
16,000-23,000
L I T E R AT UR E :
cf. Mourlot 135
*95
PABLO PICASSO
lithograph printed in grey, 1948, on Arches wove paper, a proof
impression of the seventh state (of eleven), initialled in pencil by the
printer Fernand Mourlot, inscribed with his reference 134, 1e tat
du report, preuve unique gris and numbered 6/6, one of six proofs
reserved for the artist and the printer (there was no edition of this
state), the full sheet, a deckle edge at right and left, pale light and time
staining, a short tear at the left sheet edge
L. 696 x 546 mm., S. 763 x 561 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
L I T E R AT UR E :
cf. Mourlot 134
95
96
97
65
99
PABLO PICASSO
La danse des banderilles
lithograph, 1954, on Arches wove paper, signed in red crayon,
numbered 39/50 (there were also six proofs for the artist and printer),
the full sheet, deckle edges at left and right, pale light and mount
staining, a few pinpoint foxmarks, otherwise in good condition,
framed
L. 480 x 640 mm., S. 500 x 656 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
*98
PABLO PICASSO
Les faunes et la centauresse
lithograph, 1947, on Arches wove paper, signed in pencil, numbered
13/50 (there were also six proofs reserved for the artist and the
printer), the full sheet, with deckle edges at left and right, light and
time staining, a short tear at the upper right corner, framed
S. 500 x 652 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
L I T E R AT UR E :
66
100
PABLO PICASSO
Buste de femme daprs Cranach le Jeune
linocut printed from ve blocks in colours, 1958, on Arches wove paper, a ne impression, signed in blue
crayon, numbered 15/50, published by Galerie Louise Leiris, Paris, the colours exceptionally fresh and
vibrant, the printed surface with much texture and unusually well preserved, the full sheet, with deckle
edges at left and right, pale mount staining in the margins, otherwise in very good condition, framed
B. 645 x 534 mm., S. 765 x 570 mm.
250,000-350,000 $430,000-590,000
320,000-440,000
Lucas Cranach the Younger, Portrait of a Woman, 1564
Kunsthistorisches Museum, Vienna
`To me there is no past or future in art. The art of the Greeks, of the
Egyptians, of the great painters who lived in other times, is not an art of the
past; perhaps it is more alive today than it ever was. (Picasso, quoted in:
Ashton, p. 4).
Throughout his career Picasso made works in response to the great art
of the past. Describing his approach to his artistic predecessors he said: I
have a horror of copying myself. But when I am shown a portfolio of old
drawings, for instance, I have no qualms about taking anything I want from
them. (Picasso, in conversation with C. Zervos, 1935, quoted in: Ashton, p.
10). This sustained dialogue with the past reached its zenith in the 1950s,
when Picasso devoted himself in painting, sculpture and print to reworking
masterpieces by artists as diverse as Cranach, Velsquez, Delacroix and
Manet.
Explaining the genesis of Picassos great linocut Buste de Femme daprs
Cranach le Jeune, Picassos dealer Daniel-Henry Kahnweiler said: One of
Picassos notable characteristics was his need to transform existing works of
art, to compose variations on a theme, as it were. His point of departure
was often simply a reproduction in a book; or even a postcard sent by myself,
such as Cranach the Youngers Portrait of a Woman [1564] in Vienna, which
became his rst linocut in colour. Among other things, what struck him in
particular about this painting was the way the womans shadow rhymes
with the upper part of her body... This need to transform was certainly an
important characteristic of Picassos genius. (Daniel-Henry Kahnweiler,
Introduction: A Free Man, in: Penrose/ Golding, p. 8-9)
Picasso had made a preparatory linocut (cf. Baer 1052) after this postcard
the day before executing Buste de Femme. This preliminary work, printed
in black from one block, follows Cranachs composition closely - the young
girl is depicted in three-quarter prole and faces in the same direction as
the painting, requiring Picasso to reverse the image in the cutting. The
effect is somewhat laboured, and when Picasso revisited the subject again
the following day, he abandoned this creative hindrance, this time cutting
the subject freely and adapting Cranachs composition in a much more
spontaneous way. The result is a tour de force of printmaking: with uid
cuts of the linocut gouge and the overprinting of bright, at colour from ve
separate blocks, Picasso amplied what he had described to Kahnweiler as
the paintings internal `rhymes. Flattening the pictorial space, the bulging
shadow on the girls right now merges with the undulating shape of her black
bodice and shoulders, themselves echoed in the loops of the gold chain and
hair net, and by the curved strokes in the background. The girls features
are playfully distorted, so that we seem to see her from the front and in full
prole simultaneously.
What Picasso described to Andr Malraux as his desire to paint against the
canvases that are important to methats painting: for a painter it means
wrestling with painting. (A. Malraux, Picassos Mask, 1976, p. 118), also
resonates with the iconoclastic transformation of Cranachs delicate portrait
into an exuberant display of colour and rhythmic patterns in this most layered
and painterly of all his prints.
Impressions of Buste de Femme dapres Cranach le Jeune can vary
considerably in quality and condition. The colours on this superb impression
are exceptionally vivid and well preserved. In addition, the sheet has never
been cleaned and retains the lively texture of the printed surface.
L I T E R AT UR E :
Bloch 859; Baer 1053
D. Ashton, Picasso on Art: A Selection of Views, London, 1972.
R. Penrose and J. Golding ( eds.), Picasso 1881/1973, London 1973.
A. Malraux, Picassos Mask, 1976, p. 118.
D. Giraudy/D. Bourgois, Picasso Linograveur, Muse Picasso, Antibes (et al.)
(exh. cat.), 1988-89.
P. Elliott, Picasso on Paper, National Gallery of Scotland, Edinburgh (exh. cat.),
2007, no. 77 (another impression illustrated).
C. Riopelle/ A. Robbins, Picasso: Challenging the Past, National Gallery, London
(exh. cat.), 2009, no. 37 (another impression illustrated).
68
*101
PABLO PICASSO
Femme au Collier
linocut rinc, 1964, on Arches wove paper, signed in red crayon, dated 27.6.64. in black
ink verso (this impression cited in Baer), one of about ve rinc impressions, probably the
full sheet, the paper slightly toned, mount staining at the sheet edges, otherwise in good
condition, framed
S. 750 x 618 mm.
30,000-50,000 $51,000-84,000
38,000-63,000
L I T E R AT UR E :
Reverse of the sheet
69
103
PABLO PICASSO
Toros Vallauris
linocut in colours, 1958, on Arches wove paper, signed in blue
crayon, numbered 145/195 in pencil (there were also 22 artists
proofs), published by the Association des Potiers de Vallauris, the
B. 650 x 530 mm., S. 610 x 790 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
102
PABLO PICASSO
Le djeuner sur lherbe, daprs Manet
linocut, 1961, on Arches wove paper, signed in pencil, numbered
34/50, with margins, some light and time staining, in good
condition, framed
B. 530 x 640 mm., S. 612 x 750 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
L I T E R AT UR E :
70
*104
PABLO PICASSO
Char romain, avec cuyre tombant, femme nue et spectateurs,
from: Series 347
etching, 1968, on BFK Rives wove paper, signed in pencil, numbered
28/50 (there were also 17 artists proofs), published by Galerie L.
Leiris, Paris, 1969, the full sheet, a deckle edge at right, in very good
condition, framed
P. 315 x 392 mm., S. 472 x 567 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
L I T E R AT UR E :
105
AFTER PABLO PICASSO BY JACQUES VILLON
Nature Morte
aquatint in colours, 1928, on wove paper, signed in pencil,
numbered 20/200 (there were also nine impressions printed in
black only), published by Galerie Bernheim-Jeune, Paris, with small
margins, the sheet taped down to the back mount, framed
P. 375 x 500 mm., S. 400 x 523 mm.
7,000-10,000 $12,000-17,000
8,800-13,000
L I T E R AT UR E :
Ginestet & Pouillon E 652
71
106
AFTER PABLO PICASSO
Dora Maar
lithograph in colours, 1955, on Arches wove paper, signed in pencil, numbered 87/100 (there
was also an unsigned poster edition of ve hundred copies), published by the Muse des Arts
Decoratifs, printed by Mourlot, Paris, with wide margins, probably the full sheet, in good
condition
L. 920 x 600 mm., S. 1040 x 695 mm.
12,000-18,000 $21,000-30,000
16,000-23,000
L I T E R AT UR E :
Czwiklitzer 92; Rodrigo 38
72
*107
AFTER PABLO PICASSO
Imaginary Portraits
the complete set of 29 lithographs in colours, 1969, with title page and justication, on Arches
wove paper, numbered on the justication A 90, the prints numbered A 90/250 in pencil
(there was also an edition of 250 marked F, reserved for distribution in France), published
by Harry N. Abrams, New York, the full sheets, in excellent condition, loose (as issued),
within the original orange cloth and tan corduroy-covered box with a leather clasp, in good
condition (portfolio)
690 x 530 x 60 mm. (overall)
50,000-70,000 $85,000-120,000
63,000-88,000
Included with this lot is the original packing box that the work was shipped in from the publisher.
73
*108
GEORGES ROUAULT (1871-1958)
Automne
aquatint in colours, 1938, on Montval
laid paper, third, nal state, not signed,
numbered 145/175, the full sheet, a deckle
edge below, the colours quite fresh, light-,
mount and time staining, some short tears in
the lower margin
P. 510 x 655 mm., S. 572 x 775 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
L I T E R AT UR E :
Champion and Rouault 288
PROPERTY FROM A PRIVATE LONDON
COLLECTION
109
HENRI MATISSE (1869-1954)
Figure endormie, chle sur les jambes
lithograph, 1929, on Arches wove paper,
signed in pencil, numbered 46/50 (there
were also ten artists proofs), the full sheet,
a deckle edge at right, pale light-staining, a
surface abrasion in the margin at upper left,
a few minor nicks at the lower sheet edge,
otherwise in good condition, framed
L. 268 x 380 mm., S. 449 x 550 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
L I T E R AT UR E :
Duthuit-Matisse 511
74
*112
HENRI MATISSE
Marguerite VI
lithograph, 1945, on BFK Rives paper, signed in pencil, numbered
12/25, the full sheet, in very good condition
L. 415 x 300 mm., S. 500 x 325 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
L I T E R AT UR E :
Duthuit-Matisse 575
VARIOUS PROPERTIES
*111
HENRI MATISSE
Torse laiguire
lithograph, 1927, on China paper, signed in pencil, numbered 21/50
(there were also ten artists proofs), the full sheet, very pale light-
staining, otherwise in very good condition
L. 364 x 263 mm., S. 498 x 359 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
L I T E R AT UR E :
Duthuit-Matisse 494
*110
HENRI MATISSE
Nu couch au visage incomplet Etude de jambes
lithograph, 1925, on Japan paper, signed in pencil, numbered 9/50
(there were also ten artists proofs), the full sheet, in very good
condition
L. 285 x 525 mm., S. 455 x 560 mm.
3,000-5,000 $5,100-8,400
3,800-6,300
L I T E R AT UR E :
Duthuit-Matisse 462
75
*114
HENRI MATISSE
Jeune tudiant de trois-quarts
aquatint, 1952, on BFK Rives paper, signed in pencil, numbered 4/5
and inscribed ep da (an artists proof aside from the edition of 15),
the full sheet, in good condition
L. 440 x 348 mm., S. 650 x 510 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
L I T E R AT UR E :
Duthuit-Matisse 822
*113
HENRI MATISSE
Masque daprs D.A.I.
aquatint, 1948, on Marais paper, signed in pencil, numbered 23/25
(there were also ve artists proofs), the full sheet, in very good
condition
L. 315 x 252 mm., S. 532 x 377 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
L I T E R AT UR E :
Duthuit-Matisse 801
76
115
MASSIMO CAMPIGLI (1895-1971)
Ritratto di donna
monotype in colours, 1950, on Fabriano wove paper, probably a
unique impression, signed and dated in brown ink, the full sheet,
in good condition, framed
S. 538 x 423 mm.
15,000-25,000 $26,000-42,000
19,000-31,000
This work has been authenticated by Nicola Campigli.
116
GIORGIO MORANDI (1890-1964)
Natura morta in un tondo
etching, 1942, on Japan paper, second, nal state, signed and
dated in pencil, numbered 12/50, the full sheet, some light- and
time staining, foxing and creasing, otherwise in good condition
P. 305 x 270 mm., S. 366 x 472 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
L I T E R AT UR E :
Vitali 109; Cordaro p. 126
77
117
HENRY MOORE (1898-1986)
Sheep
the complete portfolio including 12 etchings, 1972-74, on Rives wove paper, with a watermark designed by the artist, with title, text and
justication, signed in black ink on the justication, copy number 59, from the total edition of eighty (there was also a deluxe edition of 15),
published by Gerald Cramer, Geneva, 1975, each etching signed and inscribed with the plate number in pencil, numbered 59/80, the full
sheets, all in excellent condition, loose (as issued), within the original vellum wrappers with the title and etching on the front (portfolio)
15,000-25,000 $26,000-42,000
19,000-31,000
L I T E R AT UR E :
Cramer 196-7, 199-201, 225-9, 231-2
Sheep have always had some special meaning for me, more so
than cows or horses, whether it is that I saw them as a boy in
parts of the Yorkshire landscape or whether its from reading
the Bible in early childhood where sheep have a mention, and
not horses for instance, I really would not like to say.
(Henry Moore, Introduction to: Sheep, Grald Cramer, 1975)
After observing for hours the sheep out of his studio window at Perry
Green, Henry Moore made numerous drawings which he assembled in his
Sheep Sketchbook as well as printing the present series of 12 etchings,
representing a kind of life cycle, from the birth of the lambs to growing up
and the sheep being shorn.
78
POST-WAR AND CONTEMPORARY PRINTS
(LOTS 118-193)
118
FRANCIS BACON (1909-1992)
Miroir de la Tauromachie
the complete set of four lithographs in colours, 1990, on Arches wove paper, with
title, text in French by Michel Leiris and justication, each lithograph signed in
pencil, printed on folded sheets with letterpress text on the inside pages, copy number
64 from the edition of 150 (there were also ve hors commerce copies), published by
Galerie Lelong, Paris, the full sheets, in excellent condition, loose (as issued), in the
original paper wrappers with title, within the canvas-covered box with title, in very
good condition (portfolio)
510 x 385 x 40 mm. (overall)
40,000-60,000 $68,000-100,000
51,000-75,000
L I T E R AT UR E :
Sabatier 29
79
120
FRANCIS BACON
Three Studies for a Self-Portrait
three lithographs in colours printed on one sheet, 1981, on Arches
wove paper, signed in pencil, numbered 120/150 (there were also
25 hors commerce impressions and ten artists proofs), printed by Arts
Litho, Paris, published by ditions de la Diffrence, Paris, the full
sheet, a deckle edge at right, in very good condition
L. 325 x 280 mm. (each), S. 473 x 1035 mm.
15,000-25,000 $26,000-42,000
19,000-31,000
L I T E R AT UR E :
Sabatier 15
119
FRANCIS BACON
Oresteia of Aeschylus
three lithographs in colours printed on one sheet, 1981, on Arches
wove paper, signed in pencil, numbered 32/150, printed by Arts
Litho, Paris, with their blindstamp, published by ditions de la
Diffrence, Paris, the full sheet, pale light and mount staining,
L. 400 x 300 mm. (each), S. 536 x 1033 mm.
7,000-10,000 $12,000-17,000
8,800-13,000
L I T E R AT UR E :
Sabatier 16
80
121
FRANCIS BACON
Studies of the Human Body (Centre Panel)
offset lithograph in colours, 1980, on Arches wove paper, signed in
green felt-tip pen, numbered 201/250, published by Marlborough
Gallery, New York, the full sheet, in very good condition
L. 890 x 660 mm., S. 1013 x 660 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
L I T E R AT UR E :
Sabatier 34
122
FRANCIS BACON
Study of a Human Body after Ingres
numbered 35/180, published by Galerie Lelong, Paris, the full sheet,
in very good condition
L. 620 x 461 mm., S. 890 x 605 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Sabatier 19
123
FRANCIS BACON
Right Panel, from: Triptych
etching with aquatint in colours, 1981, on Guarro wove paper,
signed in pencil, numbered 50/99 (there were also 15 artists proofs),
published by Polgrafa, Barcelona, the full sheet, some soft creasing in
the upper margin, generally in good condition
P. 289 x 296 mm., S. 641 x 500 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Sabatier 4
81
124
FRANCIS BACON
Study for a Bullght No. 1
lithograph in colours, 1971, on wove paper, signed in green felt-tip pen, numbered 7/150,
published by Muse du Grand Palais, Paris, probably the full sheet, the signature faded, light
and time staining, the colours attenuated, framed
L. 1150 x 1265 mm., S. 1200 x 1580 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
L I T E R AT UR E :
Sabatier 10
82
126
FRANCIS BACON
Second Version, Triptych 1944
the set of three lithographs in colours, 1989, on Arches wove paper,
each signed in pencil, numbered 31/60 (there were also 23 hors
commerce impressions and eight artists proofs), published by Michel
Archimbaud for Librairie Sguier for IRCAM, Centre Pompidou,
Paris, the full sheets, in very good condition
L. 625 x 460 mm., S. 755 x 560 mm.
15,000-20,000 $26,000-34,000
19,000-25,000
L I T E R AT UR E :
Sabatier 24
125
FRANCIS BACON
Metropolitan Triptych
three etchings with aquatint in colours printed on one sheet, 1981,
on Guarro wove paper, signed in pencil, numbered 48/99 (there
were also 15 hors commerce impressions and 5 artists proofs), published
by Polgrafa, Barcelona, the full sheet, in good condition
P. 390 x 300 mm. (each), S. 625 x 1100 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
L I T E R AT UR E :
Sabatier 4
83
129
FRANCIS BACON
Study for a Portrait of John Edwards
numbered 53/180, published by Galerie Lelong, Paris, the full sheet, in
very good condition
L. 680 x 505 mm., S. 950 x 680 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
L I T E R AT UR E :
Sabatier 22
128
FRANCIS BACON
Logique de la sensation
lithograph in colours, 1981, on wove paper, signed in pencil,
numbered 122/150 (there were also 25 copies numbered in Roman
numerals), printed by Arts Litho, Paris, with their blindstamp,
published by ditions de la Diffrence, Paris, the full sheet, in very
good condition
L., S. 448 x 330 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
L I T E R AT UR E :
Sabatier 28
127
FRANCIS BACON
Three Studies of the male Back
the set of three lithographs in colours, 1987, on Arches wove paper,
each signed in pencil, inscribed H.C., a set of hors commerce impressions
aside from the edition of 99, published by Michael Peppiatt for Art
International, Paris, the full sheets, a short tear at the centre right sheet
edge of the central panel, otherwise in very good condition, each framed
L. 606 x 450 mm., S. 810 x 592 mm. (each) (3)
12,000-18,000 $21,000-30,000
16,000-23,000
L I T E R AT UR E :
Sabatier 21
84
*130
LUCIAN FREUD (1922-2011)
Head of a Man
etching, 1986-87, on BFK Rives wove paper, initialled in pencil,
numbered 13/20 (there were also six artists proofs), co-published by
James Kirkman, London, and Brooke Alexander, New York, the full
sheet, a deckle edge at left, in very good condition, framed
P. 226 x 183 mm., S. 505 x 435 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
L I T E R AT UR E :
Hartley 29; Figura 66
131
DAVID HOCKNEY (B. 1937)
Picture of Melrose Avenue in an ornate Gold Frame,
from: A Hollywood Collection
lithograph in colours, 1965, on Rives BFK wove paper, signed
in pencil, numbered 12/85 (there were also 12 artists proofs and
four trial proofs), published by Editions Alecto, London, printed
by Gemini Ltd., Los Angeles, with their stamps on the reverse,
the full sheet, a couple of spots touched in with black ink in the
frame at lower right, pale backboard staining, otherwise in good
condition, framed
L., S. 767 x 565 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Scottish Arts Council, Tokyo 44
85
132
DAVID HOCKNEY
Conversation in the Studio,
from: The Moving Focus Series
lithograph in colours, 1984, on TGL
handmade paper, signed and dated in pencil,
numbered 7/45 (there were also 12 artists
proofs), published by Tyler Graphics, Inc.,
Bedford, New York, with their blindstamp,
the full sheet, in very good condition, in the
artists original painted frame
S. 620 x 730 mm., F. 675 x 800 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
L I T E R AT UR E :
Tokyo 260; Tyler 271
133
JIM DINE (B. 1935)
Five plates from: Dutch Hearts
ve lithographs in colours with collage,
1970, on Hodgkinson handmade paper,
each signed in pencil, numbered 2/85 (there
were also 15 artists proofs), published by
Petersburg Press, London, the full sheets,
hinged to a white paper support, generally in
very good condition
S. 425 x 512 mm. (and similar) (5)
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Williams College 3,4, 5, 6, 9
86
135
ALBERTO BURRI
Bianchi e neri II: A-F
the complete set of six lithographs with embossing and acetate collage, 1970, on Fabriano Rosaspina paper, each signed in pencil, numbered
20/90 (there were also 15 artists proofs), printed and published by Stamperia 2RC, Rome, with their blindstamp, the full sheets, all six with
scattered foxing, otherwise in good condition, framed
L. 520 x 300 mm., S. 640 x 480 mm. (and similar) (6)
6,000-8,000 $11,000-13,000
7,600-10,000
134
ALBERTO BURRI (1915-1995)
Bianchi e neri I: A-F
the complete set of six lithographs with embossing and acetate collage, 1969, on Fabriano Rosaspina paper, each signed in pencil, inscribed
buono di stampa (there was also the edition of ninety and 15 artists proofs), printed and published by Stamperia 2RC, Rome, with their
blindstamp, the full sheets, all with minor surface dirt and creasing, otherwise in good condition, framed
L. 530 x 400 mm., S. 640 x 485 mm. (and similar) (6)
6,000-8,000 $11,000-13,000
7,600-10,000
P R OVE NANC E :
From the Archives of The Stamperia dArte 2RC, Rome.
The use of acetate was experimental and this particular type has yellowed to a warmer colour over time. The numbered edition was created with a variation
of this acetate that was less prone to discolouration. One impression is dated 68.
87
137
ALBERTO BURRI
Cretto C
etching and aquatint with embossing, 1971, on Fabriano Rosaspina
paper, signed in pencil, numbered 47/90 (there were also 15 artists
proofs), printed and published by Stamperia 2RC, Rome, the full
sheet, in good condition, framed
S. 660 x 955 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
136
ALBERTO BURRI
Combustione 1-6
the complete set of six etchings and aquatints, 1965-68, on Fabriano
Rosaspina paper, each signed in pencil, inscribed buono di stampa
(there was also the edition of ninety and 15 artists proofs), printed
and published by Stamperia 2RC, Rome, with their blindstamp, the
full sheets, in generally good condition, framed
P. 380 x 310 mm., S. 640 x 485 mm. (and similar) (6)
15,000-25,000 $26,000-42,000
19,000-31,000
P R OVE NANC E :
From the Archives of The Stamperia dArte 2RC, Rome
138
AFTER LUCIO FONTANA (1899-1968)
Concetto Spaziale (fuchsia)
multiple in fuchsia plastic, 1968, from the edition of unkown
size, published by Editions Gustavo Gili and Galeria Ren Mtras,
Barcelona, faint scufng, otherwise in good condition, framed;
together with the accompanying booklet Ugo Malas: Lucio Fontana -
Fotograas, and the original white presentation cardboard box with
the artists name printed in black (multiple)
295 x 295 x 20 mm. (multiple)
4,000-6,000 $6,800-10,000
5,100-7,500
139
AFTER LUCIO FONTANA
Concetto Spaziale (red)
multiple in red plastic, 1968, from the edition of unkown size,
published by Editions Gustavo Gili and Galeria Ren Mtras,
Barcelona some minor scuffs; together with the accompanying
booklet Ugo Malas: Lucio Fontana - Fotograas, and the original white
presentation cardboard box with the artists name printed in black
(multiple)
3,000-5,000 $5,100-8,400
3,800-6,300
140
AFTER LUCIO FONTANA
Concetto Spaziale (white)
multiple in white plastic, 1968, from the edition of unknown
size, published by Editions Gustavo Gili and Galeria Ren Mtras,
Barcelona, in good condition; together with the accompanying
booklet Ugo Malas: Lucio Fontana - Fotograas, and the original white
presentation cardboard box with the artists name printed in black
(multiple)
3,000-5,000 $5,100-8,400
3,800-6,300
88
89
141
EDUARDO CHILLIDA (1924-2002)
Aldikatu IV
etching, 1973, on Guarro wove paper, watermark La Cometa, signed
and inscribed H.C. in pencil, an hors commerce impression aside from
the edition of 75 (there were also four artists proofs), published by
Editorial Gustavo Gili - Las Estampas de la Cometa, Barcelona, the
P. 448 x 696 mm., S. 1010 x 760 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Koelen 72012
142
EDUARDO CHILLIDA
Jorge Guilln, Mas All
the complete portfolio including 16 woodcuts printed in black, and three with embossing only, 1973, on heavy Auvergne wove paper, hors-
texte, with title, justication and text in Spanish and French, signed on the justication by the artist and author, copy number 37 from the
deluxe edition of fty (the total edition was 150), with the additional suite of the 16 woodcuts on Bun Koshi Japan paper, all signed and
numbered 37/50 in pencil, published by Maeght, Paris; the full sheets, in very good condition, within the original textured Auvergne paper
wrappers, the text volume with the cover vignette printed in black on the front, all within the original textured Auvergne paper-covered box
with a vignette embossed on the front and embossed title and names of the artist and author on the spine (portfolio)
420 x 350 x 65 mm. (overall)
12,000-18,000 $21,000-30,000
16,000-23,000
L I T E R AT UR E :
Koelen 73024-73039
143
DONALD JUDD (1928-1994)
Untitled
the complete set of ten woodcuts printed in ultramarine blue, 1988,
on Okawara paper, each signed in pencil on the reverse, numbered
5/25, published by Brooke Alexander Editions, New York, printed
by Derrire LEtoile Studios, New York, the full sheets, in excellent
condition, framed
S. 600 x 800 mm. (each) (10)
60,000-80,000 $110,000-130,000
76,000-100,000
L I T E R AT UR E :
Schellmann 167-176
90
Art has long had separate parts but the best
work has become, with time and difculty,
preeminent. This is now threatened. An old
example from the 50s of categorization is
printmaking. It was completely separate from art
in general and had its own mastersPrintmaking
seemed to be dead forever. Yet in the 60s it was
revived by several painters and is now, again, a
serious form of art.
Donald Judd, A Long Discussion, Not about
Master-pieces but Why There Are so Few of
Them: Part II, First published in: Art in America,
October 1984, pp. 9-15; reprinted in: Art
Monthly, February 1985, pp. 3-9.
144
DONALD JUDD
Untitled
the complete set of four woodcuts in cadmium red, 1991-1994, on laid Misumata Japan
paper, each with the artists estate stamp verso, numbered AP 3/3, a set of artists proofs aside
from the edition of ten (Schellmann calls for two artists proof sets), published by Brooke
Alexander Editions, New York, printed by Derrire LEtoile Studios, New York, the full
sheets, in excellent condition, framed
B. 635 x 960 mm., S. 670 x 995 mm. (each) (4)
25,000-35,000 $43,000-59,000
32,000-44,000
L I T E R AT UR E :
Schellmann 223-226
92
145
DONALD JUDD
Untitled
the complete set of four woodcuts in cadmium yellow, 1991-1994, on laid Misumata
Japan paper, each with the artists estate stamp verso, numbered 2/15, published by Brooke
Alexander Editions, New York, printed by Derrire LEtoile Studios, New York, the full
sheets, in excellent condition, framed
B. 635 x 960 mm., S. 670 x 995 mm. (each) (4)
20,000-30,000 $34,000-51,000
26,000-38,000
L I T E R AT UR E :
Schellmann 235-238
93
94
THE COLLECTION OF PETER BENDIXEN
146
ANDY WARHOL (1928-1987)
Liz
offset lithograph in colours, 1964, on wove paper, signed and dated in ball-point pen, from the edition
of approximately three hundred, published by Leo Castelli Gallery, New York, the full sheet, the
colours slightly attenuated, some very minor creases at the sheet corners, a few pale moisture stains at
the left sheet edge, otherwise in good condition
L. 558 x 558 mm., S. 586 x 585 mm.
25,000-35,000 $43,000-59,000
32,000-44,000
L I T E R AT UR E :
Feldman & Schellmann II.7
95
147
PORTFOLIO
11 Pop Artists, Volume I
the complete portfolio of eleven prints in various media in colours, 1965, on various papers, with title, introduction and
justication pages, the print by Warhol stamp-signed (as issued), the others signed and numbered 12/200 (there were
also fty artists proof sets), published by Original Editions, New York, generally in very good condition, the mount of
the Wesselmann relief slightly scuffed and with surface dirt, within the original coral cloth-covered box with title printed
in purple (portfolio)
20,000-30,000 $34,000-51,000
26,000-38,000
The portfolio includes:
Allan DArchangelo, Landscape I; Jim Dine, Awl (M. 35); Allen Jones, Miss America; Gerald Laing, Compact; Roy Lichtenstein,
Moonscape (C. 37); Peter Phillips, Custom Print I; Mel Ramos, Chic; James Rosenquist, Circles of Confusion (G. 10);
Andy Warhol, Jacqueline Kennedy I (F. & S. II.13); John Wesley, Maiden; and Tom Wesselmann, Cut-out Nude.
96
148
ROY LICHTENSTEIN (1923-1997)
Crak!
offset lithograph in colours, 1963-64,
on thin wove paper, signed and dated
1964 in pencil, numbered 216/300,
published by Leo Castelli Gallery,
New York, the colours strong and
fresh, the paper slightly toned, a tiny
pale stain in the signature, otherwise in
very good condition
L. 474 x 686 mm., S. 490 x 704 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
L I T E R AT UR E :
Corlett II.2
149
ROY LICHTENSTEIN
Shipboard Girl
offset lithograph in colours, 1965, on thin wove paper, signed
in pencil, from the edition of unknown size, published by Leo
Castelli Gallery, New York, the full sheet, the colours very fresh
and bright, in very good condition
L. 660 x 485 mm., S. 690 x 515 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
L I T E R AT UR E :
Corlett II.6
97
150
ROY LICHTENSTEIN
Sweet Dreams Baby!, from: 11 Pop Artists, Volume III
screenprint in colours, 1965, on wove paper, signed in pencil, numbered 89/200 (there were
also fty impressions numbered in Roman numerals and approximately ve artists proofs),
published by Original Editions, New York, the full sheet, the colours slightly darkened but
still strong, a hairline ink crack at lower left, overall in very good condition
L. 907 x 651 mm. S. 957 x 702 mm.
50,000-70,000 $85,000-120,000
63,000-88,000
L I T E R AT UR E :
Corlett 39
98
152
ROY LICHTENSTEIN
Brushstrokes
screenprint in colours, 1967, on wove paper,
signed in pencil, not numbered (a proof
aside from the edition of three hundred),
published by Leo Castelli Gallery, New
York, for the Pasadena Art Museum,
California, with margins, the sheet reduced
in width, the occasional faint scuffs in the
matt black areas, framed
I. 556 x 762 mm., S. 584 x 787 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
L I T E R AT UR E :
Corlett 45
151
ROY LICHTENSTEIN
Foot and Hand
offset lithograph in colours, 1964, on wove
paper, signed and dated in pencil, from the
edition of unknown size, published by Leo
Castelli Gallery, New York, the full sheet, the
colours attenuated, the paper toned, pinholes
at the sheet corners, adhesive tape stains at the
lower left and right corners, a crease and faint
cracking to the ink at the upper left corner
L. 422 x 532 mm., S. 438 x 547 mm.
3,000-5,000 $5,100-8,400
3,800-6,300
L I T E R AT UR E :
Corlett II.4
FOR OTHER IMPORTANT PRINTS FROM THE PETER BENDIXEN COLLECTION, PLEASE SEE LOTS 180-183 OF THIS CATALOGUE.
OTHER WORKS FROM THE COLLECTION WILL ALSO BE OFFERED IN THE SALE AT SOUTH KENSINGTON ON 18 SEPTEMBER 2014
AND IN THE SALES OF POST-WAR AND CONTEMPORARY ART IN AMSTERDAM ON 4 AND 5 NOVEMBER 2014.
99
VARIOUS PROPERTIES
*153
ROY LICHTENSTEIN
Crying Girl
offset lithograph in colours, 1963, on wove paper, signed in pencil, from the edition of
unknown size, published by Leo Castelli Gallery, New York, the full sheet, the colours very
slightly attenuated, pinholes at the sheet corners, otherwise in very good condition, framed
L. 438 x 590 mm., S. 463 x 614 mm.
25,000-35,000 $43,000-59,000
32,000-44,000
L I T E R AT UR E :
Corlett II.1
100
*154
ROY LICHTENSTEIN
Reverie, from: 11 Pop Artists, Volume II
screenprint in colours, 1965, on wove paper, signed in pencil, numbered 192/200 (there
were also fty impressions numbered in Roman numerals and approximately ve artists
proofs), published by Original Editions, New York, with margins, the sheet fractionally
reduced below, the red slightly attenuated, minor scufng, otherwise in good condition,
framed
I. 687 x 583 mm., S. 750 x 610 mm.
50,000-70,000 $85,000-120,000
63,000-88,000
L I T E R AT UR E :
Corlett 38
101
155
ROY LICHTENSTEIN
Bedroom, from: Interior Series
woodcut and screenprint in colours, 1990, on Museum Board, signed and dated in pencil,
numbered 37/60 (there were also 14 artists proofs), published by Gemini G.E.L., Los
Angeles, 1991, with their blindstamps, the full sheet, apparently in very good condition, not
examined out of the frame
I. 1292 x 1846 mm., S. 1442 x 1994 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
L I T E R AT UR E :
Corlett 247
156
ROY LICHTENSTEIN
Two Nudes, from: Nude Series
relief print in colours, 1994, on BFK Rives wove paper, signed and dated in pencil, numbered
18/40 (there were also 12 artists proofs), published by Tyler Graphics, Ltd., Mount Kisco,
New York, with their blindstamp, the colours exceptionally fresh, the full sheet, in excellent
condition, not examined out of the frame
I. 1058 x 891 mm., S. 1221 x 1047 mm.
100,000-150,000 $170,000-250,000
130,000-190,000
L I T E R AT UR E :
Corlett 284
102
104
*157
ANDY WARHOL (1928-1987)
A Gold Book
the complete book including nineteen plates and the title page, 1957, comprising 13 offset
lithographs on gold paper, four offset lithographs with hand-colouring on wove paper
and two offset lithographs on wove paper, the full sheets, in a later cardboard binding
with offset lithograph and handcoloured paper wrappers, with the artists estate stamps
initialled in pencil T.J.H. and numbered PM20.0037 on the inside back page, occasional
soft handling creases, minor nicks to the sheet edges, minor oxidisation to some of the gold
sheets, generally in good condition (book)
385 x 295 x 10 mm. (overall)
10,000-15,000 $17,000-25,000
13,000-19,000
L I T E R AT UR E :
Feldman & Schellmann IV.106-124
105
158
ANDY WARHOL
Marilyn
screenprint in colours, 1967, on wove paper, signed in pencil verso, stamp numbered 203/250
(there were also 26 artists proofs lettered A-Z), published by Factory Additions, New York,
the full sheet, the pink slightly attenuated, a few minor moisture stains at the lower sheet edge
verso slightly showing through recto, generally in good condition, framed
S. 916 x 916 mm.
60,000-80,000 $110,000-130,000
76,000-100,000
L I T E R AT UR E :
106
159
ANDY WARHOL
Marilyn
the complete set of ten screenprints in colours, 1967, on wove paper,
each signed in pencil verso, stamp numbered 178/250 (there were
also 26 artists proofs lettered A-Z), each with the Andy Warhol
Authentication Board Stamp (numbered A118.107 - A127.107)
verso, published by Factory Additions, New York, the full sheets,
generally in very good condition
I., S. 916 x 915 mm. (and similar) (10)
1,000,000-1,500,000 $1,700,000-2,500,000
1,300,000-1,900,000
L I T E R AT UR E :
Feldman & Schellmann II.22-31
160
ANDY WARHOL
Marilyn
screenprint in colours, 1967, on wove paper, signed with initials and dated in pencil verso,
stamp numbered 55/250 (there were also 26 artists proofs lettered A-Z), published by Factory
Additions, New York, the sheet fractionally reduced, re-touched printing defects in the glossy
black ink at right, the signature and stamp numbering reinforced with grey wash, framed
S. 910-13 x 910 mm.
70,000-100,000 $120,000-170,000
88,000-130,000
L I T E R AT UR E :
109
161
ANDY WARHOL
Mick Jagger
screenprint in colours, 1975, on Arches Aquarelle wove paper,
signed in pencil by the artist and by Mick Jagger in black felt-tip pen,
numbered 24/250 (there were also fty artists proofs), published
by Seabird Editions, London, with their stamp verso, the full sheet,
a small pale yellow stain in the lower left corner, otherwise in good
condition, framed
S. 1110 x 734 mm.
15,000-25,000 $26,000-42,000
19,000-31,000
L I T E R AT UR E :
Feldman & Schellmann 139
162
ANDY WARHOL
Mick Jagger
screenprint in colours, 1975, on Arches Aquarelle paper, signed in
pencil by the artist and by Mick Jagger in red felt-tip pen (slightly
faded), numbered 218/250 (there were also fty artists proofs),
published by Seabird Editions, London, with their stamp verso, the
full sheet, with deckle edges above and below, the pink with several
diagonal cracks, minor cracks in the orange and shiny green areas, the
sheet slightly cockled due to hinging, otherwise in good condition,
framed
S. 1106 x 734 mm.
15,000-25,000 $26,000-42,000
19,000-31,000
L I T E R AT UR E :
110
163
ANDY WARHOL
Hammer and Sickle
the complete set of four screenrpints in colours, 1977, on Strathmore Bristol paper, all
signed, inscribed and numberd A.P. 3/10, an artists proof set aside from the edition of fty,
published by Andy Warhol Enterprises Inc., New York, the full sheets, some time staining,
F. & S. 163 with foxing, otherwise in good condition
S. 765 x 1017 mm. (4)
30,000-40,000 $51,000-67,000
38,000-50,000
L I T E R AT UR E :
Everybodys always asking me if I am a communist because Ive done Mao. So now Im doing
hammers and sickles for Communism, and skulls for Fascism Andy Warhol, Giant Size, Phaidon,
New York, 2006, p. 528.
111
164
ANDY WARHOL
Red Lenin
screenprint in colours, 1987, on Arches wove
paper, signed on the reverse by the executor of
the Andy Warhol Estate, with their stamped
authentication certicate, numbered 89/120
(there were also 24 artists proofs) published by
the artists estate, New York, printed by Rupert
Jasen Smith, New York, with his blindstamp, the
full sheet, in good condition, framed
I., S. 1020 x 750 mm.
50,000-70,000 $85,000-120,000
63,000-88,000
L I T E R AT UR E :
*165
ANDY WARHOL
$ (1)
unique screenprint in colours, 1982, on Lenox
Museum Board, signed in pencil, numbered
51/60, from the edition of sixty unique variants
(there were also ten artists proofs and 15 trial
proofs), printed by Rupert Jasen Smith, with
his blindstamp, with the artists copyright stamp
on the reverse, the full sheet, in very good
condition, framed
I., S. 501 x 398 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
L I T E R AT UR E :
*166
ANDY WARHOL
Rebel without a Cause (James Dean), from: Ads
unique screenprint in colours, 1985, on Lenox Museum Board, numbered in pencil TP 9/30, a unique trial proof aside
from the standard edition of 190, printed by Rupert Jasen Smith, New York, with his blindstamp, the full sheet, some
minor ink cracks at lower right and left corners, tightly hinged to the backboard, framed
I., S. 965 x 965 mm.
60,000-80,000 $110,000-130,000
76,000-100,000
L I T E R AT UR E :
Due to the way the work is attached to the backboard we are unable to verify the artists stamp and the stamp of the Andy Warhol
Authentication Board verso, nor the Warner Bros. copyright stamp, or the Ronald Feldman Fine Arts, Inc., New York copyright
inkstamp on the reverse.
112
168
ANDY WARHOL
Annie Oakley, from: Cowboys and Indians
screenprint in colours, 1986, on Lenox
Museum Board, signed in pencil, numbered
IX/X, a proof aside from the edition of 250,
published by Gaultney, Klineman Art, Inc.,
New York, with their stamp and the artists
copyright stamp on the reverse, printed by
Rupert Jasen Smith, New York, with his
blindstamp, the full sheet, in very good
condition, framed
I., S. 915 x 915 mm.
12,000-18,000 $21,000-30,000
16,000-23,000
L I T E R AT UR E :
167
ANDY WARHOL
The Star, from: Myths
screenprint in colours with diamond dust,
1981, on Lenox Museum Board, signed in
pencil, numbered 64/200 (there were also
thirty artists proofs), published by Ronald
Feldman, New York, 1981, with the artists
copyright stamp and the publishers stamp
verso, printed by Rupert Jasen Smith, New
York, with his blindstamp, the full sheet, in
very good condition, framed
I., S. 965 x 965 mm.
30,000-50,000 $51,000-84,000
38,000-63,000
L I T E R AT UR E :
113
114
169
ANDY WARHOL
Blackglama, from: Ads
screenprint in colours, 1985, on Lenox Museum Board, signed in pencil,
numbered 127/190 (there were also thirty artists proofs), published
by Ronald Feldman, New York, with his stamp and with the artists
copyright stamp on the reverse, the full sheet, generally in very good
condition, framed
I., S. 964 x 964 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
L I T E R AT UR E :
171
ANDY WARHOL
Speed Skater
screenprint in colours, 1983, on Arches wove paper, signed in pencil and
numbered XCVII/CL (there were also ten artists proofs and a deluxe
edition of fty), published for the Art and Sports portfolio by Visconti Art
Spectrum, Vienna, printed by Rupert Jasen Smith, with his blindstamp,
New York, the full sheet, in very good condition, framed
S. 853 x 620 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
L I T E R AT UR E :
170
ANDY WARHOL
Howdy Doody, from: Myths
screenprint in colours with diamond dust, 1982, on Lenox Museum
Board, signed in pencil, numbered AP 21/30 (an artists proof aside
from the edition of two hundred), published by Ronald Feldman,
New York, with his stamp and the artists copyright stamp on the
reverse, printed by Rupert Jasen Smith, with his blindstamp, the full
sheet, very minor ink cracks at the corners, generally in very good
condition
I., S. 965 x 965 mm.
12,000-18,000 $21,000-30,000
16,000-23,000
L I T E R AT UR E :
115
172
ANDY WARHOL
Moonwalk
screenprint in colours, 1987, on Lenox Museum Board, with the artists printed signature, numbered AP 3/31,
an artists proof aside from the edition of 160, signed and numbered by the executor of the Andy Warhol
Estate, the publisher Ronald Feldman and the printer Rupert Jasen Smith, New York, on the authentication
certicate on the reverse, with the printers blindstamp, the full sheet, the colours bright and fresh, generally in
I., S. 965 x 965 mm.
30,000-50,000 $51,000-84,000
38,000-63,000
L I T E R AT UR E :
173
ANDY WARHOL
Madonna & Self-Portrait with Skeleton Arm (after Munch)
unique screenprint in colours, 1984, on Lenox Museum Board, from a small, unnumbered
edition of unique colour variants, with the artists estate stamp and the Andy Warhol
Foundation stamps verso, numbered in pencil A129.989, printed by Rupert Jasen Smith, New
York, with his blindstamp, the full sheet, in good condition, framed
S. 814 x 1016 mm.
120,000-180,000 $210,000-300,000
160,000-230,000
L I T E R AT UR E :
Feldman & Schellmann IIIA.62
Whenever Andy Warhol turned to art history for inspiration , he did so with the same obsession he
had for the icons of pop culture: images which dened a celebrity, a moment in history, a social
phenomenon. Piero della Francesca, Botticelli, Leonardo, Tischbein had all created images which
had entered the public consciousness. It is no accident therefore that Warhol also turned to Edvard
Munchs works in search of images to be appropriated, to be warholised. Munch himself was a
genius producer of iconic images, such as The Scream, which summed up a mood or sentiment and
which, in the course of time, had become popular emblems of modern art.
Based on Eduard Munchs two lithographs of 1895, Madonna and Self-Portrait (both of which are
including in the sale; see lots 38 and 39), this double-portrait is amongst the most complex and
inspired cases of such appropriation within Warhols printed oeuvre. Dominating the left side of this
print in glowing red, hot pink and gold, is Madonna, Munchs quintessential image of overwhelming
femininity. To her right is the illuminated face of Munch himself, staring sternly and deantly ahead,
seemingly ignoring the embodiment of seduction and ecstasy next to him. By placing both gures
together on one picture plane, dramatically enlarging the images and changing Munchs sombre
palette into his own lurid screenprint inks, Warhol managed to visualise a multitude of questions
usually only raised by art historians: Munchs neurotic, fearful attitude towards women; the relation of
the artist and muse; the impact of colour and format on a subject; and the effect of juxtaposing one
work of art to another.
116
118
174
ANDY WARHOL
Camouage
the complete set of eight screenprints in colours, 1987, on Lenox Museum Board, each
signed in pencil on the reverse by the executor of the artists estate (Frederick Hughes),
each numbered 19/80, published by the artist, New York, the full sheets, the colours
very fresh and vibrant, in very good condition, framed
I., S. 965 x 965 mm. (8)
100,000-150,000 $170,000-250,000
130,000-190,000
L I T E R AT UR E :
120
175
TOM WESSELMANN (1931-2004)
Smoker Banner
shaped vinyl multiple in colours, 1971, from the edition of thirty, lacking the justication
label on the reverse, published by Multiples Inc. New York, in good condition
20,000-30,000 $34,000-51,000
26,000-38,000
L I T E R AT UR E :
Institute of Contemporary Art, Boston, Tom Wesselmann: Graphics 1964-1977, 1978, p. 18-19
(exh.cat.)
121
177
TOM WESSELMANN
Helen nude
screenprint in colours, 1981, on wove paper,
signed and dated in pencil, numbered 38/150
(there were also 12 artists proofs), published
by Transworld Art, New York, with their
blindstamp, the full sheet, pale mount staining,
a few nicks at the upper sheet edge, generally in
I. 789 x 812 mm., S. 914 x 939 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
176
TOM WESSELMANN
Great American Nude Cut-Out
thinned Liquitex and pencil in colours, 1970,
on die-cut museum board, signed and dated
in pencil, numbered 11/100, published by the
artist, re-mounted onto a black backboard (not
on white mountboard as issued), the full sheet, in
I., S. 333 x 425 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
122
THE PROPERTY OF A PRIVATE COLLECTION
178
KEITH HARING (1958-1990)
One plate from: Growing
screenprint in colours, 1988, on Lenox
Museum Board, signed and dated in
pencil, numbered 16/100, published by
Martin Lawrence Editions, New York,
with their copyright blindstamp, printed
by Rupert Jasen Smith, New York, with
his blindstamp, the full sheet, in very good
condition
I. 720 x 980 mm., S. 760 x 1020 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
L I T E R AT UR E :
Littmann p. 90
VARIOUS PROPERTIES
*179
KEITH HARING
Untitled
screenprint in colours, 1989, on canvas,
signed in black ink on a label on the back,
not numbered, a proof aside from the edition
of sixty, in very good condition, framed
195 x 200 mm.
7,000-10,000 $12,000-17,000
8,800-13,000
L I T E R AT UR E :
Littmann p. 153
123
180
KEITH HARING
Three plates from: Untitled 1-6
three lithographs, 1982, on heavy wove paper, each
signed and dated in red crayon, numbered 25/40, the full
sheets, in very good condition
L. 590 x 870 mm. (and smaller)
S. 643 x 917 mm. (each) (3)
5,000-7,000 $8,500-12,000
6,300-8,800
L I T E R AT UR E :
Littmann p. 20-21
124
181
PORTFOLIO
Ich kenne kein weekend
the complete portfolio including 18 prints and an assemblage by Joseph Beuys (bottle, book,
suitcase), 1971-72, various media and on various papers, with title and justication sheet,
copy number 88 from the edition 95, published by Galerie Ren Block, Berlin, the book
(Immanuel Kant, Kritik der reinen Vernunft) signed by Beuys in ink on the title page, stamped
with the artists name and the portfolio title on the front, the prints all signed and numbered
88/95, all by artist within their original coloured paper folders, in very good condition, within
the original black cloth-covered suitcase (slightly scuffed and worn) (portfolio)
665 x 515 x 105 mm. (overall)
7,000-10,000 $12,000-17,000
8,800-13,000
The portfolio includes: Joseph Beuys, ich kenne kein weekend, Maggi bottle, book, suitcase (S. 51);
KP Brehmer, Testbild TV, ve blockprints; KH Hdicke, Original und Flschung, four screenprints;
Peter Hutchinson, Chess documentation no. 10, 1 screenprint; Arthur Kpke, Glashaus (innen),
Glashaus (aussen), two screenprints; Sigmar Polke, Weekend I, II, III (B. & O. 21), three offset
lithographs; Wolf Vostell, TV Ochsen, three screenprints.
125
183
182
GERHARD RICHTER (B. 1932)
Four prints from: Schweizer Alpen I
four screenprints in colours including Motiv A 1, Motiv B 3 and
two impressions of Motiv B 2, 1969, on card, all signed in pencil and
stamped on the reverse, inscribed with the name of the subscriber
in pencil verso, published by Griffelkunst-Vereinigung, Hamburg,
printed by Hans H. Hotze, Essen, from the unnumbered edition of
three hundred, the full sheets, a few scuffs and minor creases at the
sheet edges, pale pinpoint foxing, generally in good condition (4)
S. 694 x 694 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
L I T E R AT UR E :
Butin 20
182
183
GERHARD RICHTER
Neun Objekte
the complete portfolio of nine offset lithographs, 1969, on wove
paper, with title page and justication, all signed and dated in pencil,
numbered 51/80, co-published by Galerie Heiner Friedrich and
Verlag G. v. Pape, Munich, the full sheets, pinpoint foxmarks,
otherwise in very good condition, within the original white
cardboard portfolio (slightly worn and stained) (portfolio)
460 x 456 x 50 mm. (overall)
7,000-10,000 $12,000-17,000
8,800-13,000
L I T E R AT UR E :
Butin 26
126
186
JOSEPH BEUYS
Four prints from: Suite Circulation Time (Zirkulationszeit)
including: Girl, etching, 1956, on Arches paper, inscribed gut zum
Druck in pencil, the bon tirer impression; Girl, Honey pot and
Cross of Saturn, three etchings, one with aquatint in colours and
collage, 1949-1956, on grey Rives wove paper, all annotated in pencil
with instructions to the printer, working proofs before the edition of
75 published by Grafos-Verlag, Vaduz, 1982, printed by Joan Barbar,
Barcelona, the full sheets, in very good condition
2,000-3,000 $3,400-5,100
2,600-3,800
L I T E R AT UR E :
Schellmann 420, cf. 420, 422, 437
185
JOSEPH BEUYS
Three prints from: Suite Oath Hand (Suite Schwurhand)
including: Stag, Swan and Lightning and Queen Bee, three aquatints
and lithographs in colours, 1960-1970, on papier coll on grey Rives
paper, two signed and inscribed gut zum Druck in pencil, the bon tirer
impressions before the edition of 75; Lightning and Queen Bee inscribed
and dedicated a.p. 2/5 fr Joan Barbara , an artists proof aside from the
edition of 75 published by Grafos Verlag, Vaduz, 1980, printed by Joan
Barbar, Barcelona, the full sheets, all in good condition
3,000-5,000 $5,100-8,400
3,800-6,300
L I T E R AT UR E :
Schellmann 345, 361, 363
VARIOUS PROPERTIES
184
JOSEPH BEUYS (1921-1986)
Four prints from: Suite Oath Hand (Suite Schwurhand)
including: Woman running away with brain, etching printed in
brown, 1957, on Arches paper, signed and inscribed gut zum Druck,
titled and annotated verso, the bon tirer impression; Calf with Children
and Tent and Ray, 1950, aquatints and lithographs (Tent and Ray
with grey wash by the artist), on papier coll, both signed and titled verso,
working proofs with extensive instructions for the printer; Wandering
Chest 5, 1964, lithograph, a working proof with instructions recto; all
before the edition of 75 published by Grafos Verlag, Vaduz, 1980, printed
by Joan Barbar, Barcelona, the full sheets, in very good condition
2,500-3,500 $4,300-5,900
3,200-4,400
L I T E R AT UR E :
Schellmann 344, 351, 354, 359
127
188
187
188
JOSEPH BEUYS
Five prints from: Suite Tears (Suite Trnen)
including: Sheeps Skeleton, Giant Goats, North Pole,
Shamans Drum, and Virgin, ve etchings, one with aquatint in
colours, 1985, on chine coll on grey Rives wove paper, all signed and
inscribed gut zum Druck in pencil, some titled and annotated with
instructions to the printer, all bon tirer impressions before the edition
of 75 published by Grafos Verlag, Vaduz, printed by Joan Barbar,
Barcelona, the full sheets, in very good condition
5,000-7,000 $8,500-12,000
6,300-8,800
L I T E R AT UR E :
Schellmann 528, 529, 530, 532, 533
187
JOSEPH BEUYS
Four prints from: Suite Circulation Time (Zirkulationszeit)
including: Sea Angel Seal 2, Sea Angel Seal 3, Sea Angel
Sperm Whale and Sea Angel Sea Cucumber, four etchings
and aquatints in colours, 1948, on Arches paper, one on grey Rives
paper, two inscribed gut zum Druck, bon tirer impressions, and two
working proofs annotated with instructions to the printer, all before
the edition of 75 published by Grafos-Verlag, Vaduz, 1982, printed
by Joan Barbar, Barcelona, the full sheets, in very good condition
4,000-6,000 $6,800-10,000
5,100-7,500
L I T E R AT UR E :
Schellmann 426-428, 430
128
189
DAMIEN HIRST (B. 1965)
Tetrahydrocannabinol
etching in colours, 2004, on Hahnemhle etching paper, signed in pencil, numbered
30/115 on the reverse, published by The Paragon Press, London, the full sheet, in very good
condition, framed
P. 846 x 1778 mm., S. 1118 x 2007 mm.
12,000-18,000 $21,000-30,000
16,000-23,000
L I T E R AT UR E :
Paragon Catalogue Vol. III, p. 140-141
This lot has been authenticated by the Hirst Authentication Committee.
129
190
GARY HUME (B. 1962)
Portraits
the complete set of ten screenprints in colours, 1998, on sturdy wove paper, each signed and
titled in pencil, from the edition of 36 (there were also ten artists proofs), published by The
Paragon Press, London, the full sheets, in very good condition, each framed
(lacking the title page, justication and portfolio case)
I. 908 x 608 mm. (and similar), S. 1084 x 780 mm. (and similar)
15,000-20,000 $26,000-34,000
19,000-25,000
L I T E R AT UR E :
Paragon catalogue, 1995-2000, p. 146-157
130
192
191
192
CHRISTOPHER WOOL
Untitled
the complete set of ve digital inkjet prints, 2003, on wove paper,
each signed and dated in pencil, numbered 3/15, published by Sabine
Knust Maximilian Verlag, Munich, the full sheets, in very good
condition
I. 451 x 301 mm., S. 481 x 328 mm. (each) (5)
15,000-20,000 $26,000-34,000
19,000-25,000
191
CHRISTOPHER WOOL (B. 1955)
Untitled
the complete set of six heliogravures, 1997, on white wove paper,
each signed and dated in pencil verso, numbered 21/30, published by
Portfolio Knust AG, Vienna, the full sheets, in very good condition
(lacking the original grey fabric-covered folder)
S. 647 x 502 mm. (6)
5,000-7,000 $8,500-12,000
6,300-8,800
193
ELLEN GALLAGHER (B. 1965)
Ssblak!Ssblak!!Ssblakallblak! Wonder#9
the complete portfolio of ten mixed-media prints (etching,
screenprint, lithography and embossing), 1998-2000, on
various papers, all initialled, dated, numbered 1/27 and
inscribed with the plate number in pencil verso, plate VII
signed and dated in pencil recto, with the colophon sheet,
copy number 1/27 (there were also nine artist proof sets),
published by the LeRoy Neiman Center for Print Studies,
Columbia University, New York, 2000, the full sheets, in
excellent condition, all within the individual paper folders;
with an additional presentation proof of plate I, all
within the original beige cloth-covered portfolio box, in
very good condition (portfolio)
Various formats, 960 x 690 (overall)
10,000-15,000 $17,000-25,000
13,000-19,000
For images of all plates included in the portfolio please see the
online catalogue at christies.com.
END OF SALE
132
Index
B
Bacon, F., 118, 119, 120, 121, 122,
123, 124, 125, 126, 127, 128, 129
Beckmann, M., 41, 42, 43, 44
Bernard, E., 35
Beuys, J., 184, 185, 186, 187, 188
Bonnard, P., 22, 25, 26, 27, 28, 29
Bresdin, R., 1, 2
Burri, A., 134, 135, 136, 137
C
Campigli, M., 115
Chagall, M., 60, 61, 62, 63
Chagall, M. (after)
Sorlier, C., 64
Chillida, E., 141, 142
D
Dal, S., 65, 66
Delaunay, R., 46
Denis, M., 32, 33
Dine, J., 133
Dix, O., 49
E
Ensor, J., 6, 7, 8, 9, 10, 11, 12
Escher, M. C., 67, 68
F
Feininger, L., 47, 48
Felixmller, C., 50, 51
Freud, L., 130
G
Gallagher, E., 193
Gauguin, P., 36
H
Haring, K., 178, 179, 180
Heckel, E., 58
Helleu, P. C., 20
Hirst, D., 189
Hockney, D., 131, 132
Hume, G., 190
J
Judd, D., 143, 144, 145
K
Kandinsky, W., 59
Kirchner, E. L., 53, 54, 55, 56, 57
L
Laurens, H., 80, 81, 82
Lichtenstein, R., 148, 149, 150,
151, 152, 153, 154, 156
M
Marcoussis, L., 83
Matisse, H., 109, 110, 111, 112,
113, 114
Mir, J., 69, 70, 71, 72, 73, 74, 75,
76, 77, 78, 79
Moore, H., 117
Morandi, G., 116
Munch, E., 38, 39, 40
P
Pechstein, M., 52
Picasso, P., 45, 84, 85, 86, 87, 88,
89, 90, 91, 92, 93, 94, 95, 96, 97,
98, 99, 100, 101, 102, 103, 104
Picasso, P. (after), 105, 106, 107
Villon, J., 105
Pissarro, C., 13, 14, 15, 16
Portfolio, 23, 24
R
Ranson, P. E., 37
Redon, O., 4, 5
Richter, G., 182, 183
Rippl-Rnai, J., 34
Rouault, G., 108
T
Toulouse-Lautrec, H. de, 19
V
Vuillard, E., 30, 31
W
Warhol, A., 146, 157, 158, 159,
160, 161, 162, 163, 164, 165, 166,
167, 168, 169, 170, 171, 172, 173,
174
Wesselmann, T., 175, 176, 177
Whistler, J. A. M., 17, 18
Wool, C., 191, 192
133
Important Notices and Explanation of
Cataloguing Practice
11/03/10
EXPLANATION OF
CATALOGUING PRACTICE
The following expressions with their accompany-
ing explanations are used by Christies as standard
cataloguing practice. Our use of these expressions
does not take account of the condition of the lot or
of the extent of any restoration.
Buyers are recommended to inspect the property
themselves. Written condition reports are usually
available on request.
Name(s) or Recognised Designation of an
Artist without any Qualification
In Christies opinion a work by the artist.
*Attributed to
In Christies qualified opinion probably a work by
the artist in whole or in part.
*Studio of /Workshop of
In Christies qualified opinion a work executed in
the studio or workshop of the artist, possibly under
his supervision.
*Circle of
In Christies qualified opinion a work of the period
of the artist and showing his influence.
*Follower of
the artists style but not necessarily by a pupil.
*Manner of
the artists style but of a later date.
*After
In Christies qualified opinion a copy (of any date) of
a work of the artist.
Signed /Dated /
Inscribed
In Christies qualified opinion the work has been
signed/dated/inscribed by the artist.
With signature /With date /
With inscription
In Christies qualified opinion the signature/
date/inscription appears to be by a hand other than
that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate
date when prefixed with circa) on which the matrix
was worked and not necessarily the date when the
impression was printed or published.
Prints
The date given for Prints is the date (or approximate
date when prefixed with ca) on which the matrix
was worked and not necessarily the date when the
impression was printed or published. Measurements
are taken where possible, from the platemark (P),
otherwise they record the size of the sheet (S) or the
borderline of the subject (L).
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is
identified in the catalogue with the symbol next
to its lot number.
On occasion, Christies has a direct financial
interest in lots consigned for sale, which may
include guaranteeing a minimum price or making
an advance to the consignor that is secured solely
by consigned property. Such property is identified
in the catalogue with the symbol next to the lot
number. This symbol will be used both in cases
where Christies holds the financial interest on its
own, and in cases where Christies has financed
all or part of such interest through third parties.
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. 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. 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 this catalogue, if property has a next to the lot
number, Christies guarantee of a minimum price has
been financed through third parties.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION
Christies catalogues include references to condition
only in descriptions of multiple works (such as
prints, books and wine). For all other property,
only alterations or replacement components are
listed. Please contact the Specialist Department for
a condition report on a particular lot. The nature
of the lots sold in our auctions is such that they will
rarely be in perfect condition, and are likely, due to
their nature and age, to show signs of wear and tear,
damage, other imperfections, restoration or repair.
Any reference to condition in a catalogue entry
will not amount to a full description of condition.
Condition reports are usually available on request,
and will supplement the catalogue description. In
describing lots, our staff assess the condition in a
manner appropriate to the estimated value of the
item and the nature of the auction in which it is
included. Any statement as to the physical nature or
condition of a lot, in a catalogue, condition report
or otherwise, is given honestly and with appropriate
care. However, Christies staff are not professional
restorers or trained conservators and accordingly
any such statement will not be exhaustive. We
therefore recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to you
in advance of bidding.
PROPERTY INCORPORATING MATERIALS
FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. Such material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whale bone and certain species of
coral, together with Brazilian rosewood. Prospective
purchasers are advised that several countries prohibit
altogether the importation of property containing
such materials, and that other countries require a
permit (e.g., a CITES permit) from the relevant
regulatory agencies in the countries of exportation
as well as importation. Accordingly, clients should
familiarise themselves with the relevant customs laws
and regulations prior to bidding on any property
with wildlife material if they intend to import the
property into another country. Please note that it is
the clients responsibility to determine and satisfy the
requirements of any applicable laws or regulations
applying to the export or import of property
containing endangered and other protected wildlife
material. The inability of a client to export or import
property containing endangered and other protected
wildlife material is not a basis for cancellation or
rescission of the sale. Please note also that lots
containing potentially regulated wildlife material are
marked as a convenience to our clients, but Christies
does not accept liability for errors or for failing to
mark lots containing protected or regulated species.
RECENT CHANGES TO IMPORTS OF
ELEPHANT IVORY AND OTHER WILDLIFE
MATERIAL INTO THE USA
The USA has recently changed its policy on the
import of property made of or containing elephant
ivory. Only Asian Elephant ivory may be imported
into the USA, and imports must be accompanied by
DNA analysis and confirmation the object is more
than 100 years old. We have not obtained a DNA
analysis on any lot prior to sale and cannot indicate
whether the elephant ivory in a particular lot is
African or Asian elephant. Buyers purchase these
lots at their own risk and will be responsible for the
costs of obtaining any DNA analysis or other report
required in connection with their proposed import of
such property into the USA.
The USA is also currently requiring all imports of
property made of or containing wildlife material to
be accompanied by a scientific confirmation of spe-
cies and in some cases an additional confirmation of
age. We have not obtained such confirmations prior
to sale (unless specifically indicated) and buyers will
be responsible for the costs of any such additional
confirmations or opinions required for their pro-
posed import into the USA.
A buyers inability to export or import any lot
containing elephant ivory or other wildlife material
is not a basis for cancelling the purchase.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works
of art. These items may not comply with the
provisions of the Furniture and Furnishings (Fire)
(Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations ). Accordingly, these items
should not be used as furniture in your home in
their current condition. If you do intend to use such
items for this purpose, you must first ensure that
they are reupholstered, restuffed and/or recovered
(as appropriate) in order that they comply with the
provisions of the Regulations.
134
Buying at Christies
20/11/13
CONDITIONS OF SALE
Christies Conditions of Sale and Limited Warranty are set out
later in this catalogue. Bidders are strongly encouraged to read
these as they set out the terms on which property is bought
at auction.
ESTIMATES
Estimates are based upon prices recently paid at auction for
comparable property, condition, rarity, quality and provenance.
Estimates are subject to revision. Buyers should not rely upon
estimates as a representation or prediction of actual selling
prices. Estimates do not include the buyers premium or VAT.
Where Estimate on Request appears, please contact the
Specialist Department for further information.
RESERVES
The reserve is the confidential minimum price the consignor
will accept and will not exceed the low pre-sale estimate. Lots
that are not subject to a reserve are identified by the symbol
next to the lot number.
BUYERS PREMIUM
Christies charges a premium to the buyer on the final bid
price of each lot sold at the following rates: 25% of the final
bid price of each lot up to and including 50,000, 20% of
the excess of the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and Cigars: 17.5%
of the final bid price of each lot. VAT is payable on the
premium at the applicable rate.
PRE-AUCTION VIEWING
Pre-auction viewings are open to the public free of charge.
Christies specialists are available to give advice and condition
reports at viewings or by appointment.
BIDDER REGISTRATION
Prospective buyers who have not previously bid or consigned
with Christies should bring:
Individuals: government-issued photo identification (such as
a photo driving licence, national identity card, or passport) and,
if not shown on the ID document, proof of current address, for
example a utility bill or bank statement.
Corporate clients: a certificate of incorporation.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at + 44 (0)20 7839 2825 for advice on the
information you should supply.
A financial reference in the form of a recent bank statement
or a reference from your bank in line with your expected
purchase level. Christies can supply a form of wording for the
bank reference if necessary.
Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies should bring
identification documents not only for themselves but also for
the party on whose behalf they are bidding, together with a
signed letter of authorisation from that party.
To allow sufficient time to process the information, new clients
are encouraged to register at least 48 hours in advance of a sale.
Prospective buyers should register for a numbered bidding
paddle at least 30 minutes before the auction. Clients who have
not made a purchase from any Christies office within the last
one year, and those wishing to spend more than on previous
occasions, will be asked to supply a new bank reference. For
assistance with references, please contact Christies Credit
Department at +44 (0)20 7389 2862 (London, King Street)
or at +44 (0)20 7752 3137 (London, South Kensington). We
may at our option ask you for a financial reference or a
deposit as a condition of allowing you to bid.
REGISTERING TO BID ON SOMEONE ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to act
on the clients behalf. Please note that Christies does not
accept payments from third parties. Christies can only accept
payment from the client, and not from the person bidding
on their behalf.
BIDDING
The auctioneer accepts bids from those present in the sale-
room, from telephone bidders, or by absentee written bids left
with Christies in advance of the auction. The auctioneer may
also execute bids on behalf of the seller up to the amount of
the reserve. The auctioneer will not specifically identify bids
placed on behalf of the seller. Under no circumstances will the
auctioneer place any bid on behalf of the seller at or above the
reserve. Bid steps are shown on the Absentee Bid Form at the
back of this catalogue.
ABSENTEE BIDS
Absentee bids are written instructions from prospective buyers
directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies staff will attempt to
execute an absentee bid at the lowest possible price, taking
into account the reserve price. Absentee bids submitted on
no reserve lots will, in the absence of a higher bid, be
executed at approximately 50% of the low pre sale estimate
or at the amount of the bid if it is less than 50% of the low
pre-sale estimate. The auctioneer may execute absentee bids
directly from the rostrum, clearly identifying these as absentee
bids, book bids, order bids or commission bids.
Absentee Bids Forms are available in this catalogue, at any
Christies location, or online at christies.com.
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated below
2,000. Arrangements must be confirmed with the Bid
Department at least 24 hours prior to the auction at +44 (0)20
7389 2658 (London, King Street) or +44 (0)20 7752 3225
(London, South Kensington). Arrangements to bid in languages
other than English must be made well in advance of the sale
date. Telephone bids may be recorded. By bidding on the
telephone, prospective purchasers consent to the recording of
their conversation.
SUCCESSFUL BIDS
While Invoices are sent out by mail after the auction we do not
accept responsibility for notifying you of the result of your bid.
Buyers are requested to contact us by telephone or in person as
soon as possible after the sale to obtain details of the outcome
of their bids to avoid incurring unnecessary storage charges.
Successful bidders will pay the price of the final bid plus
premium plus any applicable VAT.
PAYMENT
Buyers are expected to make payment for purchases
immediately after the auction. To avoid delivery delays,
prospective buyers are encouraged to supply bank or other
suitable references before the auction. Please note that Christies
will not accept payments for purchased Lots from any party
other than the registered buyer.
Lots purchased in London may be paid for in the following
ways: wire transfer, credit card: Visa and MasterCard & American
Express only (up to 25,000), and cash (up to 5,000 (subject
to conditions)), bankers draft (subject to conditions) or cheque
(must be drawn in GBP on a UK bank; clearance will take 5 to
10 business days).
Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217
72 Lombard Street, London
EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for
international transfers, SWIFT LOYDGB2LCTY. For banks
asking for an IBAN: GB81 LOYD 3000 0200 1727 10.
Credit Card: Visa and MasterCard & American Express only
A limit of 25,000 for credit card payments will apply. This
limit is inclusive of the buyers premium and any applicable
taxes. Credit card payments at London sale sites will only be
accepted for London sales. Christies will not accept credit card
payments for purchases made in any other sale site. The fax
number to send completed CNP (Card Member not Present)
authorisation forms to is +44 (0) 20 7389 2821. The number
to call to make a CNP payment over the phone is +44 (0) 20
7752 3388. Alternatively, clients can mail the authorisation form
to the address below.
Cash is limited to 5,000 (subject to conditions).
Bankers Draft should be made payable to Christies (subject to
conditions).
Cheques should be made payable to Christies (must be drawn
in GBP on a UK bank, clearance will take 5 to 10 business
days).
In order to process your payment efficiently, please quote
sale number, invoice number and client number with all
transactions.
All mailed payments should be sent to:
Christies, Cashiers Department, 8 King Street, St Jamess,
London, SW1Y 6QT
Please direct all inquiries to King Street Tel: +44 (0) 20 7389
2996 Fax: +44 (0) 20 7389 2863 or South Kensington Tel:
+44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143
VAT
VAT payable at 20% on hammer price and buyers premium

*
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable (at
5%) on the Hammer price. VAT is also payable (at 20%) on
the buyers Premium on a VAT inclusive basis. This VAT is
not shown separately on the invoice. When a buyer of such a
lot has registered an EU address but wishes to export the lot or
complete the import into another EU country, he must advise
Christies immediately after the auction.
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable
(at 20%) on the Hammer price. VAT is also payable (at 20%)
on the buyers Premium on a VAT inclusive basis. This VAT
is not shown separately on the invoice. Where applicable
Customs duty will be charged (per rate specified by HMRC
guidance) on the Hammer price and VAT will be payable at
20% on duty. When a buyer of such a lot has registered an EU
address but wishes to export the lot or complete the import
into another EU country, he must advise Christies immediately
after the auction.
Buyers from within the EU:
VAT payable at 20% on just the buyers premium (NOT the
hammer price).
Buyers from outside the EU:
VAT payable at 20% on hammer price and buyers premium.
If a buyer, having registered under a non-EU address, decides
that the item is not to be exported from the EU, then he
should advise Christies to this effect immediately
Zero rated
No VAT charged.
(no symbol) Auctioneers Margin Scheme
In all other circumstances no VAT will be charged on the
hammer price, but VAT payable at 20% will be added to the
buyers premium which is invoiced on a VAT inclusive basis.
Wine Auctions
Stock offered duty-paid, but available in bond.
VAT at 20% on hammer price and buyers premium
(wine only).
VAT Refunds
Refunds cannot be made where lots have been purchased with
an inside EU address. Christies can only refund Import VAT
(Lots with * or symbol) if lots are exported within 30 days
of collection. Valid export documents must be returned within
the stipulated time frame. No refund will be paid out where
the total amount is less than 100. UK & EU private buyers
cannot reclaim VAT. Christies will charge 35 for each
refund processed. For detailed information please see the leaflets
available, or email info@Christies.com
Where non-EU buyers have failed to export their lots outside
of the EU within the required time, HM Revenue & Customs
will not allow a VAT refund to be made. This is a requirement
of UK legislation and Christies do not have discretion to make
exceptions to the rule. UK and EU private buyers cannot
reclaim any VAT charged.
ARTISTS RESALE RIGHT (DROIT DE SUITE)
If a lot is affected by this right it will be identified with the
symbol next to the lot number. The buyer agrees to pay to
Christies an amount equal to the resale royalty. Resale royalty
applies where the Hammer Price is 1,000 Euro or more and
the amount cannot be more than 12,500 Euro per lot. The
amount is calculated as follows:
Royalty For the portion of the Hammer Price (in Euro)
4.00% up to 50,000
3.00% between 50,000.01 and 200,000
1.00% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000
0.25% in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the
purposes of calculating the resale royalty the Pounds Sterling/
Euro rate of exchange will be the European Central Bank
reference rate on the day of the sale.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers request and expense. Buyers should request an
estimate for any large items or property of high value that
require professional packing. A shipping form is enclosed with
each invoice, alternatively buyers can visit www.christies.com/
shipping to request a shipping estimate.
For more information please contact the Shipping Department
at + 44 (0)20 7389 2712 or via
ArtTransport_London@christies.com for both London,
King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
Christies Art Transport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
Own Shipper:
VAT will be charged on the invoice, refundable by the VAT
Department upon receipt of the appropriate official documents
sent to us by your shipper.
Hand-Carried:
VAT will be charged on the invoice.This will be refunded by
the VAT Department upon receipt of the appropriate official
document.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies Shipping Department .This document must be
stamped by UK Customs on leaving the UK.
(no symbol)
Margin Scheme Please obtain a GB Tax Free form from the
Cashiers. This document must be stamped by UK Customs on
leaving the UK.
Starred or Omega lots must be exported within 30 days of the
date of collection. All other lots not subject to import VAT
must be exported within three months of collection, and proof
of export provided in the appropriate form.
EXPORT/IMPORT PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers sole responsibility to obtain any
relevant export or import licence. The denial of any licence or
any delay in obtaining licences shall neither justify the rescission of
any sale nor any delay in making full payment for the lot.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
cannot ensure that a licence will be obtained. Local laws may
prohibit the import of some property and/or may prohibit
the resale of some property in the country of importation.
For more information, please contact Christies Shipping
Department at +44 (0)20 7389 2828 or the the Museums,
Libraries and Archives Council: Acquisitions, Export and Loans
Unit at +44 (0)20 7273 8269/8267.
135
Storage and Collection
10/06/14
CADOGAN TATE FINE ART LOGISTICS LTD
WAREHOUSE
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
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
BOOKS
Please note that all lots from book department
sales will be stored at Christies King Street for
collection and not transferred to Cadogan Tate.
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 70.00 35.00
Storage per day 5.25 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
EXTENDED LIABILITY CHARGE
From the day of transfer of sold items to
Cadogan Tate Fine Art Logistics Ltd, all such
lots are automatically insured by Cadogan
Tate Fine Art Logistics Ltd at the sum of the
hammer price plus buyers premium. The
Extended Liability Charge in this respect by
Cadogan Tate Fine Art Logistics 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.
STORAGE AND COLLECTION
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 Fine Art Logistics
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.
PAYMENT
Cadogan Tate Fine Art Logistics Ltds storage
charges may be paid in advance or at the time
of collection. Lots may only be released from
Cadogan 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
Fine Art Logistics Ltd are settled.
136
Conditions of Sale
These Conditions of Sale and the Important
Notices and Explanation of Cataloguing Practice
set out the terms governing the legal relationship of
Christies and the seller with the buyer. You should
read them carefully before bidding.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent
for the seller. The contract for the sale of the
property is therefore made between the seller and
the buyer.
2. CATALOGUE DESCRIPTIONS AND
CONDITION
Lots are sold as described and otherwise in the
condition they are in at the time of the sale, on the
following basis.
(a) Condition
The nature of the lots sold in our auctions is such
that they will rarely be in perfect condition, and are
likely, due to their nature and age, to show signs
of wear and tear, damage, other imperfections,
restoration or repair. Any reference to condition
in a catalogue entry will not amount to a full
description of condition. Condition reports are
usually available on request, and will supplement
the catalogue description. In describing lots, our
staff assess the condition in a manner appropriate to
the estimated value of the item and the nature of
the auction in which it is included. Any statement
as to the physical nature or condition of a lot, in a
catalogue, condition report or otherwise, is given
honestly and with appropriate care. However,
Christies staff are not professional restorers or
trained conservators and accordingly any such
statement will not be exhaustive. We therefore
recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to
you in advance of bidding.
(b) Cataloguing Practice
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice, which appear after the catalogue entries.
(c) Attribution, etc
Any statements made by Christies about any
lot, whether orally or in writing, concerning
attribution to, for example, an artist, school, or
country of origin, or history or provenance, or any
date or period, are expressions of our opinion or
belief. Our opinions and beliefs have been formed
honestly and in accordance with the standard
of care reasonably to be expected of an auction
house of Christies standing, due regard having
been had to the estimated value of the item and
the nature of the auction in which it is included.
It must be clearly understood, however, that,
due to the nature of the auction process, we are
unable to carry out exhaustive research of the kind
undertaken by professional historians and scholars,
and also that, as research develops and scholarship
and expertise evolve, opinions on these matters
may change. We therefore recommend that,
particularly in the case of any item of significant
value, you seek advice on such matters from your
own professional advisers.
(d) Estimates
Estimates of the selling price should not be relied
on as a statement that this is the price at which the
item will sell or its value for any other purpose.
(e) Fitness for Purpose
Lots sold are enormously varied in terms of age,
category and condition, and may be purchased for
a variety of purposes. Unless otherwise specifically
agreed, no promise is made that a lot is fit for any
particular purpose.
3. AT THE SALE
(a) Refusal of admission
Christies has the right, at our complete discretion,
to refuse admission to the premises or participation
in any auction and to reject any bid.
(b) Registration before bidding
Prospective buyers who wish to bid in the
saleroom can register online in advance of the sale,
or can come to the saleroom on the day of the
sale approximately 30 minutes before the start of
the sale to register in person. Prospective buyers
must complete and sign a registration form with his
or her name and permanent address, and provide
identification before bidding. We may require the
production of bank details from which payment
will be made or other financial references.
(c) Bidding as principal
When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third
party acceptable to Christies, and that Christies
will only look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone.
Bids must be placed in the currency of the place
of the sale. Please refer to the catalogue for the
Absentee Bids Form. If we receive written bids
on a particular lot for identical amounts, and at
the auction these are the highest bids on the lot,
it will be sold to the person whose written bid
was received and accepted first. Execution of
written bids is a free service undertaken subject
to other commitments at the time of the sale and
provided that we have exercised reasonable care
in the handling of written bids, the volume of
goods is such that we cannot accept liability in any
individual instance for failing to execute a written
bid or for errors and omissions in connection with
it arising from circumstances beyond our reasonable
control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them
to participate in the bidding by telephone but we
do not accept liability for failure to do so or for
errors and omissions in connection with telephone
bidding arising from circumstances beyond our
reasonable control.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of
the currency converter. Where these arise from
circumstances beyond our reasonable control we
do not accept liability to bidders who follow the
currency converter rather than the actual bidding
in the saleroom.
(g) Video or digital images
At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
next to the lot number. The auctioneer may open
the bidding on any lot below the reserve by placing
a bid on behalf of the seller. The auctioneer
may continue to bid on behalf of the seller up
to the amount of the reserve, either by placing
consecutive bids or by placing bids in response to
other bidders.
(i) Auctioneers discretion
The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the
bidding in such a manner as he may decide,
withdrawing or dividing any lot, combining
any two or more lots and, in the case of error
or dispute, and whether during or after the sale,
determining the successful bidder, continuing
the bidding, cancelling the sale or reoffering and
reselling the item in dispute. If any dispute arises
after the sale, then, in the absence of any evidence
to the contrary the sale record maintained by the
auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion,
the highest bidder accepted by the auctioneer
will be the buyer and the striking of his hammer
marks the acceptance of the highest bid and the
conclusion of a contract for sale between the seller
and the buyer. Risk and responsibility for the lot
(including frames or glass where relevant) passes to
the buyer at the expiration of seven calendar days
from the date of the sale or on collection by the
buyer if earlier.
4. AFTER THE SALE
(a) Buyers premium
In addition to the hammer price, the buyer
agrees to pay to us the buyers premium together
with any applicable value added tax. The buyers
premium is 25% of the final bid price of each lot
up to and including 50,000, 20% of the excess of
the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of
the hammer price above 1,000,000. Exceptions:
Wine and Cigars: 17.5% of the final bid price of
each lot, VAT is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply
to the lot the buyer also agrees to pay to us an
amount equal to the resale royalty provided for in
those Regulations. Lots affected are identified with
the symbol next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers premium
and any applicable taxes or resale royalty)
immediately after the sale. This applies even if
the buyer wishes to export the lot and an export
licence is, or may be, required. The buyer will not
acquire title to the lot until all amounts due to us
from the buyer have been received by us in good
cleared funds even in circumstances where we have
released the lot to the buyer.
09/08/13
137
(d) Collection of purchases
We shall be entitled to retain items sold until all
amounts due to us, or to Christies International
plc, or to any of its affiliates, subsidiaries or parent
companies worldwide, have been received in full in
good cleared funds or until the buyer has performed
any other outstanding obligations as we, in our sole
discretion, shall require, including, for the avoidance
of doubt, completing any anti-money laundering or
anti-terrorism financing checks we may require to our
satisfaction. In the event a buyer fails to complete any
anti-money laundering or anti-terrorism financing
checks to our satisfaction, Christies shall be entitled to
cancel the sale and to take any other actions that are
required or permitted under applicable law. Subject
to this, the buyer shall collect purchased lots within
two calendar days from the date of the sale unless
otherwise agreed between us and the buyer.
(e) Packing, handling and shipping
Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot and in selecting third parties for these purposes,
we are not responsible for the acts or omissions of
any such third parties. Similarly, where we suggest
other handlers, packers or carriers if so requested,
our suggestions are made on the basis of our general
experience of such parties in the past and we are not
responsible to any person to whom we have made
a recommendation for the acts or omissions of the
third party concerned.
(f) Export licence
Unless otherwise agreed by us in writing, the
fact that the buyer wishes to apply for an export
licence does not affect his or her obligation to make
payment immediately after the sale nor our right to
charge interest or storage charges on late payment. If
the buyer requests us to apply for an export licence
on his or her behalf, we shall be entitled to make
a charge for this service. We shall not be obliged
to rescind a sale nor to refund any interest or other
expenses incurred by the buyer where payment is
made by the buyer in circumstances where an export
licence is required.
(g) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within 7 days after the sale, we shall
have the right to exercise a number of legal rights
and remedies. These include, but are not limited to,
the following:
(i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;
(ii) to hold the defaulting buyer liable for the
total amount due and to commence legal
proceedings for its recovery together with
interest, legal fees and costs to the fullest extent
permitted under applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid
by the defaulting buyer;
(vi) to set off against any amounts which we,
or Christies International plc, or any of its
affiliates, subsidiaries or parent companies
worldwide, may owe the buyer in any other
transactions, the outstanding amount remaining
unpaid by the buyer;
(vii) where several amounts are owed by the buyer
to us, or to Christies International plc, or
to any of its affiliates, subsidiaries or parent
companies worldwide, in respect of different
transactions, to apply any amount paid to
discharge any amount owed in respect of any
particular transaction, whether or not the buyer
so directs;
(viii) to reject at any future auction any bids made
by or on behalf of the buyer or to obtain a
deposit from the buyer before accepting any
bids;
(ix) to exercise all the rights and remedies of a
person holding security over any property in
our possession owned by the buyer, whether
by way of pledge, security interest or in any
other way, to the fullest extent permitted by
the law of the place where such property is
located. The buyer will be deemed to have
granted such security to us and we may retain
such property as collateral security for such
buyers obligations to us;
(x) to take such other action as we deem necessary
or appropriate.
If we resell the property under paragraph (iv)
above, the defaulting buyer shall be liable for
payment of any deficiency between the total
amount originally due to us and the price obtained
upon resale as well as for all reasonable costs,
expenses, damages, legal fees and commissions and
premiums of whatever kind associated with both
sales or otherwise arising from the default. If we
pay any amount to the seller under paragraph (v)
above, the buyer acknowledges that Christies shall
have all of the rights of the seller, however arising,
to pursue the buyer for such amount.
(h) Failure to collect purchases
Where purchases are not collected within two
calendar days from the date of the sale, whether or
not payment has been made, we shall be permitted
to remove the property to a third party warehouse
at the buyers expense, and only release the items
after payment in full has been made of removal,
storage, handling, and any other costs reasonably
incurred, together with payment of all other
amounts due to us.
(i) Selling Property at Christies
In addition to expenses such as transport, all
consignors pay a commission according to a
fixed scale of charges based upon the value of the
property sold by the consignor at Christies in a
calendar year. Commissions are charged on a sale
by sale basis.
5. LIMITED WARRANTY
In addition to Christies liability to buyers set out
in clause 2 of these Conditions, but subject to the
terms and conditions of this paragraph, Christies
warrants for a period of five years from the date
of the sale that any property described in headings
printed in UPPER CASE TYPE (i.e. headings
having all capital-letter type) in this catalogue (as
such description may be amended by any saleroom
notice or announcement) which is stated without
qualification to be the work of a named author
or authorship, is authentic and not a forgery.
The term author or authorship refers to the
creator of the property or to the period, culture,
source or origin, as the case may be, with which
the creation of such property is identified in the
UPPER CASE description of the property in this
catalogue. Only UPPER CASE TYPE headings
of lots in this catalogue indicate what is being
warranted by Christies. Christies warranty does
not apply to supplemental material which appears
below the UPPER CASE TYPE headings of each
lot and Christies is not responsible for any errors
or omissions in such material. The terms used in
the headings are further explained in Important
Notices and Explanation of Cataloguing Practice.
The warranty does not apply to any heading which
is stated to represent a qualified opinion. The
warranty is subject to the following:
(i) It does not apply where (a) the catalogue
description or saleroom notice corresponded
to the generally accepted opinion of scholars
or experts at the date of the sale or fairly
indicated that there was a conflict of opinions;
or (b) correct identification of a lot can be
demonstrated only by means of either a
scientific process not generally accepted for
use until after publication of the catalogue or
a process which at the date of publication of
the catalogue was unreasonably expensive or
impractical or likely to have caused damage to
the property.
(ii) The benefits of the warranty are not assignable
and shall apply only to the original buyer of
the lot as shown on the invoice originally
issued by Christies when the lot was sold at
auction.
(iii) The original buyer must have remained the
owner of the lot without disposing of any
interest in it to any third party.
(iv) The buyers sole and exclusive remedy against
Christies and the seller, in place of any
other remedy which might be available, is
the cancellation of the sale and the refund of
the original purchase price paid for the lot.
Neither Christies nor the seller will be liable
for any special, incidental or consequential
damages including, without limitation, loss of
profits nor for interest.
(v) The buyer must give written notice of claim
to us within five years from the date of the
auction. It is Christies general policy, and
Christies shall have the right, to require the
buyer to obtain the written opinions of two
recognised experts in the field, mutually
acceptable to Christies and the buyer, before
Christies decides whether or not to cancel the
sale under the warranty.
(vi) The buyer must return the lot to the Christies
saleroom at which it was purchased in the
same condition as at the time of the sale.
6. COPYRIGHT
The copyright in all images, illustrations and
written material produced by or for Christies
relating to a lot including the contents of this
catalogue, is and shall remain at all times the
property of Christies and shall not be used by
the buyer, nor by anyone else, without our prior
written consent. Christies and the seller make
no representation or warranty that the buyer of
a property will acquire any copyright or other
reproduction rights in it.
7. SEVERABILITY
If any part of these Conditions of Sale is found by
any court to be invalid, illegal or unenforceable,
that part shall be discounted and the rest of the
conditions shall continue to be valid to the fullest
extent permitted by law.
8. LAW AND JURISDICTION
The rights and obligations of the parties with
respect to these Conditions of Sale, the conduct of
the auction and any matters connected with any
of the foregoing shall be governed and interpreted
by the laws of England. By bidding at auction,
whether present in person or by agent, by written
bid, telephone or other means, the buyer shall
be deemed to have submitted, for the benefit of
Christies, to the exclusive jurisdiction of the courts
of the United Kingdom.
05/01/10
138
ARGENTINA
BUENOS AIRES
+54 11 43 93 42 22
Cristina Carlisle
AUSTRALIA
SYDNEY
+61 (0)2 9326 1422
Ronan Sulich
AUSTRIA
VIENNA
+43 (0)1 533 8812
Angela Baillou
BELGIUM
BRUSSELS
+32 (0)2 512 88 30
Roland de Lathuy
BERMUDA
BERMUDA
+1 401 849 9222
Betsy Ray
BRAZIL
RIO DE JANEIRO
+5521 2225 6553
Candida Sodre
SO PAULO
+5511 3061 2576
Nathalie Lenci
CANADA
TORONTO
+1 416 960 2063
Brett Sherlock
CHILE
SANTIAGO
+56 2 2 2631642
Denise Ratinoff
de Lira
COLOMBIA
BOGOTA
+57 312 421 1509
Juanita Madrinan
DENMARK
COPENHAGEN
+45 3962 2377
Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 (0)9 608 212
Barbro Schauman
(Consultant)
FRANCE
BRITTANY AND THE
LOIRE VALLEY
+33 (0)6 09 44 90 78
Virginie Greggory
(Consultant)
GREATER EASTERN
FRANCE
+33 (0)6 07 16 34 25
Jean-Louis Janin
Daviet (Consultant)
NORD-PAS DE CALAIS
+33 (0)6 09 63 21 02
Jean-Louis Brmilts
(Consultant)
s PARIS
+33 (0)1 40 76 85 85
POITOU-CHARENTE
AQUITAINE
+33 (0)5 56 81 65 47
Marie-Ccile
Moueix
PROVENCE - ALPES
CTE DAZUR
+33 (0)6 71 99 97 67
Fabienne Albertini-
Cohen
RHNE ALPES
+33 (0)6 61 81 82 53
Dominique Pierron
(Consultant)
GERMANY
DSSELDORF
+49 (0)21 14 91 59 30
Arno Verkade
FRANKFURT
+49 (0)61 74 20 94 85
Anja Schaller
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
INDIA
s MUMBAI
+91 (22) 2280 7905
Sonal Singh
DELHI
+91 (98) 1032 2399
Sanjay Sharma
INDONESIA
JAKARTA
+62 (0)21 7278 6268
Charmie Hamami
Priscilla Tiara
Masagung
ISRAEL
TEL AVIV
+972 (0)3 695 0695
Roni Gilat-Baharaff
ITALY
s MILAN
+39 02 303 2831
ROME
+39 06 686 3333
Marina Cicogna
Business Development
Director
JAPAN
TOKYO
+81 (0)3 6267 1766
Ryutaro Katayama
MALAYSIA
KUALA LUMPUR
+60 3 6207 9230
Lim Meng Hong
MEXICO
MEXICO CITY
+52 55 5281 5503
Gabriela Lobo
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
s AMSTERDAM
+31 (0)20 57 55 255
PEOPLES REPUBLIC
OF CHINA
BEIJING
+86 (0)10 8572 7900
s HONG KONG
+852 2760 1766
s SHANGHAI
+86 (0)21 6279 8773
Jinqing Cai
PORTUGAL
LISBON
+351 919 317 233
Mafalda Pereira
Coutinho
(Independent
Consultant)
12/02/14
WORLDWIDE SALEROOMS AND OFFICES
ENQUIRIES? Call the Saleroom or Office EMAIL info@christies.com
s DENOTES SALEROOM
139
11/09/13
RUSSIA
MOSCOW
+7 495 937 6364
+44 20 7389 2318
Katya Vinokurova
SINGAPORE
SINGAPORE
+65 6235 3828
Wen Li Tang
SOUTH AFRICA
CAPE TOWN
+27 (21) 761 2676
Juliet Lomberg
(Independent
Consultant)
DURBAN &
JOHANNESBURG
+27 (31) 207 8247
Gillian Scott-Berning
(Independent
Consultant)
WESTERN CAPE
+27 (44) 533 5178
Annabelle
Conyngham
(Independent
Consultant)
SOUTH KOREA
SEOUL
+82 2 720 5266
Hye-Kyung Bae
SPAIN
BARCELONA
+34 (0)93 487 8259
Carmen Schjaer
MADRID
+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
s GENEVA
+41 (0)22 319 1766
Eveline de Proyart
s ZURICH
+41 (0)44 268 1010
Dr. Bertold Mueller
TAIWAN
TAIPEI
+886 2 2736 3356
Ada Ong
THAILAND
BANGKOK
+66 (0)2 652 1097
Yaovanee Nirandara
Punchalee Phenjati
TURKEY
ISTANBUL
+90 (532) 558 7514
Eda Kehale Argn
(Consultant)
UNITED ARAB
EMIRATES
s DUBAI
+971 (0)4 425 5647
UNITED KINGDOM
s LONDON,
KING STREET
+44 (0)20 7839 9060
s LONDON,
SOUTH KENSINGTON
+44 (0)20 7930 6074
NORTH
+44 (0)20 7752 3004
Thomas Scott
SOUTH
+44 (0)1730 814 300
Mark Wrey
EAST
+44 (0)20 7752 3004
Thomas Scott
NORTHWEST
AND WALES
+44 (0)20 7752 3004
Jane Blood
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
IRELAND
+353 (0)59 86 24996
Christine Ryall
UNITED STATES
BOSTON
+1 617 536 6000
Elizabeth M. Chapin
CHICAGO
+1 312 787 2765
Lisa Cavanaugh
DALLAS
+1 214 599 0735
Capera Ryan
HOUSTON
+1 713 802 0191
Jessica Phifer
LOS ANGELES
+1 310 385 2600
MIAMI
+1 305 445 1487
Jessica Katz
NEWPORT
+1 401 849 9222
Betsy D. Ray
s NEW YORK
+1 212 636 2000
PALM BEACH
+1 561 833 6952
Maura Smith
PHILADELPHIA
+1 610 520 1590
Christie Lebano
SAN FRANCISCO
+1 415 982 0982
Ellanor Notides
For a complete salerooms & offices listing go to christies.com
140
Christies Specialist Departments and Services
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
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
SK: +44 (0)20 7752 3219
ARMS AND ARMOUR
SK: +44 (0)20 7752 3119
ASIAN 20TH CENTURY
AND CONTEMPORARY ART
NY: +1 212 468 7133
AUSTRALIAN PICTURES
KS: +44 (0)20 7389 2040
BOOKS AND
MANUSCRIPTS
KS: +44 (0)20 7389 2674
SK: +44 (0)20 7752 3203
BRITISH & IRISH ART
KS: +44 (0)20 7389 2682
NY: +1 212 636 2084
SK: +44 (0)20 7752 3257
BRITISH ART ON PAPER
KS: +44 (0)20 7389 2278
SK: +44 (0)20 7752 3293
NY: +1 212 636 2085
BRITISH PICTURES
1500-1850
KS: +44 (0)20 7389 2945
CARPETS
KS: +44 (0)20 7389 2370
SK: +44 (0)20 7389 2776
CHINESE WORKS OF ART
KS: +44 (0)20 7389 2577
SK: +44 (0)20 7752 3239
CLOCKS
KS: +44 (0)20 7389 2357
CONTEMPORARY ART
KS: +44 (0)20 7389 2446
SK: +44 (0)20 7389 2502
COSTUME, TEXTILES
AND FANS
SK: +44 (0)20 7752 3215
EUROPEAN CERAMICS
AND GLASS
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
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
KS: +44 (0)20 7389 2700
SK: +44 (0)20 7752 3239
JAPANESE
WORKS OF ART
KS: +44 (0)20 7389 2591
SK: +44 (0)20 7752 3239
JEWELLERY
KS: +44 (0)20 7389 2383
SK: +44 (0)20 7752 3265
LATIN AMERICAN ART
NY: +1 212 636 2150
MARITIME PICTURES
SK: +44 (0)20 7752 3284
NY: +1 212 707 5949
MINIATURES
KS: +44 (0)20 7389 2650
MODERN DESIGN
SK: +44 (0)20 7389 2142
MUSICAL INSTRUMENTS
SK: +44 (0)20 7752 3365
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
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
KS: +44 (0)20 7389 2531
SK: +44 (0)20 7752 3250
ORIENTAL CERAMICS
AND WORKS OF ART
SK: +44 (0)20 7752 3235
PHOTOGRAPHS
KS: +44 (0)20 7389 2292
POPULAR CULTURE
AND ENTERTAINMENT
SK: +44 (0)20 7752 3275
POST-WAR ART
KS: +44 (0)20 7389 2446
SK: +44 (0)20 7389 2502
POSTERS
SK: +44 (0)20 7752 3208
PRINTS
KS: +44 (0)20 7389 2328
SK: +44 (0)20 7752 3109
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
KS: +44 (0)20 7389 2343
RUSSIAN WORKS OF ART
KS: +44 (0)20 7389 2057
TRAVEL, SCIENCE AND
NATURAL HISTORY
SK: +44 (0)20 7752 3291
SCULPTURE
KS: +44 (0)20 7389 2331
SK: +44 (0)20 7389 2794
SILVER
KS: +44 (0)20 7389 2666
SK: +44 (0)20 7752 3262
SWISS ART
ZUR: +41 (0) 44 268 1012
TOPOGRAPHICAL
PICTURES
KS: +44 (0)20 7389 2040
SK: +44 (0)20 7752 3291
TRIBAL AND
PRE-COLUMBIAN ART
PAR: +33 (0)140 768 386
TWENTIETH CENTURY
BRITISH ART
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
SK: +44 (0)20 7752 3218
VICTORIAN PICTURES
KS: +44 (0)20 7389 2468
SK: +44 (0)20 7752 3257
WATERCOLOURS AND
DRAWINGS
KS: +44 (0)20 7389 2257
SK: +44 (0)20 7752 3293
WINE
KS: +44 (0)20 7752 3366
AUCTION SERVICES
CORPORATE
COLLECTIONS
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
Tel: +44 (0)20 7389 2101
Fax: +44 (0)20 7389 2300
EmIL:rcornett@christies.
com
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
Tel: +44 (0)20 7389 2343
Fax: +44 (0)20 7389 2225
Email: awaters@christies.
com
MUSEUM SERVICES, UK
Tel: +44 (0)20 7389 2570
Email: llindsay@christies.
com
PRIVATE SALES
US: +1 212 636 2034
Fax: +1 212 636 2035
VALUATIONS
Tel: +44 (0)20 7389 2464
Fax: +44 (0)20 7389 2038
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27/05/14
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Contact
Richard Lloyd
printsny@christies.com
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Viewing
1822 October
20 Rockefeller Plaza
New York, NY 10020
Prints & Multiples
New York s 23-24 October 2014
PABLO PICASSO (18811973)
Torse de Femme (LEgyptienne) (B. 746; Ba 906)
aquatint, 1953, on Arches paper, a superb impression of the second nal, state
$120,000180,000
christies.com
Contact
Bianca Chu
bchu@christies.com
+44 (0) 20 7389 2502
Viewing
2024 September
85 Old Brompton Road
London SW7 3LD
FIRST OPEN /LDN
Post-War and Contemporary Art
London, South Kensington s 25 September 2014
DAVID OSTROWSKI (B. 1981)
F (val Kilmer)
signed and dated David Ostrowski 12 (on the overlap)
oil, varnish, dirt and adhesive foil on canvas
40
1
/2 x 31
1
/2 in. (100.3 x 80 cm.)
Executed in 2012
12,00018,000

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Contact
Alexandra Gill
agill@christies.com
+44 (0) 20 7752 3109
Still open for
consignments
Now in Technicolour
A celebration of the riot of colour that emerged in the 1960s
and continues to the present day in print, including works by
Andy Warhol, Eduardo Paolozzi, Keith Haring, Allen Jones,
Gerald Laing, and others.
Online Auction 16-28 October 2014
AFTER ROY LICHTENSTEIN (1923-1997)
Bulls
the complete set of six glazed porcelain plates, 1989, each with printed signature, numbered 40/50 in black felt-tip pen
320 x 320 x 15 mm. (each)
4,0006,000
Christies South Kensington
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London SW7 3LD
1720 October 2014
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Supported by
multipliedartfair.com
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@Multiplied_Fair
Prints, Photographs, Digital Art, Artists
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145
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Prints & Multiples
WEDNESDAY 17 SEPTEMBER 2014 AT 2.00 PM
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The Paper used in this catalogue
has been manufactured at a mill
which has been awarded the
ISO 14001 for Environment
Management and is a registered
mill within EMAS (the EU Eco-
Management and Audit Scheme)
Printed in England
Christie, Manson & Woods Ltd. (2014)
8 King Street, St. Jamess, London SW1Y 6QT +44 (0)20 7839 9060 telephone +44 (0)20 7389 2869 facsimile

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