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1 6
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Renato Pennisi
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11/11/14
AUCTION
Tuesday 16 December 2014

at 2.00 pm Lots 1-169
Cornelis Schuytstraat 57,
1071 JG Amsterdam
AUCTION CODE AND NUMBER
In sending absentee bids or making

enquiries, this sale should be referred
to as AMS-3051
under the aegis of
Mr M.J. Meijer c.s. Notarissen.
VIEWING
Friday
Saturday
Sunday
Monday
12
13
14
15
December
December
December
December
9.00
9.00
9.00
9.00
am
am
am
am
5.00
5.00
5.00
5.00
pm
pm
pm
pm
AUCTIONEERS
Jop Ubbens and Benthe Tupker

AUCTION RESULTS
Front cover: Lot 4 (detail)
Back cover: Lot 62
Inside front cover: Lot 14
Inside back cover: Lot 42
+44 (0)20 7627 2707

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INTERNATIONAL IMPRESSIONIST
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PRESIDENT, EUROPE
INTERNATIONAL HEAD OF THE DEPARTMENT
Jussi Pylkknen
Giovanna Bertazzoni
London
London
Olivier Camu
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Deputy Chairman
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Cyanne Chutkow
Deputy Chairman
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Conor Jordan
Deputy Chairman
Impressionist and
Modern
Zurich
Modern
New York
Modern
New York
Modern
London
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Honorary Chairman
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International Director
Head of Department
Libert Nuti
Sharon Kim
London
New York
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New York
Brooke Lampley
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Tudor Davies
Head of Department
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Carmen Schjaer
Director
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Pierre Martin-Vivier
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Head of Department
Hans Peter Keller

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[21]
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l1
MAURICE UTRILLO (1883-1955)

Clinique Saint Rmy, Le Vsinet
signed and dated Maurice Utrillo, V, 1937 (lower right) and
inscribed Le Vsinet (Seine-et-Oise) - Clinique Saint-Rmy (lower left)
gouache on paper
47.5 x 62.5 cm.
Executed in 1937
25,000-35,000
US$32,000-44,000
PROVENANCE:
Kunstcentrum dOlde Deel, Putten.
Acquired from the above by E.J. Duintjer, Veendam in 1937.
By descent from the above to the present owner.
Jean Fabris and Cdric Paillier have confrmed the authenticity
of this work. The work will be sold with a photo certifcate.
PROPERTY OF A PRIVATE BELGIAN COLLECTION
l2
EDGARD TYTGAT (1879-1957)

La femme adultre
signed and dated Edgard Tytgat 1949 (lower right); dated,
titled and numbered Fvrier 1949 no. 471 Femme Adultre
(on the reverse)
oil on canvas
73 x 92 cm.
Painted in 1949
20,000-30,000
PROVENANCE:
Mrs. Tytgat, Brussels.
US$26,000-38,000
EXHIBITED:
The Hague, Haags Gemeentemuseum, Hedendaagse schilderkunst
Benelux, July 1949, no. 126.
Paris, Galerie Charpentier, Les Tuilleries, 1949, no. 159.
Venice, XXVe Biennale Internationale dArte, 8 June - 15 October
1950, no. 59.
Evere, Htel Communal, LArt Evere, 16 - 29 April 1954, no. 7.
London, Arcade Gallery, Edgard Tytgat, frst exhibition in England,
13 - 30 October 1954, no. 9.
Ostend, Casino-Kursaal Oostende, Edgard Tytgat, 2 July - 15 August
1955, no. 33.
Cologne, Belgisches Haus, Edgard Tytgat, 30 April - 23 May 1955,
no. 35.
LITERATURE:
Andre Rieux, Au Kursaal dOstende: Edgard Tytgat, in:
LIndependence, 10 July 1955 (illustrated).
Albert Dasnoy, Edgard Tytgat: Catalogue Raisonn de son oeuvre
peint, Brussels 1965, no. 478, (illustrated p. 220).
VARIOUS PROPERTIES
HEINRICH HRLE (1895-1936)

Schreitender Mann mit Sonne
signed with the initial H (upper right)
oil on cardboard
12.5 x 9.5 cm.
Painted in 1931
6,000-8,000
US$7,600-10,000
LITERATURE:
Dirk Backes, Heinrich Hoerle, Leben und Werk 1895-1936, Cologne 1981, no. 78
(illustrated p. 179).
l4
VICTOR SERVRANCKX (1897-1965)

Opus 9 - 1923
signed and dated Servranckx 1923 (lower left)
oil on canvas
73 x 100 cm.
Painted in 1923
50,000-70,000
PROVENANCE:
Lucien Lefebre-Foinet, Paris.
US$63,000-88,000
EXHIBITED:
Brussels, Galerie Les Contemporaines, Hommage Servranckx,
11 - 29 May 1957, no. 13.
Bruges, Concertgebouw, Victor Servranckx, 12 - 28 April 1958,
no. 16.
Chicago, Arts Club/Notre Dame (Indiana), University of Notre
Dame/Toledo, Toledo Museum of Art/ Cincinnati, Contemporary Arts
Center, First midwestern exhibition of Belgian painters, 28 September
1961 - 14 May 1962, no. 33.
Brussels, Musee dIxelles, Servranckx, November - December 1965,
no. 57.
Brussels, Galerie Les Contemporaines, Victor Servranckx,
3 - 22 October 1968, no. 15.
Ghent, Galerij Kaleidoskoop, Servranckx, 29 November - 27
December 1968, no. 10.
Hasselt, Provinciaal Begijnhof, Retrospectieve tentoonstelling Victor
Servranckx 1897-1965, 14 March - 12 April 1970, no. 22.
(recto)
VARIOUS PROPERTIES
l5
KARL SCHMIDT-ROTTLUFF (1884-1976)

Blumenvase mit zwei Zierkbissen (recto);
Erhhter Blumentopf vor Fenster (verso)
signed S Rottluff (lower left), dated 554 (lower right)
ink, watercolour and wax crayons on paper
44 x 62 cm., unframed
Executed in 1955
30,000-50,000
US$38,000-63,000
PROVENANCE:
Karl-Gustav Gerold, Bonn.
By descent from the above to the present owners.
Hermann Gerlinger has confrmed the authenticity of this work.
The work will be sold with a photo certifcate.
(verso)
10
PROPERTY OF AN IMPORTANT BELGIAN

COLLECTION
l6
LEON SPILLIAERT
(1881-1946)
Trees
signed and dated Spilliaert 1929
(lower left)
watercolour and gouache on paper laid
down on cardboard
70.5 x 50 cm.
Executed in 1929
12,000-16,000
US$16,000-20,000
PROVENANCE:
Anonymous sale, De Vuyst, Lokeren,
6 March 1999, lot 452.
Acquired at the above sale by the
present owner.
EXHIBITED:
Antwerp, Galerie Ronny Van de Velde,
Lon Spilliaert, 13 November 1998-23
January 1999, no. 137.
LITERATURE:
A. Adriaens-Pannier and R. van de
Velde, Lon Spilliaert of de schoonheid
van een wijs hart, Antwerp 1998,
no. 137 (illustrated p. 233).
11
PROPERTY OF A DISTINGUISHED BELGIAN COLLECTOR
GUSTAVE DE SMET (1877-1943)

Summer
signed and dated Gustave De Smet 1913 (lower left)
oil on canvas
147.5 x 150 cm.
Painted in 1913
120,000-180,000
US$160,000-230,000
PROVENANCE:
Prosper De Smet, Ghent.
Anonymous sale, Campo Antwerp, March 1964, lot 29.
Acquired at the above sale by the present owner.
EXHIBITED:
Ghent, Exposition Universelle et Internationale de Gand,
Groupe II Beaux-Arts oeuvres modernes, 1913, no. 155.
Brussels, Bank Brussel-Lambert, Een verhaal over Vrouwen 1830-1980,
1980, no. 708.
LITERATURE:
E. Langui, Gust. De Smet: de Mensch en zijn werk, Brussels 1945, no. 28.
P. Haesaerts, Sint-Martens-Latum, gezegend oord van de Vlaamse kunst,
Antwerp 1982, no. 148 (illustrated p. 444).
P. Boyens, Gust. De Smet. Kroniek - Kunsthistorische Analyse, Antwerp 1989,
no. 212, p. 321 (illustrated p. 259).
At the occasion of the world exhibition of 1913 in Ghent, Frits Van den Berghe and
Gustave De Smet where commissioned to paint canvases for the dome of the Grand
Palais, under the guidance of Jean Delvin. The four seasons was the theme of a series
of paintings, of which the present lot Summer was De Smets contribution.
Born in Ghent in 1881, de Smet studied in the citys Academy of Fine Arts before
moving to the artists colony in St. Martens Latem. It was here that De Smet evolved in
his own unique form of Luminism. De Smet became an important member of the group
Vie et Lumire, formed around 1904 under the leadership of Emile Claus, George
Morren and Adrien Joseph Heymans and which united artists whose common desire
was to paint light. (M. Stevens & R. Hoozee (eds.), Impressionism to Symbolism: The
Belgian Avant-Garde 1880-1900, exh. cat., London 1994, p. 77).
Summer shows a young, partially dressed woman striding through a garden flled with
summer fowers. A swarm of shades and brush strokes forms a vibrant composition.
The woman being completely introverted, symbolizing summer in its full glory. With this
monumental canvas De Smet connects to the work of Gustav Klimt. The representation
of the womans exuberant transparent dress, the colourful blossoms, roses and poppies
and the decorative charm, are most probably the result of the acquaintance with
the work of the Austrian artist, which De Smet was introduced to through Jugend art
magazine. Klimt and contemporaries like Lovis Corinth would have an infuence on
both Gustave De Smet and Frits van den Berghe. (P. Boyens, 1989, op.cit., p. 93)
Summer shows the delight which De Smet took in rendering surface pattern and
refects, in the application of an effusion of small strokes and dots of paint, the infuence
which Neo-Impressionism exerted upon the artist.
12
PROPERTY OF AN IMPORTANT BELGIAN COLLECTION
l8
PAUL DELVAUX (1897-1994)

La grande alle
signed P. Delvaux (lower right)
ink and watercolour on paper
36.5 x 47.5 cm.
10,000-15,000
US$13,000-19,000
The Paul Delvaux Foundation has confrmed the

authenticity of this work.
l9

La Fuite
signed P. Delvaux (lower right)
25 x 38.5 cm.
6,000-8,000
US$7,600-10,000
PROVENANCE:
Anonymous sale, De Vuyst, Lokeren, 12 December
1998, lot 503.
VARIOUS PROPERTIES
10
GUSTAV KLIMT (1862-1918)

Drei Freundinnen
with Gustav Klimt Nachlass stamp (lower left)
crayon on paper
52 x 34.5 cm.
30,000-50,000
US$38,000-63,000
PROVENANCE:
E.W. Kornfeld, Bern. Patrick Derom Gallery, Brussels.
Acquired from the above by the present owner in 1998.
EXHIBITED:
Vienna, Graphische Sammlung Albertina, Gustav Klimt
1862-1918: Zeichnungen, October-December 1962,
no. 127.
LITERATURE:
Alice Strobl, Gustav Klimt: Die Zeichnungen 19041912 Volume 2, Salzburg 1982, no. 1505 (illustrated
p. 99).
14
15
l11
WILLY SCHLOBACH (1864-1951)

The haystack
signed with monogram and indistinctly dated (lower right)
oil on board
31.5 x 41.5 cm.
5,000-7,000
US$6,300-8,800
l12
DIRK SMORENBERG (1883-1960)

Wellensicht - A view of a mountain lake
signed and dated D. Smorenberg.12 (lower left); titled
Wellensicht (on the reverse)
oil on canvas
69.5 x 48.5 cm.
Painted in 1912
10,000-15,000
US$13,000-19,000
PROVENANCE:
Piet Zandstra, Amsterdam.
Anonymous sale, Christies, Amsterdam, May 30 2006, lot 13.
16
13
FERDINAND HART NIBBRIG (1866-1915)

Zoutelande
signed Hart.Nibbrig (lower right)
oil on canvas
40.5 x 50.5 cm.
25,000-35,000
US$32,000-44,000
PROVENANCE:
Kunsthandel G.J. Scherpel, Bussum.
Kunsthandel Simonis & Buunk, Ede, 1991.
Acquired from the above by the present owner.
17
l14
JAMES ENSOR (1860-1949)

Coquillages
signed Ensor (lower right)
oil on canvas
51 x 61.5 cm.
Painted in 1933
80,000-120,000
US$110,000-150,000
PROVENANCE:
Augusta Boogaerts, Brussels.
Sam Salz, Paris/New York.
C.S. Collinson.
Anonymous sale, Galerie George Giroux, Brussels, 13 May 1950, lot 93.
Galerie Patrick Derom, Brussels.
Galerie Seghers, Ostend.
Anonymous sale, De Vuyst Lokeren, 6 March 1999, lot 437.
EXHIBITED:
Paris, Gazette des Beaux-Arts, 1939.
Brussels, Galerie Georges Giroux, Exposition Hommage James Ensor, 12 October 4 November 1945, no. 134 (where dated 1931).
London, National Gallery Trafalgar Square, The works of James Ensor, 1946 - 1947,
no. 50.
Charleroi, Cercle Artistique et Littraire, XXIIIme Salon, 19 March - 4 April 1949, no. 47.
Frankfurt, Schirn Kunsthalle, James Ensor, 17 December 2005 - 19 March 2006,
p. 138.
LITERATURE:
F. Fels, James Ensor, Geneva 1947, pl. 63 (illustrated).
X. Tricot, James Ensor Catalogue Raisonn of the Paintings 1902 - 1941, Volume II,
Antwerp 1992, no. 609 (illustrated p. 566). X. Tricot, James Ensor, Life and Work: The
Complete Paintings, Brussels 2009, no. 626 (illustrated p. 380).
In the introvert world of James Ensor, the still life takes up an important place in his career.
The genre responds well to the closed nature of the artist who created his compositions
from the intimacy of the bourgeois interior crowded with objects. In his early career the
main focus in his still lifes was to use everyday motifs such as vegetables, fowers, meat
and fsh combined with the shells and other peculiar objects from his mothers souvenir
shop. Already as a young boy he developed a passion for these objects. He wrote: My
mother, daughter of Ostend sea-shell traders, continued her parents trade and I spent
my childhood in the paternal shop, surrounded by the curiosities from the sea and the
splendours of mother-of-pearl with a thousand iridescent gleams and bizarre skeletons,
monsters and marine plants. The proximity of these wonders, the colours, this light-flled,
gleaming opulence, undoubtedly helped turn me in to a painter in love with colour and
sensitive to the dazzling play of light. (see: X. Tricot,James Ensor, life and work, the
complete paintings, Brussels 2009, p. 13).
The present lot was painted in 1933. The composition is formed by an arrangement
of seashells coming from his cabinet of curiosities he held at his studio on the Rue de
Flandres in Ostend. They are presented as little gems arisen from the sea. Sharply
observed and conscientious in its detail, this still life shows Ensors love for colour and
light. The shells are executed in pink and orange tones, bathed in a transparent light
taking on the atmosphere of a beach scene. The misty white, almost bluish light is
reminiscent of the skies of the coastline of Ostend where Ensor lived throughout his life. It
is primarily this feature generating the paintings sense of a landscape.
VARIOUS PROPERTIES
15
THEO VAN DOESBURG (1883-1931)

Het oorzakelijke lichaam van den adept
oil on canvas
32 x 32 cm.
Painted circa 1915
30,000-50,000
US$38,000-63,000
PROVENANCE:
G. Marr, Hilversum, 1961.
Kunsthandel G.J. Scherpel, Bussum, 1974.
Kunsthandel Leendert van Lier, Blaricum.
Acquired from the above by Kunsthandel Jan Juffermans, 1975.
Anonymous sale, Sotheby Mak van Waay, Amsterdam, 23 April 1979, lot 516.
Anonymous sale, Sotheby Parke-Bernet, London, 12 June 1980, lot 90.
20
EXHIBITED:
Amsterdam, Nieuwe Beelding, Utrecht, 11 March - 13 April
1975, no. 19.
The Hague, Gemeentemuseum The Hague, Kunstenaren der
idee: symbolistische tendenzen in Nederland, ca. 18801930, 16 September - 26 November 1978, no. 104.
LITERATURE:
Jan Juffermans, Met stille trom, Utrecht 1976, (illustrated p.
14). E. Hoek (ed.), Theo van Doesburg. Oeuvre catalogus,
Utrecht 2000, no. 446 (illustrated p. 155).
Like Kandisky, Mondriaan and many other artists at the time,
Theo van Doesburg had an interest in Theosophy during
1912-1915. The spiritual ideas of the theosophers have led
many artists to abstraction. It was one of the core doctrines
on which De Stijl movement has been founded.
The present lot is based on an illustration from the book De
zichtbare en onzichtbare mens (Amsterdam, 1920) by the
theosophist C.W. Leadbeater.
16
LEO GESTEL (1881-1941)

A landscape, Mallorca
PROVENANCE:
Kunsthandel M.L. de Boer, Amsterdam.
Acquired from the above by the present owner circa 1965.
signed and dated Leo Gestel 14 (lower right)

oil on canvas
40.5 x 49 cm.
Painted in 1914
60,000-80,000
US$76,000-100,000
21
17
PHILIPP BAUKNECHT (1884-1933)

A window view, Davos
signed Ph.Bauknecht. (lower left)
oil on canvas
53 x 41.5 cm.
12,000-16,000
22
US$16,000-20,000
PROVENANCE:
Kunsthandel Noortman, Maastricht.
Acquired from the above by the family of the present owner in 1972.
(verso)
(recto)
l18
JAN WIEGERS (1893-1959)

A still life with books and roses (recto);
A portrait of a lady (verso)
signed and dated Jan Wiegers 27 (lower right)
oil on canvas
70 x 55 cm.
Painted in 1927
20,000-30,000
US$26,000-38,000
PROVENANCE:
Acquired directly from the artist by the family of the present owner.
The book depicted in the present lot is a collection of expressionist
poems by Georg Heym, Umbra Vitae from 1924. Ernst Ludwig
Kirchner designed the cover illustration and illustrated the book with
46 woodcuts. When staying in Davos for health reasons Wiegers
met Kirchner. Inspired by Kirchners Expressionism, Wiegers would
introduce elements and ideas of it when returning to The Netherlands.
Together with fellow artists from Groningen Wiegers formed De Ploeg
movement. The present lot can be seen as a tribute to Kirchner and to
Expressionism.
23
l19
LON DE SMET (1881-1966)

Flowers in a vase
signed and dated Lon De Smet 1933 (upper right)
oil on canvas
85.5 x 75 cm.
Painted in 1933
12,000-18,000
US$16,000-23,000
PROVENANCE:
Acquired directly from the artist by the family of the
present owner.
20
AIM JULES DALOU (1838-1902)

The torso of Abundance from the
Triumph of the Republic
signed J. Dalou (on the back of the base) and with two
foundry marks Susse Fres Paris cire perdue (on the back
of the base) and Susse Freres editeurs Paris (on the side
of the base)
bronze with a green patina
48 cm. high (incl. the bronze base)
4,000-6,000
US$5,100-7,500
PROVENANCE:
Anonymous sale, Mak van Waay, Amsterdam, 9 April
1951, lot 923.
Acquired at the above sale by E.J. Duintjer, Veendam.
EXHIBITED:
Delft, Stedelijk Museum/Arnhem, Gemeentemuseum/
Groningen, Groninger Museum voor Stad en Lande,
Keuze uit de collecties van E.J. Duintjer Jzn. en G. Kraus,
17 November 1956 - 31 March 1957, no. 9.
24
PROPERTY FROM THE LATE DR. ALFRED H. HEINEKEN
l21
JAN SLUIJTERS (1881-1957)

Seated nude with fowers and fruits
signed Jan Sluijters (centre left)
oil on canvas
117 x 140 cm.
Painted circa 1927
30,000-50,000
US$38,000-63,000
PROVENANCE:
Anonymous sale, Mak van Waay, Amsterdam, 13 December 1966,
lot 104.
Galerie Krikhaar, Amsterdam.
Anonymous sale, Sothebys, Amsterdam, 21 March 1988, lot 20.
LITERATURE:
Jan Juffermans, Noortje Bakker, Jan Sluijters, Schilder, Mijdrecht
1981, p. 83 (illustrated).
Included in the digital Catalogue Raisonn on the artists work by the
RKD - Netherlands Institute for Art History:sluijters.rkdmonographs.nl.
25
THE MAXIMILIAN SCHELL ESTATE
l22
THE MAXIMILIAN SCHELL ESTATE (lots 22-26)

Austrian by birth, Swiss by circumstance and international by
reputation, Maximilian Schell was a distinguished actor, director,
writer and producer. Indeed, Schell was one of the most successful
non-English speaking actors in the history of American cinema,
perhaps best remembered for his Oscar-winning performance in
Stanley Kramers Judgment at Nuremberg (1961). However, his
more overlooked yet equally lasting legacy lies in his assemblage
of an unparalleled art collection, his passion being expressed most
eloquently in his own words: Art is liberating. Born into a creative
family - his mother was an actress and his parents circle included
many artists - Schell amassed an impressive collection in his own
lifetime, bringing together a selection of the autograph letters and
manuscripts of authors, composers and artists he admired alongside
his enviable collection of art.
26
EMIL NOLDE (1867-1956)

Woman behind a piano
signed Nolde (lower right)
watercolour on paper
28.5 x 21.5 cm.
15,000-20,000
US$19,000-25,000
PROVENANCE:
Galerie Stangl, Munich.
This work is sold with a photo-certifcate from Professor Dr.
Manfred Reuther of the Nolde Stiftung, Seebll.
23
AUGUSTE RODIN (1840-1917)

Baigneuse accroupie sans bras ni
pieds, Grand Modle
signed and numbered A. Rodin no. 2 (on the back
of the right leg); with the foundry mark Georges
Rudier. Fondeur Paris (on the underside of the left
leg); and inscribed and dated by Muse Rodin
1963 (on the back of the fgure).
bronze with a dark brown patina
24.5 cm. high
Conceived circa 1890-1900 and cast in 1963 in
an edition of 12
20,000-30,000
US$26,000-38,000
PROVENANCE:
Muse Rodin, Paris.
Acquired from the above by Maximilian Schell in
December 1963.
This work will be included in the forthcoming
Auguste Rodin catalogue critique de loeuvre sculpt
currently being prepared by the Comit Auguste
Rodin at Galerie Brame et Lorenceau under the
direction of Jrme Le Blay under the archive
number 2014-4494B.
27
l24
KARL HOFER (1878-1955)

Portrait of a woman
signed with initials and dated CH 23 (lower right)
charcoal on paper
47 x 40 cm.
Executed in 1923
2,000-3,000
US$2,600-3,800
l25
LEONARD TSUGUHARU FOUJITA

(1886-1968)
Head of a cat
signed, inscribed and dated Foujita Madrid 11-1951
(lower right)
pencil on paper
19 x 25.5 cm.
Executed in 1951
2,000-3,000
US$2,600-3,800
Sylvie Buisson has confrmed the authenticity of this

work.
28
l26
ROLAND OUDOT (1897-1981)

Still life with a guitar
signed Roland Oudot (lower left)
oil on canvas
70 x 97.5 cm.
4,000-6,000
US$5,100-7,500
PROVENANCE:
Galerie Charpentier, Paris.
Olivier Daulte has confrmed the authenticity of
this work.
PROPERTY OF THE ROBECO COLLECTION
l!27
KEES VERWEY (1900-1995)

A summer bouquet
signed Kees Verwey. (lower left) and dated 75
(lower right)
watercolour and gouache on paper
39.5 x 53 cm.
Executed in 1975
2,000-3,000
US$2,600-3,800
PROVENANCE:
Anonymous sale, Glerum, The Hague, 23 April
1990, lot 205.
29
PROPERTY FROM A PRIVATE COLLECTION
l28
JEAN BRUSSELMANS (1884-1953)

Roses
signed Jean Brusselmans. (lower left)
oil on canvas
90 x 80 cm.
Painted in 1948
18,000-25,000
30
US$23,000-31,000
EXHIBITED:
Louvain, Halle Universitaire, Peintres expressionistes de Belgique,
15 January - 11 February 1970.
Ostend, Mu.Zee, Het zelfportret, het huis en de seizoenen,
17 September 2011 - 15 January 2012.
LITERATURE:
Robert L. Delevoy, Jean Brusselmans. Catalogue Raisonn,
Brussels 1972, no. 569 (illustrated p. 407).
l29

La Famille
signed, dated and inscribed P. Delvaux 9-33 Westende (lower right);
inscribed Je certife que ce dessin en colour La Famille., Westende-91933-est bien de moi. Boitsfort, le 23-2-66. P Delvaux (on the backing)
54 x 73 cm.
Executed in 1933
18,000-25,000
EXHIBITED:
Rotterdam, Boymans van Beuningen, Paul Delvaux: tekeningen,
17 February - 31 March 1963, no. 5.
Brussels, Muse dIxelles, Paul Delvaux, 16 November - 7
December 1967, no. 63.
US$23,000-31,000
31
30
FRITS VAN DEN BERGHE (1883-1939)

Le trio
signed FvBerghe (lower right)
oil on paper laid down on plywood
72 x 51.5 cm.
Painted in 1928
20,000-30,000
32
PROVENANCE:
Anonymous sale, Galerie Le Centaure, Brussels, 1932, no. 424.
Emile-Henri David.
Mrs. J. Krebs, Brussels.
EXHIBITED:
Louvain, Halle Universitaire, Peintres expressionistes de Belgique,
15 January - 11 February 1970.
US$26,000-38,000
LITERATURE:
E. Langui, Frits van den Berghe 1883-1939. Catalogue Raisonn
de son oeuvre peint, Brussels 1966, no. 289 (illustrated).
E. Langui, Frits van den Berghe 1883-1939. The man and his
work, Antwerp 1968, no. 289.
VARIOUS PROPERTIES
l31
LEON SPILLIAERT (1881-1946)

Le dsir
signed with initial L (lower centre); titled Le dsir (upper right)
pencil and ink on paper
26.5 x 17.5 cm.
Executed in 1901-1902
10,000-15,000
US$13,000-19,000
PROVENANCE:
Anonymous sale, Christies, Amsterdam, 6 December 1995, lot
198a.
LITERATURE:
A. Adriaens-Pannier, Spilliaert, de bezielde blik, Ghent/Ludion,
2006, no. 16 (illustrated p. 18).
32

De gevoelige cipier
titled De gevoelige cipier (upper centre)
pencil, ink and colour crayons on paper
33.5 x 26.5 cm.
2,500-3,500
US$3,200-4,400
33
VARIOUS PROPERTIES
l33

A seated boy
signed with initials CH (lower right)
pencil on paper
45 x 31.5 cm., unframed
2,500-3,500
US$3,200-4,400
PROVENANCE:
l34

Seated nude
signed with initials CH (lower right)
pencil on paper
5,000-7,000
PROVENANCE:
34
US$6,300-8,800
l35
EMIL NOLDE (1867-1956)

Blumenstilleben mit orchideen
PROVENANCE:
Acquired directly from the artist by Ernst Henke, Essen in 1938.
Anonymous sale, Sothebys, London, 21 June 2005, lot 184.
signed Nolde. (lower right)

35.5 x 47 cm.
Executed circa 1923-24
This work is sold with a photo-certifcate from Professor Dr. Manfred

Reuther of the Nolde Stiftung, Seebll.
40,000-60,000
US$51,000-75,000
35
l36

A kneeling nude
signed, inscribed and dated P. Delvaux Westende 7-30 (lower right)
62 x 47.5 cm.
Executed circa 1930
20,000-30,000
36
US$26,000-38,000
PROVENANCE:
Oscar de Vos Gallery, Sint-Martens-Latem.
Anonymous sale, Christies, Amsterdam, 12 October 1999, lot 156.
The Paul Delvaux Foundation has confrmed the authenticity of this
work.
l37

Ballerinas, Eroticism and Self Portrait
PROVENANCE:
signed Ensor (lower left)

colour crayons on paper
20 x 24.5 cm.
Executed between 1910-1920
EXHIBITED:
Utrecht, Centraal Museum, James Ensor/Schilderijen, tekeningen en
grafek, een selectie uit Belgisch en Nederlands bezit, 14 August 3 October 1993, no. T.47 (illustrated p. 159).
10,000-15,000
US$13,000-19,000
37
VARIOUS PROPERTIES
l38
JEAN BRUSSELMANS
(1884-1953)
Weerspiegeling
signed and dated Jean Brusselmans.1915.
(lower left)
oil on canvas
111 x 79 cm.
Painted in 1915
25,000-35,000
US$35,000-49,000
PROVENANCE:
Lon Legrand, Brussels.
Jean Krebs, Brussels.
Rene Lachowsky, Brussels.
Anonymous sale, Campo, Antwerp, April 1970,
lot 81.
Anonymous sale, Campo, Antwerp, April 1974,
lot 100.
EXHIBITED:
Brussels, Palais des Beaux-Arts, Retrospectieve Jean
Brusselmans, 20 November - 3 December 1931,
no. 8.
Brussels, Galerie Apolo, Jean Brusselmans,
18 - 30 March 1944, no. 6.
Charleroi, Salle de la Bourse, Cercle Royale
Artistique et Littraire, XXIXe Salon Rtrospectieve
Jean Brusselmans, 12 - 31 March 1955, no. 31.
Geraardsbergen, Sint-Adriaansabdij, Het portret
sinds James Ensor, 9 August - 20 September
1964, no. 4
LITERATURE:
Robert L. Delevoy, Jean Brusselmans, Catalogue
Raisonn, Brussels 1972, no. 83 (illustrated
p. 303).
The woman depicted is Mrs Brusselmans.
38
l39

Diables turlupinant un religieux
signed Ensor (lower right)
oil on canvas laid down on board
38 x 45.5 cm.
Painted in 1940
80,000-120,000
PROVENANCE:
S. Salz, Paris/New York.
US$110,000-150,000
J. Menzel, New York.

Anonymous sale, Sothebys, New York, 10 March 1971, lot 62.
EXHIBITED:
New York, Guggenheim Museum, Rousseau, Redon and Fantasy,
1968 (titled Good spirits stopping bad spirits).
Frankfurt, Schirn Kunsthalle, James Ensor, 17 December 2005 - 18
March 2006, (illustrated p. 277).
LITERATURE:
X. Tricot, James Ensor Catalogue Raisonn of the paintings, Vol II,
London 1992, no. 827 (illustrated p. 682).
X. Tricot, James Ensor, Life and Work: The Complete paintings,
Brussels 2009, no. 845 (illustrated p. 420).
l40

Profls (Suzanne et le Vieillard)
signed and dated L.Spilliaert 27 (lower left)
48.5 x 60 cm.
Executed in 1927
15,000-20,000
40
US$19,000-25,000
EXHIBITED:
Brussels, Palais des Beaux-Arts, LArt contemporain, 28 April 21 May 1935, no. 387.
Louvain, Halle Universitaires, Peintres expressionistes de
Belgique 15 January - 11 February 1970, no. 44.
This work will be included in the forthcoming Spilliaert Catalogue
Raisonn currently being prepared by Anne Adriaens-Pannier.
l41

The old light house at dusk
signed and dated L.Spilliaert 1901. (lower right)
chalk, watercolour and ink on paper
33 x 37.5 cm.
Executed in 1901
50,000-70,000
US$63,000-88,000
EXHIBITED:
Ostend, Venetiaanse Gaanderijen, Brise dOstende, 3 June 17 September 2006.
Brussels, Palais des Beaux-Arts, Leon Spilliaert: een vrije geest,
22 September 2006 - 3 February 2007, no. 87.
LITERATURE:
Francine-Claire Legrand, Leon Spilliaert in zijn tijd, Tielt 1981,
A. Adriaens-Pannier, Leon Spilliaert, Ghent 1996, p. 53 (illustrated).
A. Adriaens-Pannier, Leon Spilliaert de bezielde blik, Ghent/Ludion,
2006, p. 40.
41
l42
REN MAGRITTE (1898-1967)

Le sourire
signed Magritte (lower right); titled Le Sourire (on the reverse)
gouache on paper
27.5 x 36 cm.
Executed in 1960
150,000-200,000
US$190,000-250,000
EXHIBITED:
Paris, Galerie Rive Droite, Ren Magritte, 16 February - 12 March 1960,
no. 21.
Brussels, Galerie Isy Brachot, Magritte: cent cinquante oeuvres; premire
vue mondiale de ses sculptures, 19 January - 20 February 1968, no. 159.
LITERATURE:
Anonymous, Numro Ren Magritte, in: Art belge, January 1968, p. 46.
D. Sylvester, Ren Magritte, Catalogue Raissonn, London 1994, Vol. IV,
Le sourire is a beautifully executed gouache by Ren Magritte. The work

belongs to a series of ten gouaches the artist completed during the frst
ten weeks of 1960, in view of an exhibition held at the Galerie Rive
Droite in Paris, from February to March that year. The show had been
organised by Magrittes New York dealer Alexander Iolas, who had
become the artists exclusive agent in 1948, maintaining this position
until the very end of the artists life.
Following the principles of Magrittes most signifcant artistic production,
Le sourire combines heightened realism with a paradoxical union of
distant realities. Set against a dramatic sunset, a milestone rises to
occupy most of the composition. Behind its battered stele, an empty
plane seems to expand towards infnity, barely interrupted by some
white mountains visible in the far horizon. Yet, the milestones engraving
does not seem to mark any land distance. The inscription, ANNO
192370 (year 192370), evokes instead a temporal dimension,
stretching the limit of space into the infnite expanse of the future.
Suddenly, time, an intangible entity, is brought into the measurable
dimension of space; at the same time, space is dilated into an unbound
dimension, with no limit or end.
In its subject, Le sourire revisits a composition Magritte had frst explored
in 1943, in an oil painting bearing the same title (D. Sylvester, S.
Whitfeld, Ren Magritte Catalogue Raisonn, vol. II, London 1993,
no. 532, p. 317). In that earlier work, Magritte had adopted a
more naturalistic approach: the slate appears surrounded by an idyllic
decadent setting made of wild grass and a few stone ruins. The
painting, moreover, was executed with a vibrating technique of small,
evocative brushstrokes. In the 1940s, Magritte had in fact rediscovered
the Impressionists, moving away from the hallucinatory clarity of his
earlier works to embark on a series of works that explored pastel colours
and fragmented brushstrokes. Unprecedented in his career, Magrittes
Impressionist style is to be understood as a manifestation of the artists
reaction to the darkness of the Second World War. In 1945, looking
42
back over the last few years, Magritte would explain in a letter: Since
the beginning of this war, I have had a strong desire to achieve a new
poetic effectiveness which would bring us both charm and pleasure. I
leave to others the business of causing anxiety and terror and mixing
everything up as before (quoted in D. Sylvester, S. Whitfeld, op. Cit.,
vol. II, p. 91). The imagery of the 1960s Le sourire had thus originated
within that context of hopeful artistic endeavour. Representing an
unconceivable, distant future as a wild meadow, the image may have
appeared, in 1943, as a wishful dream of evasion from the pressing
daily reality of war.
Compared to that earlier version, Le sourire seems to suggest that, in
1960, Magritte had returned to the theme with different intentions.
The stark landscape and the apocalyptic sky depicted in the gouache
marked a change in mood, affrming the artists new take on an image
he had frst devised almost two decades earlier. In January 1960, just at
the time when the artist was working on the series of gouaches to which
Le sourire belongs, Magritte was awarded the Prix du Couronnement de
Carriere, an award aimed at crowning the summit of an artists life.
In a letter to his dear friend Harry Torczyner, Magritte mused: As for
news I have just been awarded a 150,000 franc prize by the State,
which is desirous of crowning (sic!) my career. I shall, however, persist
in feeling myself still perfectly capable of going on with said career - no
better and no worse than in the past (quoted in R. Magritte, Magritte/
Torczyner: Letters Between Friends, New York 1994, p. 51). In that
same letter, as though to support his determination to continue his artistic
development, Magritte also announced the upcoming exhibition at the
Galerie Rive Droite, in which Le sourire would be exhibited. Further
exploring an image the artist had frst devised during the turbulent years
of the Second World War, Le sourire ultimately attests to Magrittes
intention to continue probing the possibilities of his universe. Since my
career is far from over, he continued in that 1960 letter, I will then
(following the exhibition) take up my brush once more, and on one of
your future visits you will see how it is evolving (ibid., p. 51).
VARIOUS PROPERTIES
l43
GEORGES BRAQUE (1882-1963)

Bocage
signed with initials and numbered GB 2/6 (lower left); and with
foundry mark Valsuani cire perdue (on the bottom edge)
bronze with a black patina
16.5 cm. high
Conceived in 1939 and cast at a later date in an edition of six
5,000-7,000
US$6,300-8,800
PROVENANCE:
M. Knoedler & Co. New York.
Perls Galleries, New York.
Anonymous sale, Christies, London, 30 November 1992, lot 68.
Sold with the certifcate of authenticity from Claude Laurens.
l44
PABLO PICASSO (1881-1973)

Four enlaced profles (Alain Rami 88)
white earthenware plate, painted in colours, 1949, from the edition
of 25, with the Madoura Plein Feu and Empreinte originale de
Picasso pottery stamps on the underside, three chips from the edge,
few lesser defects, otherwise in good condition
268 mm. diametre
Conceived in 1949 and executed in an edition of 25.
4,000-6,000
US$5,100-7,500
LITERATURE:
A. Rami, Picasso, Catalogue of the Edited Ceramic Works, 19471971, Madoura 1988, no. 88 (another version illustrated p.55).
l45
JULES VERMEIRE (1885-1977)

Head
signed with initials J.V. (on the back)
marble
45 cm. high (excl. wooden base)
This piece is unique
4,000-6,000
US$5,100-7,500
PROVENANCE:
Anonymous sale, Christies, Amsterdam, 10 March 2009, lot 38.
EXHIBITED:
The Hague, Pulchri Studio, 100 jaar zalen, September 2001.
The Hague, Haags Gemeentemuseum, Nieuwe Haagse School,
5 April - 28 September 2003.
LITERATURE:
Ton Knoester and Roelie Knoester - Penninkhof, Nieuwe Haagse
School, Schiedam 2002, p. 97 (illustrated).
l46
JOHN RDECKER (1885-1956)

Baby portret (Kleine Anni) - Portrait of a baby
signed with initials JR (on top of the base); with foundry mark
Kunstgieterij De Plastiek Bloemendaal (on the back of the base)
polished bronze
21.5 cm. high (incl. the bronze base)
Conceived in 1919 and cast in 1922 or 1925 in a small unknown
edition
4,000-6,000
US$5,100-7,500
LITERATURE:
Ype Koopmans, John Rdecker. De droom van het levende beeld,
Zwolle 2006, no. 1a-47 (another cast illustrated p. 310).
l47
DIRK SMORENBERG (1883-1960)

The Loosdrechtse plassen in winter
signed D. Smorenberg. (lower right)
oil on canvas
70.5 x 98 cm.
3,000-5,000
US$3,800-6,300
PROVENANCE:
Dirk Kroon, Caf Dunne Dirk, Loosdrecht.
48
CO BREMAN (1865-1938)
Dreefje
signed and dated Co.Breman.98 (lower right);
signed and titled Dreefje Co Breman (on the stretcher)
oil on canvas
61.5 x 50.5 cm.
Painted in 1898
5,000-7,000
46
US$6,300-8,800
l49
PIET MONDRIAAN (1872-1944)

A farmyard
PROVENANCE:
Acquired directly from the artist by Mr. and Mrs. van Calcar, Leiden.
signed Piet Mondriaan (lower right)

oil on canvas
66 x 51 cm.
Painted circa 1896-1898
In the early and diffcult years of Mondrians career, around 1890

to 1904, Mondrian created drawings for schoolbooks, scientifc
drawings for Prof. R. P. van Calcar in Leiden.
20,000-30,000
US$26,000-38,000
47
l50
CAREL WILLINK (1900-1983)

Untitled
signed and dated Willink 24 (centre right)
pencil, watercolour and gouache on paper
46.5 x 30 cm.
Executed in 1924
5,000-7,000
US$6,300-8,800
PROVENANCE:
Kunsthandel Huinck & Scherjon n.v. Amsterdam.
51
48
l51
52
BART VAN DER LECK (1876-1958)

Eight designs for Het Vlas (The Flax)
THEO VAN DOESBURG (1883-1931)

Stained-Glass Composition VIII
each signed and dated BvdLeck 41 (lower right) and each

with the numbered estate stamp V.2 - V.9 (on the reverse)
ink, watercolour and pencil on paper
each 43.5 x 27.5 cm.; one framed, seven unframed
Executed in 1941
(8)
stained glass
80 x 34.5 cm.
Executed in 1918-19
10,000-15,000
US$13,000-19,000
To be sold with the facsimile print of the book, published by

Bert Bakker in 1975.
Visit www.christies.com for additional information on this lot
10,000-15,000
US$13,000-19,000
PROVENANCE:
Acquired from former inhabitants of the Spangen housing project.
LITERATURE:
De Stijl, Volume IV, no. 5 (1921), p. 78, (titled Glas-in-lood
compositie VII).
S. Polano, Theo van Doesburg. Scritti di arte e di architettura, Rome
1979, pp. 540-41, no. arch 16, (titled Vetrata compositione VII).
E. Hoek (ed.), Theo van Doesburg. Oeuvre catalogus, Utrecht 2000,
no. 612.I, (illustrated).
In 1918-1919 Van Doesburg designed the stained glass windows
above the doors of the Rotterdam Spangen housing project - blocks
I and V designed by the architect J.J.P. Oud.
49
53
JAN MANKES (1889-1920)

Vogelnestje met groene eitjes
signed J Mankes. (lower right)
oil on canvas laid down on panel
10.5 x 12.5 cm.
Painted in 1910
18,000-22,000
US$23,000-28,000
PROVENANCE:
Arthur le Cosquino de Bussy, Amsterdam, acquired from the artist.
Anonymous sale, Sotheby Mak van Waay, Amsterdam, 26 April
1977, lot 367.
Acquired at the above sale by the late owner.
50
EXHIBITED:
Utrecht, Utrechtse Kunsthandel, Tentoonstelling van de werken door Jan
Mankes, 14 June - 12 July 1919, no. 4.
Utrecht, Utrechtse Kunsthandel, Eere-tentoonstelling Jan Mankes,
24 February - 24 March 1923, no. 110.
Amsterdam, Kunsthandel J. Goudstikker, Het Stilleven, 18 February 26 March 1933, no. 210 (on loan).
Heerenveen, Museum Willem van Haren/Arnhem, Gemeentemuseum/
Dordrecht, Dordrechts Museum, Jan Mankes: schilderijen, tekeningen en
grafek, 17 September 1989 - 25 March 1990 (illustrated p. 131).
LITERATURE:
A. Mankes-Zernike, R.N. Roland Holst, Jan Mankes, Utrecht 1923, p. 58.
A. Plasschaert, J. Havelaar & A. Mankes-Zernike, Jan Mankes, Wassenaar
1927, p. 55.
A. Mankes-Zernike, R.N. Roland Holst, Jan Mankes, Wassenaar 1928,
p. 58.
A. Ottevanger (a.o.), Jan Mankes 1889-1920, Zwolle 2007, no. Sch 35.
54
JAN MANKES (1889-1920)

Haan met schotel
pencil and watercolour on paper
11 x 8 cm.
Executed in 1913
6,000-8,000
US$7,600-10,000
PROVENANCE:
Acquired directly from the family of the artist by the present owner.
EXHIBITED:
Leeuwarden, Fries Museum, Jan Mankes, 27 October - 26 November
1979.
LITERATURE:
M. de Jong, F. Huismans, Verleidingen, Franeker 1998, p. 51.
A. Ottevanger (a.o.), Jan Mankes 1889-1920, Zwolle 2007,
no. Te 38 (illustrated p. 209).
l55
VILMOS HUSZAR (1884-1960)

Hierdense jongen
signed V. Huszar (lower right); titled Hierdense jongen
(on the artists label attached to the stretcher)
oil on canvas
90 x 69.5 cm.
2,000-3,000
US$2,600-3,800
51
l56
l57
ALBERTO MAGNELLI (1888-1971)

Untitled
THIJS RINSEMA (1877-1947)

Untitled
signed and dated Magnelli 41 (lower right)

27 x 21 cm.
Executed in 1941
ink and gouache on paper

28.5 x 14 cm.
Executed circa 1920
3,000-5,000
2,000-3,000
US$2,600-3,800
US$3,800-6,300
EXHIBITED:
Drachten, Museum Drachten, Thijs en Evert Rinsema: avant-garde
in Drachten, 29 October 2011 - 18 March 2012, no. 27.
52
l58
ALBERTO MAGNELLI (1888-1971)

Peinture 336
signed and dated Magnelli 37 (upper left); signed, inscribed, dated
and titled Peinture 336 Alberto Magnelli Paris 1937 (on the reverse)
oil on board
50 x 86 cm.
Painted in 1937
25,000-35,000
EXHIBITED:
New York, Nierendorf Gallery, Alberto Magnelli, 1937, no. M444.
LITERATURE:
A. Maisonnier, Alberto Magnelli, lOeuvre Peint Catalogue Raisonn,
Paris 1975, no. 472 (illustrated p. 116).
US$32,000-44,000
53
l59
CSAR DOMELA (1900-1993)

Untitled
signed and dated Domela 1956 (lower centre); signed and
dated Domela Fevrier 1956 (on the reverse)
gouache on paper
66 x 50.5 cm.
Executed in 1956
3,000-5,000
US$3,800-6,300
PROVENANCE:
Acquired directly from the artist by the family of the previous
owner. Anonymous sale, Christies, Amsterdam, 9 June
2004, lot 241.
l60
GEORGES VANTONGERLOO
(1886-1965)
Untitled
gouache on cardboard
12.5 cm. diametre
Executed in 1922
6,000-8,000
US$7,600-10,000
PROVENANCE:
Max Bill, Zumikon.
Angela Thomas, Zumikon.
Gallerie Ronny Van de Velde, Berchem.
Private collection, Brussels.
EXHIBITED:
Berchem, Ronny Van de Velde Gallery, Georges Vantongerloo
Retrospective, 15 December 1996 - 31 March 1997.
54
l61
OSSIP ZADKINE (1890-1967)

Deux personnages au violoncelle
PROVENANCE:
Kunsthandel Borzo, s-Hertogenbosch.
signed and dated O. Zadkine 51. (lower right)

gouache on paper
58 x 40.5 cm.
Executed in 1951
LITERATURE:
Valentine Prax, Avec Zadkine, souvenirs de notre vie, Lausanne/
Paris, 1963.
M. Jager, Ossip Zadkine. Het onbekende oeuvre. Gouaches en
aquarellen 1920-1966, Zwolle 2000 (illustrated p. 77).
10,000-15,000
US$13,000-19,000
55
l62
WILLI BAUMEISTER (1889-1955)

Fra Diavolo
signed and dated Baumeister 7. 51 (lower right); signed, dated and
titled Baumeister Fra Diavolo (auf Gelb) 1951 (on the reverse)
oil and resin on board, in the original frame
65 x 81 cm.
Painted in 1951
150,000-200,000
US$190,000-250,000
PROVENANCE:
Hacker Gallery, New York, 1952.
G.D. Thompson, Pittsburgh.
Galerie Otto Stangl, Munich.
EXHIBITED:
New York, Hacker Gallery, Willi Baumeister, 31 March - 26 April
1952 (illustrated).
Munich, Galerie Otto Stangl, Willi Baumeister, 25 September 25 October 1956.
LITERATURE:
W. Grohmann, Willi Baumeister, Stuttgart 1952, no. 142 (illustrated).
O. Bihalji-Merin, Willi Baumeister in: Quadrum, issue 8, 1960,
p. 63 (illustrated).
W. Grohmann, Willi Baumeister, Life and Work, London 1964,
M. Davidson, Painting with purpose, New Jersey 1964, no. 44
P. Beye & F. Baumeister, Willi Baumeister, Werkkatalog der
Gemlde, Vol. II, Ostfldern 2002, no. 2042 (illustrated p. 810).
Painter, graphic artist and stage designer Willi Baumeister was one of
the most prominent members of the German avant-garde. A leading
master of non-objective art and the successor in this feld to Paul Klee,
also remembered as the philosopher of modern painting.
Will Grohmann calls Fra Diavolo an Einzelbild, not making part of
one of the large series the artist made throughout his career to explore
the possibilities of new colours and forms extensively. It seems to be
an prelude to the Faust series, which he started in 1952. The painting
is inhabited by organic, free-foating black, brown, red and purple
shapes, which dominate the panel. It is a colourful testimony of the
artists investigations on his path to abstraction. Baumeister moved
away from topicality and closer to the unknown: to abstraction. The
artist claimed: So-called abstract painting is not abstract in the sense
of remoteness from life and humanity. An artists sensations are all
natural. He would explain his own pictures very clearly and could
hardly understand why people were always looking for naturalism. In
his eyes the forms he made were more real than those of nature, and
art was an outward-looking world. He once said that what counted
in art was neither the object, the theme, or the idea, but the visual
element alone. When artists express themselves verbally they are apt
to use misleading terms, meaning that a work of art has nothing to
gain from factors that lie outside the sphere of art and depends entirely
on pictorial values.
Fra Diavolo is also the title of a comic opera by the French composer
Daniel Auber, frst performed in 1830 and based on the life of guerilla
leader Michele Pezza. Will Grohmann writes about the present lot:
Another entitled Fra Diavolo (..) is just as gay and saucy as Aubers
opera with its yellow and red and the little fgure like a bandit on
the right. (W. Grohmann, Willi Baumeister. Life and work, New
York 1963, p. 112). Baumeister invented his titles, serving merely as
legible labels for identifying the pictures.
Baumeister reacted to the end of the Second World War with a
great need for a return to optimism and moved to brighter and more
positive compositions that display a bold vitality and youthfulness of
mood. In the last fve years of his life Baumeisters production was
more abundant than any of the preceding periods, even though he
was also claimed as a teacher at the art academy, as a representative
of modern painting and as a fghter for contemporary art in the public
debate. He would also work intensively on printing techniques and
stage designs.
Galerie Otto Stangl Munich. Installation view of

the Baumeister Exhibition, 1956.
(Courtesy of The Baumeister Archives, Stuttgart)
56
Baumeister reached mature recognition in this post-war period, and in

1952 held his frst show in New York at Hacker Gallery, where the
present lot was exhibited.
63

Village
signed with monogram (lower right)
chalk on paper
64 x 44 cm.
Executed circa 1919
2,500-3,500
US$3,200-4,400
The present lot is a preliminary study for the oil paintings both
titled Le Village, dated 1919 and included in: P. Boyens, Frits
van den Berghe 1880-1939, Antwerp 1999, no.s 156-157
VARIOUS PROPERTIES
!63a

Woman on the beach
with a dated estate stamp 1941
(lower right)
gouache on paper
70 x 49.5 cm.
3,000-5,000
US$3,800-6,300
PROVENANCE:
From the estate of A.J. Solano-Lubbers, Geneva.
58
PROPERTY OF A DISTINGUISHED BELGIAN COLLECTOR
64
GUSTAVE DE SMET (1877-1943)

Village road
PROVENANCE:
Campo, Antwerp, 1965.
signed Gustave De Smet (lower left)

oil on canvas
56 x 63 cm.
Painted in 1916
LITERATURE:
P. Boyens, Gust. De Smet. Kroniek - Kunsthistorische Analyse,
Antwerp 1989, no. 346, p. 336 (illustrated).
15,000-20,000
The present lot probably depicts the village of Laren.
US$19,000-25,000
59
VARIOUS PROPERTIES
l65
IGOR MITORAJ (1944-2014)

Sonno Tatuato Sdraiato
signed and numbered Mitoraj 3/8 (in the neck)
bronze with a green patina
70 cm. high
Conceived in 2002 and cast in an edition of eight.
50,000-70,000
60
US$63,000-88,000
PROPERTY FROM A PRIVATE ENGLISH COLLECTION
66
PABLO GARGALLO (1881-1934)

Torse de jeune gitan
numbered V/VII (on the back of the base)
bronze with dark brown patina
90 cm. high
Conceived in 1923 and cast by Andro Grandhomme circa
1928. An edition of seven plus three further artist proofs were
planned. Only fve of the seven casts were executed, and none
of the artist proofs. This work is number fve, the fnal cast.
10,000-15,000
US$13,000-19,000
PROVENANCE:
Alfred Flechtheim Gallery, Dsseldorf. Probably acquired
directly from the artist in 1928.
Alfred Knab Antiquitten, Wiesbaden, 1991.
Shepherd Galleries, New York. Acquired from the above in
March 1991.
Galerie Martin du Louvre, Paris, 2002.
Acquired from the above by the present owner in June 2002.
LITERATURE:
P. Courthion, Gargallo, sculptures et dessins, Paris 1937, no.s
62-63 (illustrated, dated 1934).
P. Courthion & P. Anguera-Gargallo, Pablo Gargallo, loeuvre
complet, Paris 1973, no. 89a (another cast illustrated p. 146).
J. Anguera, Gargallo, Paris 1979, p. 105 (illustrated pp. 100101).
J. Anguera, Pablo Gargallo, Catalogue Raisonn, Paris 1998,
no. 105a (illustrated pp. 130-131).
Jean Anguera Gargallo has confrmed the authenticity of this
work.
The present work is being offered for sale pursuant to a
settlement agreement between the consignor and the heirs of
Alfred Flechtheim. This resolves any dispute over ownership of
the work and title will pass to the buyer.
61
VARIOUS PROPERTIES
l67
IGOR MITORAJ (1944-2014)

Aedo
signed and numbered Mitoraj EA/I/IV (on the back) and with
foundry mark Fonderia M Italy (on the back of the base)
bronze with a grey patina
47 cm high. (incl. the bronze base)
Conceived in 1986. This is the frst of four artist proofs.
8,000-10,000
US$11,000-13,000
l68
ARTHUR SPRONKEN (B. 1930)

Amazone
bronze with a brown patina
55 cm. high (incl. stone base)
Conceived and cast before 1980 in an edition of circa seven.
8,000-12,000
US$11,000-15,000
PROVENANCE:
Anonymous sale, Christies, Amsterdam, 25 November 2003,
lot 134.
62
l!69
BERNARD BUFFET (1928-1999)

Nature morte
signed and dated Bernard Buffet 62 (upper left)
oil on canvas
81 x 99.5 cm.
Painted in 1962
35,000-45,000
PROVENANCE:
Galerie E. David & M. Garnier, Paris.
Antonio Rousso Gallery, Rome.
This work is sold with a photo certifcate from Galerie Maurice
Garnier.
US$44,000-56,000
63
PROPERTY FROM A DISTINGUISHED BELGIAN COLLECTION
l70
GASTON BERTRAND (1910-1994)

Rouge-vert et vert
signed and dated Bertrand 64 (lower right); signed, titled, numbered and
dated Gaston Bertrand Rouge-vert et vert 1964 No 353 (on the reverse)
oil on canvas
55 x 46 cm.
Painted in 1964
2,500-3,500
US$3,200-4,400
PROVENANCE:
EXHIBITED:
Brussels, Muses Royaux des Beaux-Arts de Belgique, Gaston Bertrand, 24
October 1974 - 5 January 1975.
VARIOUS PROPERTIES
l71
JOOST BALJEU (1925-1991)

Synthetische constructie F11
painted metal
13 x 50 cm. (excl. the plexiglass base)
Executed in 1981 in an edition of two.
4,000-6,000
US$5,100-7,500
LITERATURE:
J. Baljeu, Space time constructions. Zeit raum konstruktionen, Amsterdam
1989, no. 55, p. 46.
64
l72
JOOST BALJEU (1925-1991)

W II
a painted wood relief
65 x 125 x 20 cm.
Executed in 1960.
25,000-35,000
PROVENANCE:
The estate of the artist.
Galerie De Rijk, The Hague.
US$32,000-44,000
65
l73

Centaures
signed and dated O. Zadkine 41 (lower right)
gouache on paper
50 x 64 cm.
Executed in 1941
12,000-16,000
66
US$16,000-20,000
PROVENANCE:
Anonymous sale, Sothebys, New York, 19 November 1986, lot
140.
Kunsthandel Borzo, s-Hertogenbosch.
LITERATURE:
M. Jager, Ossip Zadkine. Het onbekende oeuvre. Gouaches en
aquarellen 1920-1966, Zwolle 2000 (illustrated p. 62 where
dated 1947).
l74

Tte de femme
pink quartz
29 cm. high (excl. the stone base)
Executed in 1943
20,000-30,000
US$26,000-38,000
PROVENANCE:
Anonymous sale, Sotheby Parke Bernet, New York, 13
October 1965.
LITERATURE:
S. Lecombre, Ossip Zadkine, lOeuvre sculpt, Paris 1994,
PROPERTY OF A BELGIAN PRIVATE COLLECTION
l75
EMILE GILIOLI (1911-1977)

La Sulamite
polished bronze
37 cm. high (excl. stone base)
Conceived in 1949 and cast in an edition of fve
4,000-6,000
US$5,100-7,500
PROVENANCE:
Galerie Veranneman, Brussels, 1968.
Acquired from the above by the father of the present owners.
67
l76
LEOPOLD SURVAGE (1878-1968)

Snake
signed and dated Survage 39. (lower right)
gouache on paper
22.5 x 17 cm.
Executed in 1939
2,000-3,000
US$2,600-3,800
VARIOUS PROPERTIES
l77
JULES VERMEIRE (1885-1977)

Head of a woman
signed with initials J.V. (on the back)
black polished marble
30 cm high (excl. the stone base)
This piece is unique
2,500-3,500
US$3,200-4,400
LITERATURE:
Anonymous in: Beeldende Kunst, 1940-41, no. V (illustrated).
68
l78
JEAN DUFY (1888-1964)

Parade mexicaine
signed, dedicated and dated Michel Jean
Dufy 1960 (lower right)
watercolour, gouache and pen on paper
13.5 x 20.5 cm.
Executed in 1960
6,000-8,000
US$7,600-10,000
LITERATURE:
Jacques Bailly, Jean Dufy (1888-1964):
Catalogue raisonn de loeuvre, Paris 2010,
vol II, no. J.1269 (illustrated).
This lot will be sold with a photo certifcate by
Jacques Bailly.
l79
SERGE CHARCHOUNE
(1888-1976)
Guitare I
signed (scratched) Charchoune (lower right);
signed, titled and inscribed Charchoune
Guitare I Boccherini (on the reverse)
oil on canvas
33 x 55 cm.
2,000-3,000
US$2,600-3,800
PROVENANCE:
Galerie Georges Bongers, Paris.
Kunsthandel M.L. de Boer, Amsterdam, 1980.
Acquired from the above by the family of the
present owner.
69
80
VINCENT VAN GOGH (1853-1890)

Le Pcheur
bears signature Vincent (lower right)
pencil and pen and brown ink on paper
48.5 x 23 cm.
Executed in September - November 1882
200,000-300,000
US$260,000-380,000
PROVENANCE:
Dr H.P. Bremmer, The Hague.
F. Bremmer, The Hague.
E.J. van Wisselingh & Co., Amsterdam.
F.A.C. Gupin, London.
By descent from the above to the present owner in 1966.
EXHIBITED:
Memphis, Dixon Gallery and Gardens, The Genius of Van Gogh,
May - June 1982, no. 6, (illustrated p. 23).
LITERATURE:
W. Vanbeselaere, De Hollandse Periode in het Werk van Vincent van
Gogh, Antwerp 1937, p. 92, no. 410.
J. Hulsker, The Complete Van Gogh, Paintings, Drawings, Sketched,
New York 1980, no. 312, p. 77 (illustrated).
J.B. De la Faille, Vincent van Gogh, The Complete Works on Paper
Catalogue Raisonn, vol. I, San Francisco 1992, no. 1049,
(illustrated vo. II, pl. LVI).
Executed in 1883, Le pcheur belongs to a series of drawings Vincent

van Gogh dedicated to the fgure of the fsherman: portrayed in
three-quarter profle, a man poses in the traditional outft of his trade,
composed of a three-quarter sleeves jacket with stand-up collar and
distinctive souwester. Van Gogh considered drawings such as Le
pcheur to be important studies that allowed him to master drawing
techniques, while bringing him closer to the subjects he desired to
depict the most: the workers and the poor. The isolated, straightforward
pose of the model anchors Le pcheur within the realm of the lifedrawing study. The fgures withdrawn stare, however, betrays Van
Goghs sensitive eye, turning the image into a compassionate homage
to the harsh life of the fsherman, possibly even carrying some religious
undertones, resonating with the biblical symbolism of the subject.
Van Gogh had only started to work methodically from the model in
1881, while in Etten, where he employed the familys gardener, Piet
Kaufman, and other villagers for his studies. The artist, however, had a
hard time trying to make them pose as he wished: But what a job is
to make people understand how to pose, he lamented to his brother
Theo. Folks are desperately obstinate about it, and it is hard to make
them yield on this point: they only want to pose in their Sunday best,
with impossible folds in which neither their knees, elbows, shoulder
blades nor any other part of the body have left their characteristic dents
or bumps (Letter 148, The Complete Letters of Vincent Van Gogh, vol.
70
I, London 1958, p. 237). By 1883, the year he probably executed Le

pcheur, Van Gogh had found a solution to the problem: he had started
collecting a series of second-hand clothes that he wished his models to
wear. He had announced his plan to Theo in 1881: For you should
know that eventually I must have a small collection of workmens clothes
in which to dress the models for my drawings. For instance, a Brabant
blue smock, the grey linen suit that the miners wear and their leather hat,
then a straw hat and wooden shoes, a fshermans outft of yellow oilskin
and a souwester (...) Drawing the model with the necessary costumes is
the only true way to succeed (Letter 141, ibid., p. 216).
Since 1881, then, the fgure of the fsherman had been a priority
for Van Gogh, dedicated as he was to truly portraying the life of the
workers, but it was only in January 1883 that he fnally came across
the souwester he had so desired: Tomorrow I get a souwester for
the heads. Heads of fshermen, old and young, thats what Ive been
thinking of for a long time and I have made one already, then afterward
I couldnt get a souwester. Now I shall have one of my own, an old
one over which many storms and seas have passed (Letter 261, ibid.,
p. 528). Le pcheur may have been executed following the acquisition
of the much coveted souwester, satisfying Van Goghs eagerness to
work on the subject. Two weeks later, Van Gogh was still reiterating
in his letter: I am very glad to have my souwester (Letter 305, ibid.,
p. 531).
l81
LON DE SMET (1881-1966)

A summer landscape
signed with monogram (lower left)
oil on cardboard
40 x 42 cm.
Painted in 1910
6,000-8,000
PROVENANCE:
Anonymous sale, De Vuyst, Lokeren,
10 October 1987, lot 128.
LITERATURE:
Piet Boyens, Leon De Smet, Tielt 1994, (illustrated p. 79).
US$7,600-10,000
82 no lot
72
83

Zomerdag
PROVENANCE:
Piet Visser, Amsterdam.
signed and dated Leo.Gestel-09 (lower right); signed and

titled Leo Gestel Zomerdag (on the stretcher)
oil on canvas
70.5 x 55.5 cm.
Painted in 1909
40,000-60,000
EXHIBITED:
Haarlem, Frans Hals Museum/De Hallen, Zo Hollands - Het
Hollandse landschap in de Nederlandse kunst van 1850 tot heden,
24 June - 11 September 2011.
The present lot depicts a landscape near Montfoort.
US$51,000-75,000
73
l84
FERDINAND ERFMANN (1900-1968)

Beach chair
signed with initials and dated FE 1968 (lower left)
oil on canvas
50 x 70.5 cm.
7,000-9,000
US$8,800-11,000
l85
ARMAND BOUTEN (1893-1965)

Mother and cat
signed and dated Arm Bouten 21. (upper right)
oil on board
41 x 35 cm.
Painted in 1921
4,000-6,000
74
US$5,100-7,500
l86
MELLE (1908-1979)
Untitled
signed and dated Melle 65 (lower right)
oil on canvas
30 x 35 cm.
Painted in 1965
4,000-6,000
US$5,100-7,500
75
l87
JAN SLUIJTERS (1881-1957)

Portrait of a girl
signed and dated Jan Sluijters 35 (upper left)
oil on canvas
80 x 60.5 cm.
Painted in 1935
5,000-7,000
US$6,300-8,800
It has been suggested that the present lot depicts Elly van der Horst.
Included in the digital Catalogue Raisonn on the artists work by the
RKD - Netherlands Institute for Art History:sluijters.rkdmonographs.nl.
l88
KEES VERWEY (1900-1995)

Colourful fowers
signed Kees Verwey and dated 86 (lower right)
100 x 73 cm.
Executed in 1986
6,000-8,000
US$7,600-10,000
EXHIBITED:
The Hague, Galerie Nouvelles Images, Kees Verwey: schilderijen,
aquarellen, 26 March - 27 April 1988, no. 3.
76
l!89
LON DE SMET (1881-1966)

Fleurs et Coquillages
signed and dated Leon De Smet 921 (lower left)
oil on canvas
70.5 x 80.5 cm.
Painted in 1921
40,000-60,000
PROVENANCE:
Galerie Robert Finck, Brussels.
Anonymous sale, Campo, Antwerp, 10 October 1972, lot 70.
Anonymous sale, Sothebys, London, 20 June 2007, lot 461.
EXHIBITED:
Brussels, Galerie Robert Finck, DEmile Claus nos jours, circa
1970, no. 16 (illustrated).
US$51,000-75,000
77
l!90
HARRY KUIJTEN
(1883-1952)
At the beach
signed Harrie Kuijten. (lower right)
oil on canvas
38.5 x 54 cm.
Painted circa 1917
7,000-9,000
US$8,800-11,000
EXHIBITED:
Warmenhuizen, Ursula Kerk,
Strandtaferelen en duinlandschappen,
24 June - 20 August 1989, no 54.
LITERATURE:
W. Baars a.o., Harrie Kuijten, 1883
- 1952, Amsterdam 1993, no. 38
l!91
HARRY KUIJTEN
(1883-1952)
A beach with wicker chairs
signed Harrie Kuijten (lower right)
oil on canvas
54.5 x 65 cm.
3,000-5,000
US$3,800-6,300
78
l92
JAN SLUIJTERS
(1881-1957)
Standing nude with green
drapery
signed Jan Sluijters (upper right)
oil on canvas
80 x 60 cm.
Painted circa 1955
30,000-50,000
US$38,000-63,000
PROVENANCE:
Galerie Mia Joosten, Amsterdam.
Kunsthandel Peter Pappot, Amsterdam.
Included in the digital Catalogue
Raisonn on the artists work by the
RKD - Netherlands Institute for Art
History:sluijters.rkdmonographs.nl.
79
l93
WILLEM OEPTS (1904-1988)

Landschap in Languedoc
LITERATURE:
M.L. van Aubel a.o, Willem Anthonie Oepts 1904-1988, Monografe en
oeuvrecatalogus, Zwolle 2011, no. sk.261 (illustrated p. 195).
signed and dated Oepts-65 (lower left)

oil on canvas
60 x 73 cm.
Painted in 1965
The present collection contains strong examples of the work of Dutch artist
Wim Oepts, who worked most of his life in the South of France. He is
best known for his landscapes, composed of large areas of colour , often
contrasting heavily and almost abstract. His bright colours refect the light of
the South of France. In France I felt liberated, Oepts said. In 1933 he frst
visited Paris and later on he chose to live there permanently, until his death in
1988. There he was introduced to the work of (Post)Impressionists and Fauvists
and became particularly attracted to the work of Bonnard, Matisse, Derain
and De Stael. Struck by the beauty of the southern light in fshing villages as
Collioure and St. Tropez he decided to radically alter his art. Oepts started to
use more colour and began to paint with far looser brush strokes. The subject
of his paintings from then onwards were village and harbour views. In the
1950s Oepts compositions became more complex: the painted surface
much overworked, layer over layer with brushstrokes that come from different
angles, full of Mediterranean light. Oepts has always been supported by a
group enthusiastic collectors of his work. In 2011 his work was honored with
a large exhibition in the Kunsthal in Rotterdam.
10,000-15,000
US$13,000-19,000
PROVENANCE:
Acquired directly from the artist by the mother of the present
owners.
EXHIBITED:
Amsterdam, Rijksacademie van Beeldende Kunsten, W. Oepts,
14 May - 19 June 1965, no. 38.
80
l94

Dorpsplein
signed and dated Oepts-65 (lower right)
oil on canvas
54.5 x 65 cm.
Painted in 1965
7,000-9,000
US$8,800-11,000
PROVENANCE:
Acquired directly from the artist by the mother
of the present owners.
EXHIBITED:
Amsterdam, Rijksacademie van Beeldende
Kunsten, W. Oepts, 14 May - 19 June
1965, no. 39.
LITERATURE:
M.L. van Aubel a.o, Willem Anthonie
Oepts 1904-1988, Monografe en
oeuvrecatalogus, Zwolle 2011, no. sk.263
l95

Huis
signed and dated Oepts-65 (lower left)
oil on canvas
46 x 55 cm.
Painted in 1965
8,000-12,000 US$11,000-15,000
PROVENANCE:
Acquired directly from the artist by the mother
of the present owners.
EXHIBITED:
Amsterdam, Rijksacademie van Beeldende
Kunsten, W. Oepts, 14 May - 19 June
1965, no. 46.
LITERATURE:
M.L. van Aubel a.o, Willem Anthonie Oepts
1904-1988, Monografe en
oeuvrecatalogus, Zwolle 2011, no. sk.262
81
96
l96
JULIUS BISSIER (1893-1965)

Composition
signed, dated and inscribed Jules Bissier 27.febr.62 Ascona
(lower left)
tempera and oil on canvas
19 x 27.5 cm.
Executed in 1962
10,000-15,000
US$13,000-19,000
PROVENANCE:
Anonymous sale, De Vuyst, Lokeren, 8 October 2005, lot 482.
EXHIBITED:
Milan, Toninelli Arte Moderna, Julius Bissier, February - March
1966, no. 13.
97
82
97
HEINRICH HRLE (1895-1936)

ste mit trockenen Blttern (Herbst)
signed with initial and dated H 1929 (upper right)
60 x 45 cm.
Executed in 1929
3,000-5,000
US$3,800-6,300
EXHIBITED:
Cologne, Klnischer Kunstverein, Heinrich Hoerle, October
1981 - January 1982, no. 57 (illustrated p.205).
LITERATURE:
D. Backes, Heinrich Hoerle, Leben und Werk, 1895-1936,
Cologne 1981, no. 57 (illustrated p. 205).
PROPERTY OF A BELGIAN PRIVATE COLLECTION
98
WIFREDO LAM (1902-1982)

Untitled
signed and dated Wifredo Lam 1962 (lower right)
chalk and pastel on paper
67 x 48 cm.
Executed in 1962
10,000-15,000
US$13,000-19,000
PROVENANCE:
Gallery Maya, Brussels.
98
VARIOUS PROPERTIES
l99
WILLI BAUMEISTER (1889-1955)

Kammzugfguren in Dialog
signed and dated Baumeister 48 (lower right)
chalk on paper
31.5 x 48.5 cm.
Executed in 1948
3,500-4,500
US$4,400-5,600
PROVENANCE:
Margaret Baumeister, Stuttgart.
Galerie Lutz & Mayer, Stuttgart.
Galerie Michael Hertz, Bremen.
99
EXHIBITED:
Bremen, Galerie Michael Hertz, 30 Meisterzeichnungen von Picasso
bis Matta, 15 December 1966 - 10 February 1967, no. 20.
LITERATURE:
D. Ponert, Willi Baumeister, Werkverzeichnis der Zeichnungen,
Gouachen und Collagen, Cologne 1988, no. 1892 (illustrated p.
668).
83
l100
HERMAN BERSERIK (1921-2002)

Zelfportret staand
signed and dated Berserik 1986 (lower left); titled and numbered Zelfportret
staand 337 (on the stretcher), signed and dated 1986 11-21 dec/ Berserik (on
the artists label attached to the stretcher)
acrylic on canvas
120 x 55.5 cm.
Painted in 1986
2,500-3,500
US$3,200-4,400
PROVENANCE:
Acquired from the estate of the artist by the present owner circa 2003.
EXHIBITED:
Rijswijk, Museum Rijswijk, Herman Berserik, 15 january - 21 february, no. 1.
LITERATURE:
C. Vos, a.o., Herman Berserik 1921-2002: Werk, The Hague 2009, no. 1
l101
HERMAN BERSERIK (1921-2002)

Trommel en brood
signed and dated Berserik 1982 (lower right); signed,
numbered, titled and dated Trommel en brood, 206,
12-17 april 1982 Berserik (on the artists label attached
to the backing)
oil on panel
31 x 41 cm.
Painted in 1982
1,500-2,000
US$1,900-2,500
EXHIBITED:
The Hague, Pulchri Studio, Herman Berserik, 18 October 5 November 1983, no. 12.
84
l102
FERDINAND ERFMANN (1901-1968)

Women on the beach
PROVENANCE:
signed with initials and dated F.E. 1954 (lower centre); signed
Erfmann (on the reverse)
oil on canvas
70 x 80 cm.
Painted in 1954
15,000-20,000
US$19,000-25,000
85
l103
JAN VERKADE (1868-1946)

The road to Gethsemani
signed Verkade (lower left)
oil on canvas laid down on panel
23 x 33 cm.
Painted circa 1909-10
12,000-18,000
US$16,000-23,000
Visit www.christies.com for additional

information on this lot
l104
DIRK FILARSKI (1885-1964)

Mountainous landscape,
Switzerland
signed and dated D.H.W. Filarski 17 (lower right)
oil on canvas
49.5 x 64.5 cm.
Painted in 1917
5,000-7,000
US$6,300-8,800
PROVENANCE:
Anonymous sale, Christies, Amsterdam, 19 May
2010, lot 136.
Visit www.christies.com for additional
information on this lot
86
l105
KEES MAKS (1876-1967)

The Fratellini brothers
signed C.J. Maks. (lower left)
oil on board
31 x 39 cm.
4,000-6,000
US$5,100-7,500
l106
CHARLEY TOOROP (1891-1955)

Dorschmachine
signed C Toorop (lower left); signed, titled and dated
Dorschmachine 1925 C. Toorop (on the reverse)
oil on canvas
45.5 x 55.5 cm.
Painted in 1925
3,000-5,000
US$3,800-6,300
PROVENANCE:
H.P. Bremmer, The Hague.
Kunsthandel G.J. Nieuwenhuizen Segaar, The Hague.
Acquired from the above by the present owner circa 1974.
LITERATURE:
A.M. Hammacher, Charley Toorop, Rotterdam 1952,
no. 91.
Nico J. Brederoo, Charley Toorop, Leven en werk,
Amsterdam 1982, no. 231 (illustrated p. 276).
87
l107

Le Faubourg
signed and dated P.Delvaux 3-28. (lower right)
39 x 48 cm.
Executed in 1928
6,000-8,000
108
RIK WOUTERS (1882-1916)

Simon Lvy
signed and with foundry mark Rik Wouters FONrie Nle des Bronzes
Petermann St. Gilles Bruxelles (on the back)
30 cm. high (excl. the stone base)
Conceived in 1911 and cast in an unknown edition (This is probably a
lifetime cast).
4,000-6,000
US$5,100-7,500
LITERATURE:
R. Avermaete, Rik Wouters, Brussels 1986, p. 215.
O. Bertrand, S. Hautekeete, Rik Wouters. Kroniek van een leven, Antwerp
1994, p. 101 (illustration of another cast).
The French painter Simon Lvy (1886-1973) became a close friend of Rik
Wouters in 1909.
88
US$7,600-10,000
l110
VARIOUS PROPERTIES
l109
JACQUES LIPCHITZ (1891-1973)

Untitled
signed J Lipchitz (lower left)
chalk on paper
26.5 x 19 cm.
2,000-3,000
US$2,600-3,800

Nude
signed and dated P. Delvaux 1963. (lower right)
ink on paper
17 x 12.5 cm.
Executed in 1963
4,000-6,000
US$5,100-7,500
89
l111
JACQUES LIPCHITZ (1891-1973)

Still life with guitar and fruit in a bowl
signed J Lipchitz (lower right)
35.5 x 35 cm.
4,000-6,000
US$5,100-7,500
111
l112

Les Amies
signed and dated P. Delvaux 1968 (lower right)
ink on paper
17.5 x 13 cm.
Executed in 1968
2,000-3,000
US$2,600-3,800
VARIOUS PROPERTIES
l113
WIM SCHUHMACHER (1894-1986)

Portrait of Hugo van Manen
signed W. Schuhmacher. (lower left)
oil on canvas
100.5 x 86 cm.
Painted in 1938
7,000-9,000
US$8,800-11,000
PROVENANCE:
Hugo van Manen, Utrecht.
112
90
Visit www.christies.com for additional information on this lot
113
l114
WILLEM VAN LEUSDEN (1886-1974)

Het einde
signed W.v.Leusden. (lower right); titled Het einde (on the
stretcher)
oil on canvas
90.5 x 70.5 cm.
2,000-3,000
US$2,600-3,800
91
114
115
PAUL MADELINE
(1863-1920)
Trees in a landscape
signed P. Madeline (lower left)
oil on canvas
55 x 65.5 cm.
3,500-4,500
US$4,400-5,600
l116
JAN WIEGERS (1893-1959)

Nieuwmarkt met Waag, Amsterdam
signed and dated Jan Wiegers 35 (lower left); signed
and titled Jan Wiegers Nieuwmarkt met Waag,
Amsterdam (on the reverse)
oil on canvas
45.5 x 55.5 cm.
Painted in 1935
7,000-9,000
US$8,800-11,000
PROVENANCE:
Anonymous sale, Christies, Amsterdam 31 May
1994, lot 5.
Anonymous sale, Sothebys, Amsterdam, 17 December
1996, lot 164.
Acquired at the above sale by The Collection
Meentwijck, Bussum, their sale, Christies, Amsterdam,
16 October 2003, lot 898.
92
l117
ANNA DE WEERT (1867-1950)

Blossoming tree near a farm
signed A. De Weert. (lower left); signed, inscribed and
dated Anna de Weert Afsnee Mai 1925 (on the reverse)
oil on board
35 x 50 cm.
Painted in 1925
8,000-12,000
US$11,000-15,000
PROVENANCE:
Anonymous sale, De Vuyst, Lokeren, 12 May 2012,
lot 216.
118
FRITS VAN DEN BERGHE

(1883-1939)
Interior
oil on canvas
50 x 58 cm.
Painted circa 1905
5,000-7,000
US$6,300-8,800
PROVENANCE:
Heritiers de feu Richard de Moor, Ghent.
Leo de Groote, Ghent.
Anonymous sale, De Vuyst, Lokeren, 12 December 1998,
lot 460.
Acquired at the above by the present owner.
EXHIBITED:
Sint Martens-Latem, Latemse Kunstkring, Latems kunstleven
omstreeks 1910, 4 June - 25 June 1961, no. 45.
Sint Martens-Latem, Latemse Kunstkring, Frits van den
Berghe, 12 August - 12 September 1976, no. 3.
LITERATURE:
Paul Haesaert, Laethem - Saint Martin le Village lu de Lart
Flamand, Brussels 1965, no. 643.
Emile Langui, Frits van den Berghe 1883-1939 Catalogue
Raisonn de son oeuvre peint, Brussels 1966, no. 15
(illustrated).
Emile Langui, Frits van den Berghe. De mens en zijn werk,
Antwerp 1968, no. 15.
Piet Boyens, Frits van den Berghe, Brussels 1999, no. 39
(illustrated).
93
VARIOUS PROPERTIES
l119
CONSTANT PERMEKE
(1886-1952)
Marine
signed Permeke (lower left)
oil on canvas laid down on plywood
54 x 63.5 cm.
7,000-9,000
US$8,800-11,000
PROVENANCE:
Anonymous sale, Campo, Antwerp, 6 February
1962, lot 121.
Mr. Kleinberg, Antwerp.
l120
PHILIBERT COCKX
(1879-1949)
Self portrait
signed and dated Ph Cockx 1911
(lower right)
oil on canvas
50 x 61.5 cm.
Painted in 1911
3,000-5,000
94
US$3,800-6,300
l121
AUGUSTE HERBIN (1882-1960)

Les anmones
signed Herbin (lower right)
oil on canvas
81 x 65 cm.
Painted in 1925
25,000-35,000
US$32,000-44,000
PROVENANCE:
Galerie lEffort Moderne (Lonce Rosenberg), Paris.
Kunsthandel Nieuwenhuizen Segaar, The Hague.
LITERATURE:
Bulletin de LEffort Moderne, no. 26, Paris, June 1926.
G. Claisse, Herbin, Catalogue Raisonn de loevre peint,
Paris 1993, no. 560 (illustrated p. 378).
95
This collection of works (lot no. 122-127) offered by the direct family
of Adriaan Lubbers gives an insight in how the artist was inspired
by various styles, techniques and other artists. Lubbers travelled from
Argentina, Paris, Italy and New York of which the latter would play
a large role in his choice of subjects. In the 1920s Lubbers became
close friends with Leo Gestel, with whom he travelled through
Germany and Italy. Gestel can be seen as one of Lubbers biggest
inspirations for his cubist style, besides Picasso and Braque, whos
work he had seen in Paris. In 1934 Lubbers was invited to come to
Chicago to paint the Century of Progress world fair. He made several
drawings, paintings and watercolours of which a beautiful example
is present in the collection.
l!122
ADRIAAN LUBBERS (1892-1954)

World fair, Chicago
signed Adriaan Lubbers (lower right)
oil on canvas
Painted in 1934
8,000-12,000
US$11,000-15,000
PROVENANCE:
!123

Three Horses
signed and dated Leo Gestel 28 (lower left)
chalk, watercolour and pastel on paper
37 x 27 cm.
Executed in 1928
3,000-5,000
US$3,800-6,300
PROVENANCE:
96
l!124
l!125

Regenhtte

Haunted house (Positano)
signed and dated Adriaan Lubbers 1923 (lower right)

oil on canvas
90 x 65.5 cm.
Painted in 1923
signed and dated Adriaan Lubbers 1924 (lower right)

oil on canvas
101 x 74 cm.
Painted in 1924
2,000-3,000
3,000-5,000
US$2,600-3,800
PROVENANCE:
US$3,800-6,300
PROVENANCE:
97
l!126

New York seen from the Hudson
oil on canvas
63.5 x 26 cm.
7,000-9,000
US$8,800-11,000
PROVENANCE:
!127

Horses
26.5 x 36 cm.
3,000-5,000
US$3,800-6,300
PROVENANCE:
VARIOUS PROPERTIES
128
GEORGES LEMMEN (1865-1916)

Lise sa lecture
signed with monogram (upper left)
chalk, ink and colour crayons on paper
32.5 x 48.5 cm.
Executed in 1908
4,000-6,000
US$5,100-7,500
This work is a design for the exhibition poster of the Ausstellung

Brsseler Knstler in Leipzig 1908.
98
127
128
99
l129

Stilleven met rode kruik
signed Oepts (lower left)
oil on canvas
33.5 x 41.5 cm.
Painted in 1937
2,000-3,000
US$2,600-3,800
PROVENANCE:
Acquired directly from the artist by the mother of the present
owners.
EXHIBITED:
Amsterdam, Stedelijk Museum. Tentoonstelling
Hollandsche Kunstenaarskring, 25 March - 16 April
1939, no. 80.
Amsterdam, Rijksacademie van Beeldende Kunsten, W.
Oepts, 14 May - 19 June 1965, no. 45.
LITERATURE:
M.L. van Aubel a.o, Willem Anthonie Oepts 1904-1988,
Monografe en
oeuvrecatalogus, Zwolle 2011, no. sk.052 (illustrated
p. 155).
l130
JAN VAN HEEL (1898-1991)

Clown
signed and dated Janvheel 59 (upper left)
oil on canvas
60 x 50.5 cm.
Painted in 1959
3,000-5,000
US$3,800-6,300
PROVENANCE:
Kunsthandel Martinus Liernur, The Hague.
Acquired from the above by the father of the late owner in
1960.
100
l131
GERRIT BENNER (1897-1981)

De koperen tuin (naar Vestdijk)
signed Bnr (lower right)
gouache and graphite on paper
67 x 47 cm.
Executed circa 1946-47
6,000-8,000
US$7,600-10,000
PROVENANCE:
Kunsthandel Lambert Tegenbosch, Leusden.
EXHIBITED:
Leeuwarden, Fries Museum, Gerrit Benner, October December 1999.
l132
GERRIT BENNER (1897-1981)

Seascape
signed and dated Bnr 48 (lower right)
gouache and graphite on paper
48.5 x 63 cm.
Executed in 1948
3,000-5,000
US$3,800-6,300
PROVENANCE:
H.L. Straat, Leeuwarden.
Anonymous sale, Glerum, Amsterdam, 13 June 2001,
lot 112.
EXHIBITED:
Arnhem, Gemeentemuseum/Schiedam, Stedelijk
Museum/ Leeuwarden, Fries Museum, Collectie H.L.
Straat: chirurg te Leiden, 27 September 1959 - 31
January 1960, no. 43.
Leeuwarden, Princessehof, Gerrit Benner uit Fries bezit,
1976, no. 21.
Laren, Singer Museum/Leeuwarden, Fries Museum, In
de ban van Benner, 19 March-30 July 1990, no. 19
(illustrated)
101
l133
ANDR HAMBOURG (1909-1999)

Beau temps, sur la plage
signed A.Hambourg (lower left); signed with
initials and titled
a.h. Beau temps, sur la plage (on the reverse)
oil on canvas
38 x 46 cm.
4,000-6,000
US$5,100-7,500
PROVENANCE:
Galerie Paul Ptrids, Paris.
This work will be sold with a photo-certifcate by
Nicole Hambourg.
l134
ANDR HAMBOURG (1909-1999)

Sur la plage, temps calme,
Trouville
signed A.Hambourg (lower left); signed with initials
and titled
a.h. Sur la plage, Temps Calme (Trouville) (on the
reverse)
oil on canvas
22 x 35 cm.
2,000-3,000
US$2,600-3,800
PROVENANCE:
Art Gallery Grard, Wassenaar.
This work will be sold with a photo-certifcate by
Nicole Hambourg.
102
l135
LEONOR FINI (1907-1996)

Portrait of a woman
signed Leonor Fini (lower right)
gouache on paper
48.5 x 41.5 cm.;
and Another work on paper depicting two fgures (2)
5,000-7,000
US$6,300-8,800
These works will be sold with photo-certifcates from

Mr. Richard Overstreet.
(Part lot)
l136
KTHE KOLLWITZ (1867-1945)

Sugling von den Hnden der
Mutter gehalten
signed and dated Kollwitz 09 (lower right)
pencil on paper
29 x 42.5 cm.
Executed in 1909
4,000-6,000
US$5,100-7,500
LITERATURE:
Adolf Heilborn, Kthe Kollwitz, Berlin 1949
Otto Nagel, Kthe Kollwitz, Die Handzeichnungen,
Berlin 1972, no. 514 (illustrated p. 287).
103
l137
CRIS AGTERBERG (1883-1948)

Head of Darja Collin (1902-1967)
signed and with foundry mark Cris Agterberg Metaalgietery
Holland Adam (on the reverse)
23 cm. high
4,000-6,000
US$5,100-7,500
LITERATURE:
M. Brouwer, J. Haffmans, Cris Agterberg, Beeldhouwer en
Sierkunstenaar, Vianen, 2001, no. 78, (another cast illustrated
p. 134).
l138
LAMBERTUS ZIJL (1866-1947)

Kneeling nude
signed with initials and dated LZ 23 (on the side of the base)
bronze with a black patina
41 cm. high (incl. the bronze base)
Conceived in 1923 and cast in an unknown edition.
3,000-5,000
US$3,800-6,300
PROVENANCE:
Kunsthandel G.J. Nieuwenhuizen Segaar, The Hague.
E.J. Duintjer, Veendam.
EXHIBITED:
Delft, Stedelijk Museum/Arnhem, Gemeentemuseum/
Groningen, Groninger /Museum voor Stad en Lande,
Keuze uit de collecties van E.J. Duintjer, Jzn. en G. Kraus, 17
November 1956 - 31 March 1957, no. 56.
LITERATURE:
R.W.P. de Vries jr., Lambertus Zijl, Bussum 1958, no. 40
(another cast illustrated p. 63).
104
l139
TOON KELDER (1894-1973)

Seated nude
PROVENANCE:
Anonymous sale, Sothebys, Amsterdam, 18 March 1985,
lot 186.
signed Kelder (lower left)

oil on canvas
113 x 79 cm.
15,000-20,000
US$19,000-25,000
105
140
JOSEPH MENDES DA COSTA

(1868-1939)
School girls
signed with monogram (on the reverse)
terracotta
Executed circa 1890.
15.5 cm. high
8,000-12,000
US$11,000-15,000
PROVENANCE:
H.P. Bremmer, The Hague.
A.A. Bremmer-Hollmann, The Hague, her sale, Christies,
Amsterdam,
12 December 1990, lot 226.
LITERATURE:
Beeldende Kunst, XVIII (1931), vol. 6, no. 72 (illustrated).
Carel Blotkamp, Daubigny, Van Doesburg, Daniels... en 88
andere hoogtepunten uit de collectie moderne kunst van het
Centraal Museum,
Utrecht 1987, p. 49, no. 17 (another version illustrated).
141 no lot
142
JOSEPH MENDES DA COSTA (1868-1939)

Monkey (Babij)
signed with monogram (on the reverse); titled Babij (on the base)
glazed terracotta
20 cm. high (incl. the separate terracotta base)
Executed circa 1902
8,000-12,000
US$11,000-15,000
LITERATURE:
J. Teeuwisse, Aan de weg van de Nederlande dierplastiek, in:
Kunstschrift XLI (1997), no. 1, p. 39 (another version illustrated).
106
143
DICK KET (1902-1940)

Fishes
signed and dated D. Ket 1927 (lower right)
oil on plywood
120.5 x 50.5 cm.
Painted in 1927
8,000-12,000
US$11,000-15,000
See for comparison: A. Ottevanger, Dick Ket over zijn

leven, ideen en kunst, Zwolle 1995, no. 332, 333.
107
l144
l145
WALTER VAES (1882-1958)

Pears on a tray
WALTER VAES (1882-1958)

Still life plaice and salmon
signed Walter Vaes (lower right)

oil on panel
25 x 31 cm.
Painted circa 1934
signed Walter Vaes (lower right)

oil on canvas
50 x 60 cm.
Painted circa 1933
1,500-2,000
US$1,900-2,500
PROVENANCE:
Kunsthandel J.H. De Bois, Haarlem.
Kunsthandel Omega, The Hague.
Acquired from the above by the late owner in 1988.
EXHIBITED:
Laren, Singer Museum, Walter Vaes, schilderijen en aquarellen,
13 March 1988 - 10 April 1988, no. 42.
108
2,000-3,000
US$2,600-3,800
PROVENANCE:
Kunsthandel E.J. van Wisselingh & co., Amsterdam.
A. van der Steur, Rotterdam.
Anonymous sale, Glerum, The Hague, 23 April 1990, lot 201.
Acquired at the above sale by the previous owner.
EXHIBITED:
Brussels, Palais dex Beaux Arts, Walter Vaes, 10-25 December
1938, no. 46.
146
JOSEPH MENDES DA COSTA (18681939)

Monkey
signed with monogram and dated 1894 (underneath)
glazed ceramic
7.5 cm. high
Conceived in 1894
2,000-3,000
US$2,600-3,800
From the 1890s on Mendes da Costa worked on a series of

animals, portraits and objects. Mainly animal fgures in the shape
of monkeys and birds, coloured in blue and brown. The present
lot is one of the smallest animal fgures known by the artist.
147
WILLEM COENRAAD BROUWER

(1877-1933)
Monkey
terracotta
50 cm. high
Conceived circa 1913-15.
5,000-7,000
US$6,300-8,800
See for comparison: J.J. Hey, Een keuze uit de collectie van de
Stichting Schone Kunsten rond 1900, Assen 1983, p.37.
We kindly thank Erik Koopman, currently preparing a thesis on the
artist, for his help in cataloguing the present lot.
109
l148
l149
TOON KELDER (1894-1973)

Anemones in a vase
ERNST LEYDEN (1892-1969)

A view of the Singel, Amsterdam
signed (scratched) Kelder (lower left)

oil on canvas
53.5 x 37.5 cm.
signed, dated and inscribed Ernst Leyden. Amst 19. (lower right)
oil on canvas
118 x 96.5 cm.
Painted in 1919
2,000-3,000
US$2,600-3,800
PROVENANCE:
Acquired directly from the artist by the father of the late
owner before 1950.
110
3,000-5,000
US$3,800-6,300
PROVENANCE:
Anonymous sale, Christies, Amsterdam, 25 January 2005,
lot 289.
Acquired at the above sale by the previous owner.
150

A fower still life
signed and dated Leo Gestel 15 (lower right)
oil on canvas
41.5 x 53.5 cm.
Painted in 1915
12,000-16,000
US$16,000-20,000
PROVENANCE:
Acquired directly from the artist by the parents of the previous owner.
Anonymous sale, Christies, Amsterdam, 4 December 2001, lot 269.
111
151
THEO MEIER (1908-1982)

Dagan ikan laut
signed and dated Theo Meier 1944 (lower
right); titled Dagang ikan laut, inscribed Das
Mdchen is Ni Subrit von Sanur inspiriert von
Zeichnung von Ida Bagus Njoman Rai (Sanur)
(on the reverse)
oil on panel
50 x 40 cm.
Painted in 1944
20,000-30,000
US$26,000-38,000
PROVENANCE:
Acquired directly from the artist by the father of
the present owner, circa 1947-1948.
152

Princess Pomare of Tahiti, the
island Moorea in the background
signed and dated Theo Meier 1943 (lower left)
oil on plywood
32 x 48 cm.
Painted in 1943
6,000-8,000
US$7,600-10,000
PROVENANCE:
Acquired directly from the artist by the father of
the present owner, circa 1947-1948.
112
153
154

Portrait of a lady

Balinese nude with offerings
signed and dated Theo Meier 47 (upper left)

oil on board
31 x 23 cm.
Painted in 1947
signed and dated Theo Meier 36 (lower left)

oil on plywood
26 x 20 cm.
Painted in 1936
4,000-6,000
3,000-5,000
US$5,100-7,500
US$3,800-6,300
PROVENANCE:
Acquired directly from the artist by the present owner circa
1947-1948.
113
155

Jettli in Akah costume
signed and dated Theo Meier 1980 (lower right)
oil on canvas
90 x 74 cm.
Painted in 1980
15,000-20,000
US$19,000-25,000
PROVENANCE:
Acquired directly from the artist by the present owners.
LITERATURE:
Didier Hamel, Theo Meier, a Swiss artist under the tropics,
Jakarta 2007, no. 286 (illustrated p. 176).
l156
HAN SNEL (1925-1998)

Bali life
signed Han Snel (lower right) dated and inscribed Bali
68 (lower left)
oil on canvas
65 x 60 cm.
Painted in 1968
8,000-12,000
114
US$11,000-15,000
COLLECTION OF THE ST. PAULS EPISCOPAL CHURCH,

WILKESBORO, NORTH CAROLINA
!157
!158
SUPARTO (1929-2001)
Two women
SUPARTO (1929-2001)
A portrait of Jean Underwood
signed, dated and inscribed Suparto -11-8-1968- Djakarta.

(lower right)
oil on canvas
Painted in 1968
signed, dated and inscribed Suparto-14-4-1969-Djakarta

(upper left)
oil on canvas
91.5 x 76 cm., unframed
Painted in 1969
2,500-3,500
2,000-3,000
US$3,200-4,400
US$2,600-3,800
115

l!159
ARIE SMIT (B. 1916)

Pura dessa Papean, Bali
signed and dated Arie 56 (lower right) and titled and
inscribed Pura dessa Papean - near Sanur, Bali (lower left)
crayons, gouache and pen on paper
26 x 35.5 cm.
Executed in 1956;
and Another work on paper by the same hand depicting the
Durga Temple of Kutri, Bali.
(2)
4,000-6,000
US$5,100-7,500
l!160
(part lot)
ARIE SMIT (B. 1916)

Durga temple of Kutri, Bali
34 x 46 cm.
3,000-5,000
VARIOUS PROPERTIES
l!161
GERARD PIETER ADOLFS (1897-1968)

Kemphanenfokker, Madoera
signed Adolfs (lower centre); signed, dated, numbered
and titled Adolfs 58 no 462 Kemphanenfokker Madoera
(on the reverse)
oil on canvas
65 x 50 cm. unframed
Painted in 1958
6,000-8,000
US$7,600-10,000
161
116
US$3,800-6,300
l162
AUKE SONNEGA (1910-1963)

Portrait of Balinese boy
signed Sonnega (lower right)
oil on canvas
75 x 60 cm.
10,000-15,000
US$13,000-19,000
PROVENANCE:
Acquired directly from the artist by the
grandmother of the present owner circa 1950.

!163
SUHADI (1937-1988)
Working the land
signed, inscribed and dated Suhadi 30 djuni 1965
Jogja (lower right)
oil on canvas
Painted in 1965
1,500-2,000
US$1,900-2,500
117
COLLECTION OF ST. PAULS EPISCOPAL CHURCH, WILKESBORO,

NORTH CAROLINA
l!164
RUDOLF BONNET (1895-1978)

Ni Widjaje
signed, inscribed and dated R. Bonnet Bali 1956 (lower left)
and titled Ni Widjaje (upper right)
chalk and gouache on paper
45 x 33 cm.
Executed in 1956
3,000-5,000
US$3,800-6,300
VARIOUS PROPERTIES
l165
MAURITS CORNELIS ESCHER (1898-1972)

Firework (Vuurwerk) (Bool 239)
lithograph, 1933, on wove paper, signed in pencil, with
margins, numbered No. 7/23, sheet papertaped along all 4
reverse edges onto the passepartout, sheet timestained, foxmarks
in places, otherwise in good condition, framed
L. 425 x 226 mm.; S. 535 x 320 mm.
4,000-6,000
118
US$5,100-7,500
l166

Gallery of Prints (Prentententoonstelling) (B. 410)
lithograph, 1956, on wove paper, signed in pencil, numbered No.
23/43, with margins, sheet mountstained, few foxmarks and staining
visible verso, sheet papertaped along all four reverse edges onto the
passepartout, otherwise in very good condition, framed
L. 316 x 318 mm.; S. 415 x 385 mm.
8,000-12,000
US$11,000-15,000
l167

Three Worlds (Drie Werelden) (B. 405)
lithograph, 1955, on wove paper, signed in pencil, from the VAEVO
of 700, with margins, the sheet loose, sheet somewhat timestained,
occasional spot of foxing, a 10 mm. vertical tear in the upper margin,
otherwise in good condition, unframed
L. 360 x 248 mm.; S. 379 x 260 mm.
6,000-8,000
US$7,600-10,000
119
l168
l169

Monastery of Monreale, Sicily (Klooster van
Monreale (Sicili)) (B. 226)

Inside St. Peters (Sint Pieter van binnen)
(B. 270)
woodengraving, 1933, on thin wove paper, signed in pencil, with

margins, inscribed with title and eigen druk, the sheet loose, sheet
strengthened with Japan, soft creasing in upper margin, foxmarks
in the margins, staining due to removed taped along upper edge,
otherwise in good condition, framed
B. 319 x 238 mm.; S. 385 x 283 mm.
woodengraving, 1935, on wove paper, signed in pencil, the sheet

papertaped to the passepartout along all four edges, soft staining
visible in margins and reverse, otherwise in good condition
B. 320 x 238 cm.; S. 400 x 310 mm.
4,000-6,000
4,000-6,000
US$5,100-7,500
END OF SALE
120
US$5,100-7,500
INDEX
A
Adolfs, G.P., 161

Agterberg, C., 137
Filarski, D., 104

Fini, L., 135
Foujita, L., 25
Baljeu, J., 71, 72

Bauknecht, P., 17
Baumeister, W., 62, 99
Benner, G., 131, 132
Berghe, F. van den,
30, 32, 63, 118
Gargallo, P., 66
Gestel, L., 16, 63a, 83, 123,
127, 150
Gilioli, E., 75
Gogh, V. van,
80
Berserik, H., 100, 101

Bertrand, G., 70
Bissier, J., 96
Bonnet, R., 164
Bouten, A., 85
Braque, G., 43
Breman, C., 48
Brouwer, W.C., 147
Brusselmans, J., 28, 38
Buffet, B., 69
Kelder, T., 139, 148

Ket, D., 143
Klimt, G., 10
Kollwitz, K., 136
Kuijten, H., 90, 91
Charchoune, S.,
Cockx, P., 120
79
Dalou, A.J., 20
De Smet, G., 7, 64
De Smet, L., 19, 81, 89
Delvaux, P., 8, 9, 29, 36,
107, 110, 112
Doesburg, T. van,
Domela, C., 59
Dufy, J., 78
15, 52
Ensor, J., 14, 37, 39

Erfmann, F., 84, 102
Escher, M.C., 165-169
Madeline, P., 115

Magnelli, A., 57, 58
Magritte, R., 42
Maks, K., 105
Mankes, J., 53, 54
Meier, Th., 151-155
Melle, 86
Mendes Da Costa, J.,
140, 142, 146
Mitoraj, I., 65, 67

Mondriaan, P., 49
Hambourg, A., 133, 134

Hart Nibbrig, F., 13
Heel, J. van, 130
Herbin, A., 121
Hofer, K., 24, 33, 34
Hrle, H., 3, 97
Huszar, V., 55
Permeke, C., 119

Picasso, P., 44
Lam, W., 98
Leck, B. van der, 51
Lemmen, G., 128
Leusden, W. van, 114
Leyden, E., 149
Lipchitz, J., 109, 111
Lubbers, A., 122, 124-126
Nolde, E.,
22, 35
Oepts, W., 93-95, 129

Oudot, R., 26
Rdecker, J., 46
Rinsema, T., 60
Rodin, A., 23
Schlobach, W., 11
Schmidt-Rottluff, K., 5
Schuhmacher, W., 113
Servranckx, V., 4
Sluijters, J., 21, 87, 92
Smit, A., 159, 160
Smorenberg, D., 12, 47
Snel, H., 156
Sonnega, A., 163
Spilliaert, L., 6, 31, 40, 41
Spronken, A., 68
Suhadi, 163
Suparto, 157, 158
Survage, L., 76
Toorop, C., 106

Tytgat, E., 2
Utrillo, M.,
Vaes, W., 144, 145

Vantongerloo, G.,
Verkade, J., 103
Vermeire, J., 45, 77
Verwey, K., 27, 88
60
Weert, A. de, 117

Wiegers, J., 18, 116
Willink, C., 50
Wouters, R., 108
Zadkine, O.,
Zijl, L., 138
61, 73, 74
121
IMPORTANT NOTICES
SYMBOLS USED IN THE CATALOGUE
ALL DIMENSIONS ARE APPROXIMATE
...HOME JAMES!
Lot offered without reserve. This lot will be sold

to the highest bidder regardless of the pre-sale
estimate printed in the catalogue.
Picture lots are sold framed, unless otherwise stated.

Measurements: height precedes width.
For each Lot the Buyers Premium is calculated

as 37.75% of the Hammer Price up to a value
of 30,000, plus 31.7% of the Hammer Price
between 30,001 and 1,200,000, plus 22.02%
of any amount in excess of 1,200,000.
As an additional service to Buyers, Christies can arrange

delivery for purchased lots via Crown Fine Art
within the Netherlands.
The charges per delivery (i.e. one or multiple lots shipped
to the same address) are as follows:
+ 21% VAT applies to both the Hammer Price

and the Buyers Premium. The Buyers Premium
is calculated for each lot as 51.25% of the
Hammer Price up to a value of 30,000, plus
45.2% of the Hammer Price between 30,001
and 1,200,000, plus 35.52% of any amount in
excess of 1,200,000.
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.
This lot is owned in whole or in part by Christies.

~ Import restrictions may apply or a CITES
Licence might be required as this lot contains
material from endangered species.
ARTISTS RESALE RIGHT REGULATIONS
(DROIT DE SUITE/VOLGRECHT)
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 price realised (Hammer and premium)
is 3,000 Euro or more. 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

and Premium (ex VAT in Euro)
4.00%
3.00%
1.00%
0.50%
0.25%
up to 50,000
between 50,000.01 and 200,000
between 200,000.01 and 350,000
between 350,000.01 and 500,000
in excess of 500,000
IMPORTANT NOTICES
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which it
owns in whole or in part. Such property is identified in the
catalogue with the symbol next to its lot number.
On occasion, Christies has a direct financial interest in
lots consigned for sale, which may include guaranteeing
a minimum price or making an advance to the consignor
that is secured solely by consigned property. Where
Christies holds such financial interest on its own we
identify such lots with the symbol next to the lot number.
Where Christies has financed all or part of such interest
through a third party the lots are identified in the catalogue
with the symbol u. When a third party agrees to finance
all or part of Christies interest in a lot, it takes on all
or part of the risk of the lot not being sold, and will be
remunerated in exchange for accepting this risk based on
a fixed fee if the third party is the successful bidder or on
the final hammer price in the event that the third party
is not the successful bidder. The third party may also bid
for the lot. Where it does so, and is the successful bidder,
the remuneration may be netted against the final purchase
price. If the lot is not sold, the third party may incur a
loss. Please see http://www.christies.com/financialinterest/ for a more detailed explanation of minimum price
guarantees and third party financing arrangements.
Where Christies has an ownership or financial interest in
every lot in the catalogue, Christies will not designate each
lot with a symbol, but will state its interest in the front of
the catalogue.
122
CONDITION REPORTS
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. Condition reports are provided as a service to interested
clients. Prospective Buyers should note that descriptions of
property are not warranties and that each lot is sold as is.
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.
Deliveries within postal code areas starting with 10 or 11:

For small items (i.e. those that can be carried by one
person): 85 (incl. VAT) per delivery.
For large items (i.e. those that require two persons):
150 (incl. VAT) per delivery.
Deliveries to all other areas in the Netherlands:
For small items: 150 (incl. VAT) per delivery
For large items: 250 (incl. VAT) per delivery
Full payment of the purchased lots is required before actual
delivery can take place.
It is the clients responsibility to ensure that they arrange
adequate insurance cover for their property.
If required, Crown Fine Art can arrange insurance and will
be pleased to provide a quotation on request.
For items that need to be hoisted up, please ask for a
separate quotation.
Please contact Crown Fine Art at +31 (0)20 658 33 80, if
you are interested in the above service, and if you would
like to discuss further details such as time of delivery and
insurance cover. Deliveries will be within one week after
payment of the purchased lots (and transport charges) has
been received, in a time slot of 2 hours.
COLLECTION AND STORAGE CHARGES

To avoid further transport with the risks involved,
Buyers are urgently requested to pay and collect their
paid purchases at the place of sale on 17th, 18th and 19th
December 2014 from 9.00 a.m. - 5.00 p.m. and from the
22nd, 23rd and 24th December 2014 Due to holidays
collection of purchases is not possible on December 25th
2014 until 5th January 2015. If instructed by the Buyer,
Christies can arrange for the transport of the acquired
works at the Buyers risk and expense.
Furniture and large items not cleared before 5th January
2015 will be removed by Crown Fine Art to their
warehouse at Gyroscoopweg 19, 1042 AC Amsterdam,
Tel +31(0)20 658 33 80 or Fax +31(0)20 658 33 99,
where lots will be available as from 5th January 2015.
From the moment of transfer, Crown Fine Arts general
terms and conditions will apply.
A copy of these terms and conditions can be requested
from Crown Fine Art.
Crown Fine Arts warehouse is open for collection on
every weekday between 8.00 a.m. and 5.00 p.m.
Transfer and storage charges to the transporters will be
payable by the Buyer from 5th January 2015 to
Crown Fine Art.
Please note storage charges, if applicable, will be calculated
as follows:
* A fixed administration fee of 11 per lot
(with a maximum of 33 per buyer) excl. VAT
* Storage charges of 3.25 per day for larger lots and
2.25 per day for smaller lots excl. VAT.
In accordance with Christies Conditions of Sale (Section
B.9) printed at the back of this catalogue, the risk of loss
or damage to purchased Lots shall be borne by the Buyer
from the moment when the Buyers bid is accepted as the
highest bid by Christies at the auction. This means that
Buyers have a legal obligation to pay for their purchases
in full in accordance with the conditions of business, even
if the Lots are subsequently lost or damaged. Buyers are
advised to arrange their own insurance cover as soon as
practicable after the sale.
30/09/14
EXPLANATION OF CATALOGUING PRACTICE

PICTURES, DRAWINGS,
PRINTS AND MINIATURES
The following expressions with their accompanying 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 our opinion a work by the artist.
* Attributed to
In our opinion probably a work by the artist in
whole or in part.
* Studio of / Workshop of
In our opinion a work executed in the studio or
workshop of the artist, possibly under his supervision.
* Circle of
In our opinion a work of the period of the artist and
showing his influence.
* Follower of
In our opinion a work executed in the artists style
but not necessarily by a pupil.
* Manner of
In our opinion a work executed in the artists style
but of a later date.
* After
In our opinion a copy (of any date) of a work of
the artist.
Signed /Dated / Inscribed
In our opinion the work has been signed/dated/
inscribed by the artist.
With signature / With date /
With inscription
In our 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. 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).
* This term and its definition in this explanation
of Cataloguing Practice are a qualified statement as
to authorship. While the use of this term is based
upon careful study and represents the opinion of
specialists, Christies and the consignor assume no
risk, liability and responsibility for the authenticity
of authorship of any lot in this catalogue described
by this term.
123
BUYING AT CHRISTIES
CONDITIONS OF SALE
ABSENTEE BIDS
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.
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.
Absentee bids must be received at least 24 hours before the
auction begins.
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 Hammer
Price of each lot sold at the following rates:
30.25% of the Hammer Price of each lot up to and
including 30,000, plus 24.2% of the Hammer Price
between 30,001 and 1,200,000, plus 14.52% of any
amount in excess of 1,200,000. Buyers premium is
calculated on the basis of each lot individually.
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 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 or if
located in the Netherlands original excerpt of Chamber of
Commerce not older than 4 weeks.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at +31 (0)20 575 52 11 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. 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 two years 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 +31 (0)20 575 52 11.
REGISTERING TO BID ON SOMEONE

ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to
act on the clients behalf. Please note that Christies does
not accept payments from third parties. Christies can only
accept payment from the client, and not from the person
bidding on their behalf.
BIDDING
The auctioneer accepts bids from those present in the
saleroom, from telephone bidders, or by absentee written
bids left with Christies in advance of the auction. The
auctioneer may also execute bids on behalf of the seller
up to the amount of the reserve. The auctioneer will not
specifically identify bids placed on behalf of the seller.
Under no circumstances will the auctioneer place any bid
on behalf of the seller at or above the reserve. Bid steps
are shown on the Absentee Bids Form at the back of this
catalogue.
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated
below 2,200. Arrangements must be confirmed with
the Bid Department at least 24 hours prior to the auction
at +31 (0)20 575 59 50. Fax: +31 (0)20 575 59 74.
Arrangements to bid in languages other than Dutch and
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.
AUCTIONEERS DISCRETION
The auctioneer can, acting reasonably: (a) refuse any bid; (b)
move the bidding backwards or forwards in any way he or she
may decide or change the bidding order; (c) withdraw or divide
any lot; (d) combine any two or more lots; (e) in the case of
a mistake (whether or not made by Christies) or a dispute as
to the successful bidder (whether during or after the auction,
including after the fall of the hammer) restart or continue the
bidding, cancel the sale of the lot or resell or reoffer a lot. If any
dispute arises after the auction the auctioneers decision is final.
SUCCESSFUL BIDS
The fall of the auctioneers hammer indicates the final bid,
at which time the buyer assumes full responsibility for the
lot. The results of absentee bids will be mailed after the
auction. Successful bidders will pay the price of the final
bid plus premium plus any applicable VAT.
PAYMENT
Buyers are expected to pay for purchases immediately after
the auction. Payment can be made in cash, cheque, or by
bank transfer in Euros to Christies Stichting Derdengelden:
ABN AMRO Bank (BIC/SWIFT code ABNANL2A),
Apollolaan 171, 1077 AS Amsterdam. Account No.
54.76.17.100; IBAN: NL79ABNA0547617100. By
credit card in person at our cashiers counter (fax or mail
transactions are not possible); Eurocard Mastercard, VISA,
American Express (please note a surcharge will apply).
It is Christies Company Policy not to accept any payments
in cash or cash equivalents of more than 7,500 or the
equivalent value in another currency per annum globally.
All cash payments made at Christies Amsterdam will require
formal identification. If you are active as a private person, this
identification may be a valid passport, European identity card
or driving licence. If you act on behalf of one or more other
persons, identification as above is required for this or those
person(s) in addition to your personal identification. If you act
on behalf of a company, please bring an original extract of the
registration with the Chamber of Commerce (not older than
three months) of your company in addition to your personal
identification.
Source: Dutch Law Mention Unusual Transactions and
Dutch Law Identification Service rendering.
Cheques and drafts should be made payable to Christies
Amsterdam B.V. Only Certified Bank Cheques i.e. those
cheques that are drawn on the bank, can be accepted as form
of payment in cases of immediate collection. Identification
as above may be required and a limit may apply. For further
information call the Cashier at +31 (0)20 575 52 11.
Please note that Christies will not accept payments for
purchased Lots from any party other than the buyer, unless
otherwise agreed between the buyer and Christies prior to
the sale.
LOCAL TAXES AND VAT

If a Lot is marked + or !, it will have a special VAT
status and will be subject to higher rates as follows:
! : Lot is imported from outside the EU. For each Lot the
Buyers Premium is calculated as 37.75% of the Hammer
Price up to a value of 30,000, plus 31.7% of the Hammer
Price between 30,001 and 1,200,000, plus 22.02% of any
amount in excess of 1,200,000.
+ : 21% VAT applies to both the Hammer Price and the

Buyers Premium. The Buyers Premium is calculated for
each lot as 51.25% of the Hammer Price up to a value
of 30,000, plus 45.2% of the Hammer Price between
30,001 and 1,200,000, plus 35.52% of any amount in
excess of 1,200,000.
VAT
REFUNDS FOR BUYERS OUTSIDE THE EU
VAT charged on both the Hammer Price and the Premium
may be refunded provided the following conditions are met:
- Property must be exported from the EU within 2 months
of the date of the sale.
- Christies must be provided with proof of export bearing
the original customs stamp from the point of export from the
EU. Netherlands tax authorities will not accept photocopies.
- The purchase invoice must be addressed to a party resident
outside of the EU.
Christies remains liable to account for VAT on all Lots
unless the conditions listed above are satisfied. Therefore
Buyers will generally be asked to initially deposit all amounts
of VAT invoiced. To apply for a refund the appropriate
export evidence must be sent to Christies accounts
department clearly marked VAT REFUND. There will
be an administration charge of 35 payable to Christies for
this service.
An immediate refund of VAT is possible if shipping is
arranged by Christies within 2 months of the date of the sale.
SHIPPING
A shipping form is enclosed with each invoice to buyers
outside of the Netherlands. 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. For more information please contact the Shipping
Department at +31 (0)20 575 52 52.
INSURANCE AND STORAGE

Buyers are advised to arrange their own insurance cover as
soon as practicable after the sale.
Please note that (subject to availability of space at
our premises) all uncollected purchases may be transferred
to third party storage at your expense if you fail to arrange
timely collection or to issue instructions for shipping.
VAT
BUYERS FROM WITHIN THE EU
Buyers who are resident outside The Netherlands, but within
the EU, and who have obtained a valid VAT identification
number that has been made known to Christies before or
immediately after the sale, and who furthermore comply with
all other conditions specified by Christies, will be eligible
for a VAT rate of 0 %. The buyer guarantees to Christies
the correctness of all information provided. Lots that are sold
in accordance with the above shall be ineligible to be resold
under the Margin Scheme.
EXPORT/IMPORT PERMIT
Overseas buyers are advised to familiarise themselves with any
restrictions or licence requirements relating to their intended
purchases. In case of doubt, buyers are advised to consult their
local customs authority or a reputable international shipper.
Export licences in the Netherlands can usually be obtained
within two to four weeks. Sellers and Buyers are advised
that the Ministry of Education, Culture and Sciences may
designate cultural objects as protected cultural objects, in
which case restrictions with regard to the exportation and
transfer of title of these objects apply. Sellers and Buyers
are further advised that certain objects may fall within the
scope of EU-regulation no 3911/92, as a consequence of
which an export licence from the Ministry of Education,
Culture and Sciences may be required if the objects are to
be exported to a country outside of the EU.
An export licence issued by the Ministry of Agriculture,
Nature and Food Quality, Department CITES will
be required for the export of any item made of, or
incorporating (irrespective of percentage) animal material
such as ivory, whalebone, tortoiseshell, rhinoceros horn
etc. and this generally takes up to 8 weeks. Clients are
advised to check with the regulating body in the country
of importation regarding items within this category - some
countries have an absolute ban on the importation of
certain materials.
14/10/14
124
CONDITIONS OF SALE
The following Conditions of Sale apply to the legal
relationship between Christies Amsterdam B.V.
(hereinafter: Christies) and the participants in the
auctions held by Christies and related activities. By
participating in the auction, the persons who bid at
the auctions held by Christies (hereinafter: Intending
Buyer(s)) accept the applicability of these Conditions
of Sale. Christies therefore request Intending Buyers
to read carefully both the Conditions of Sale and the
definitions of some of the terms used in the catalogue.
For ease of reference, the Conditions of Sale are
divided into sections: Section A gives a background to
some of the terms used in the Conditions generally;
section B to (Intending) Buyers; and section C
contains some general provisions.
at Christies, the purchase agreement between the

Seller and the Buyer comes into being at the moment
when Christies accept a bid as the highest bid.
(b) When making a bid, a bidder is accepting
personal liability to pay the purchase price, including
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.
(c) Anyone wishing to bid at an auction must fill out
and sign a registration form before the beginning of
the auction.
(A) BACKGROUND TO TERMS USED IN

THESE CONDITIONS
1. In the conditions set out below, some terms are used
regularly that need explanation. They are as follows:
- The Buyer means the person with the highest bid
accepted by the auctioneer, assuming this highest bid
is at least equal to the Reserve, if any;
- The Buyers premium means the charge payable
by the Buyer as a percentage of the Hammer Price, at
the rates set out in Article B.4.;
- Condition report means additional information
on a particular lot in the catalogue, as supplied by
Christies;
- The Consignment Agreement means the written
agreement between Christies and the Seller containing
the instruction from the Seller to Christies to sell the
Lots during one or several auctions;
- Forgery means a Lot constituting an imitation
originally conceived and executed as a whole with
a fraudulent intention to deceive as to authorship,
origin, age, period, culture or source where the
correct description as to such matters is not reflected
by the description in the catalogue and which at the
date of the auction had a value materially less than
it would have had if it had been in accordance with
the description in the catalogue. Accordingly, no
Lot shall be capable of being a Forgery by reason
of any damage and/or restoration work of any kind
(including repainting);
- The Hammer Price means the amount of the
highest bid accepted by the auctioneer in relation to
a Lot;
- Margin Scheme means that the Buyers Premium
includes VAT as set out in Article B.4;
- Lot means any object or set of objects accepted
by Christies for the purpose of selling the same at
the auction and described in the catalogue under one
lot number;
- Proceeds of Sale means the Hammer Price less the
commission and V.A.T. chargeable thereon and less all
costs payable to Christies;
- Purchase Price means the Hammer Price plus
the Buyers premium and all other costs payable
to Christies (including the resale royalty) plus any
applicable VAT;
- The Reserve means the amount below which
Christies agree with the Seller that the Lot cannot
be sold;
- The Seller means the person offering an object
or a set of objects to Christies for sale at one of the
auctions held by Christies;
2. CHRISTIES ACTING AS REPRESENTATIVES

(a) In effecting sales Christies are acting as
representatives for the Seller. Christies do not warrant
to the Intending Buyers that the Sellers have the right
of disposal of the objects sent in, nor that the objects
are not charged with real rights or leased out, nor that
all legal requirements relating to any export or import
of the objects have been complied with.
(b) Christies are not obliged to disclose the name of
the Seller to the Intending Buyer or the Buyer.
(c) Christies recommend Intending Buyers to attend
the auction and to make bids themselves.
(d) If an Intending Buyer gives Christies instructions
to bid on his behalf, by using the form printed
after the catalogue entries, Christies shall - without
charging any additional fee - use reasonable efforts to
do so, provided the instructions are received not later
than 24 hours before the auction. If Christies receive
commission bids on a particular Lot for identical
amounts, and at auction these bids are the highest
bids for the Lot, it will be sold to the person whose
bid was received first. Commission bids are accepted
by Christies subject to other commitments at the
time of the sale, and the conduct of the sale may be
such that Christies are unable to bid as requested.
Christies do not accept liability whatsoever for
failure to make a commission bid or for failure to
correctly execute a commission bid. Intending Buyers
should therefore always attend personally if they wish
to be certain of bidding.
(e) If an Intending Buyer makes arrangements with
Christies not later than 24 hours before the auction,
Christies shall - without charging any additional fee use reasonable efforts to contact the Intending Buyer
to enable him to participate in bidding by telephone.
Christies does not accept liability whatsoever for
failure to make a telephone bid or for failure to
correctly execute a telephone bid.
(B) THE BUYER

1. THE BUYER
(a) The Buyer is the person accepted as the highest
bidder by Christies acting as agents for the Seller. The
decision whether or not to accept a bid shall be made
by Christies. Subject to the provisions of the section
marked Auctioneers Discretion set out in the Buying
3. DESCRIPTIONS IN THE CATALOGUE AND

VIDEO IMAGES
(a) All statements of Christies in the catalogue and
condition reports as to the (presumptive) designer,
author, writer, origin, date, age, genuineness, source,
provenance, condition or estimated Hammer Price
of any Lot are statements of opinion only and
shall never imply any guarantee by Christies. All
illustrations in the catalogue serve merely as guidance
for Intending Buyers; they do not provide any
decisive information as to pattern, colours and degree
of damage of any Lot.
(b) Lots may be in imperfect condition. The absence
of any reference in the catalogue to defects in a Lot
does not imply that such Lot is free from defects, nor
does reference to particular defects imply the absence
of others.
(c) Intending Buyers will have to form an opinion
regarding the matters discussed in paragraph (a)
and paragraph (b) above by personal inspection or
otherwise during the previews.
(d) Without prejudice to the provisions in paragraph

(a) and paragraph (b) above, neither Christies nor their
employees or representatives give any guarantee as to
the correctness or completeness of any information
supplied either verbally or in writing about any Lot.
(e) If within one year after the auction the Buyer
proves that a Lot bought by him is a Forgery, the sale
of the Lot shall be cancelled and the Purchase Price
shall be refunded by Christies to the Buyer. The
Buyer should note that this refund can be obtained
only if the following conditions are met:
(i) the Buyer has notified Christies in writing
within one year from the date of the auction that
in his view the Lot is a Forgery;
(ii) the Buyer has within fourteen days after the date
of the notification referred to hereabove under
(i) returned the Lot to Christies in the same
condition as it were in when the Buyer took
delivery of the Lot; and
(iii) the Buyer has at latest upon return of the Lot
produced evidence satisfactory to Christies
that the Lot is a Forgery and that he is able to
transfer the title to Christies, free from any third
party claims.
The right to a refund as contained in this paragraph
shall not exist if either (a) the catalogue description
at the auction date corresponded to the generally
accepted opinion of scholars or experts at that time, or
fairly indicated that there was a conflict of opinions; or
(b) it can be demonstrated that a Lot is a Forgery 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 the auction was
unreasonably expensive or impracticable or likely to
have caused damage to the Lot.
In no circumstance shall Christies be obliged to pay
the Buyer any more than the Purchase Price for the
Lot. The Buyer shall have no claim for interest.
Christies shall be entitled to rely on any scientific or
other process to establish that the Lot is not a Forgery,
whether or not such process was used or in use at the
date of the auction.
The right to a refund as contained in this paragraph is
not capable of being transferred and is solely for the
benefit of the Buyer.
The right to a refund as contained in this paragraph
does not apply to coins, medals and jewellery.
(f) At some auctions there will be a video screen.
Mistakes may occur in its operation, and Christies
shall not be liable to the Intending Buyer regarding
either the correspondence of the image to the
Lot being sold or the quality of the image as a
reproduction of the original.
4. STANDARD CHARGES FOR PURCHASERS
(a) Buyers Premium
Christies charges a Buyers Premium calculated at
30.25% of the Hammer Price for each lot up to and
including 30,000, plus 24.2% of the Hammer Price
between 30,001 and 1,200,000, plus 14.52% of
any amount in excess of 1,20,000. Buyers Premium
is calculated on this basis for each lot individually.
The Buyers Premium does not include shipping or
storage charges. These will be charged separately if
shipping or storage is requested by the Buyer.
(b) Artists Resale Right Regulations (Droit de Suite/
Volgrecht):
If the Artists Resale Right Regulations 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.
15/02/13
125
5. V.A.T.
If a Lot is not marked + or ! in the catalogue,
Christies will offer such Lot for sale under the
Margin Scheme.
If a Lot is marked + or !, it will have a special
V.A.T. status and will be subject to higher rates
as follows:
!: Lot is imported from outside the EU. For each
Lot the Buyers Premium is calculated as 37.75% of
the Hammer Price up to a value of 30,000, plus
31.7% of the Hammer Price between 30,001 and
1,200,000, plus 22.02% of any amount in excess of
1,200,000.
+: 21% V.A.T. applies to both the Hammer Price
and the Buyers Premium. The Buyers Premium is
calculated for each lot as 51.25% of the Hammer Price
up to a value of 30,000, plus 45.2% of the Hammer
Price between 30,001 and 1,200,000, plus 35.52%
of any amount in excess of 1,200,000. The Buyer
must furnish Christies with all relevant information
concerning his V.A.T. position. The Buyer warrants
this information to be correct.
Changes in the V.A.T. status of a Lot may be
communicated by a sale room notice.
6. REGISTRATION OF BIDDERS
Prospective buyers who have not previously bid or
consigned with Christies should bring:
Individuals: government-issued photo identification
(such as a 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 photocopy of the company
register or if located in the Netherlands an original
excerpt of Chamber of Commerce not older than
4 weeks.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies
Credit Department at +31 (0)20 575 52 11 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. 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 two years 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 +31 (0)20 575 52 11.
7. PAYMENT
The Buyer shall pay the Purchase Price to Christies
within seven days after the auction, failing which he
shall be in default. The Buyer shall owe interest on the
Purchase Price to Christies at a rate equal to the legal
interest plus two percentage points from the moment
he is in default. The Purchase Price includes V.A.T.
The Buyer shall pay the Purchase Price in full even if
a subsequent V.A.T. refund may be granted.
Christies does not accept payment from third parties.
This also applies to agents.
126
8. RELEASE OF LOTS
(a) Without prejudice to the provision of article
B.2.(a), the title to the objects belonging to the Lot
shall not pass to the Buyer until he has fully paid the
Purchase Price as well as any and all other moneys due
from the Buyer to Christies as a result of any other
purchase agreements. Until such time, Christies shall
have a lien (retentierecht) on the objects belonging
to the Lot.
(b) The Buyer must take away the Lot(s) purchased by
him at his expense within seven days of the auction,
failing which he shall be in default. The period of
seven days mentioned here may be deviated from in
the auction catalogue.
(c) The Buyer shall be liable for the costs of removal,
storage or other costs of any Lot which has not been
taken away by him within the period referred to
in paragraph (b) above. Christies shall have a lien
(retentierecht) on the Lot in respect of said costs.
(d) The Buyer may request Christies to pack a
purchased Lot or to cause the same to be packed. Such
packing shall be done entirely at the discretion of
Christies and at the expense and risk of the Buyer.
(e) Christies does not provide a packing, postal or
delivery service. Christies can suggest the names of
companies that provide these services if requested
to do so. However Christies does not accept
responsibility for any loss or damage which may occur
during packing, storage or transportation of the Lot(s).
(f) Collection of purchases
Christies shall be entitled to retain items sold
until all amounts due to Christies, 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 seven calendar days from the date of the sale
unless otherwise agreed between us and the buyer.
9. RISK OF PURCHASED LOTS
The risk of loss or damage to purchased Lots shall
be borne by the Buyer from the moment when the
Buyers bid is accepted as the highest bid by Christies
at the auction. This means that Buyers have a legal
obligation to pay their purchases in full, even if the
Lots are subsequently lost or damaged.
10. DEFAULT OF THE BUYER
(a) If the Buyer is in default, Christies shall be
authorised to sell the Lot(s) purchased by the Buyer
without further notice, either by private or by public
sale. The Buyer shall continue to be liable for the part
of the Purchase Price remaining unpaid after such sale,
while the Buyer shall never be entitled to any surplus
proceeds which may be realised upon re-auctioning.
(b) If, as a result of the Buyers default, Christies are
sued by the Seller or by third parties or if any property
belonging to Christies or the sold Lot(s) is/are seized
by the Seller or by third parties, or if Christies suffer
damage or incur expenses in any other way as a result
of the Buyers default, Christies shall be entitled
to recover from the Buyer all damage suffered and
expenses incurred by Christies as a result thereof.
Christies shall moreover be authorised to disclose the
identity of the Buyer to the Seller or to the said third
parties if the Buyer is in default.
(c) If the Buyer is in default, Christies may reject at

any future auction any bids made by the Buyer.
11. LIABILITY
(a) Without prejudice to the provisions set forth
elsewhere in these Conditions of Sale, Christies are
liable for damage suffered by the Buyer only, if the
occurrence of the damage is the consequence of gross
negligence or intent of Christies or their employees or
representatives.
(b) In the cases referred to in paragraph (a) above the
extent of the liability of Christies for damage suffered
by the Buyer shall be limited to the amount of the
Buyers premium.
(c) The limitation of liability as contained in this
article may also be invoked by the employees and
representatives of Christies.
12. EXPIRATION
(a) The right of the Buyer to annul, rescind or
cancel the purchase agreement or to cause same to
be annulled or rescinded shall expire after one year
from the day on which the purchase agreement is
concluded. If the Buyer decides to exercise any of the
rights set forth above, he shall be obliged to deliver the
objects belonging to the purchased Lot to Christies
forthwith, in the same condition that they were in
when the Buyer took delivery of them, without
prejudice to the provisions of Article B.3.(e) in case
the Lot is claimed to be a Forgery.
(b) The annulment, nullification, rescission or
cancellation of the purchase agreement shall not affect
the Buyers obligation to pay the Buyers premium and
to reimburse the expenses incurred by Christies.
C. GENERAL PROVISIONS (APPLICABLE TO
BOTH BUYERS AND SELLERS)
1. Neither Christies nor their employees nor their
representatives are liable for any damage suffered by
the Seller or the Buyer, as the case may be, as a result
of default of the Buyer or the Seller, respectively.
2. Christies are authorised, without reason given, to
refuse any person admission to the auction premises
and the auction, and also to exclude any person from
making bids for a Lot.
3. Christies are authorised to combine several Lots,
to combine different objects from one and the same
Seller into one Lot, to refuse any bid, to continue the
bidding, to withdraw or to divide a Lot, and in the
event of a dispute about the bidding to put up the Lot
for sale once again immediately.
4. All notifications and communications to Christies
shall be made in writing.
5. The legal relationship between Christies and the
Buyer shall be governed by Netherlands law.
6. Any dispute between Christies and the Buyer
shall be adjudicated by the competent court of
Amsterdam, on the understanding that a Buyer who
is a natural person and who is not acting in pursuance
of a profession or a sale shall have the right, within
a period of 32 days after Christies have invoked this
clause against him in writing, to choose to have the
dispute adjudicated by the court that has jurisdiction
by law.
7. This text is a translation in the English language of
the Dutch Conditions of Sale. The Dutch text shall
be the authentic text in all cases. A copy of the Dutch
text is on public display at our sale premises and is
available on request.
8. The copyright in all images, illustrations and
written material, relating to a Lot is and shall remain
at all times the property of Christies and shall not be
used by the Buyer nor anyone else without the prior
written consent of Christies.
15/02/13
WORLDWIDE SALEROOMS AND EUROPEAN OFFICES

AUSTRIA
VIENNA
INDIA
MUMBAI
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MOSCOW
UNITED KINGDOM
LONDON
LONDON,
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Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

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

Sanjay Sharma
SPAIN
BARCELONA
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ISRAEL
TEL AVIV
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Carmen Schjaer
+44 (0)20 7752 3004

Thomas Scott
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Roni Gilat-Baharaff
MADRID
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Juan Varez
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Mark Wrey
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Thomas Scott
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Marie Boettiger
Kleman (Consultant)
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DENMARK
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Robert Lagneau
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+44 (0)20 7389 2032
+41 (0)44 268 1010

Dr. Bertold Mueller
CHANNEL ISLANDS
TURKEY
ISTANBUL
+44 (0)1534 485 988

Melissa Bonn
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
+353 (0)59 86 24996

Christine Ryall
UNITED ARAB EMIRATES

DUBAI
+971 (0)4 425 5647
IRELAND
UNITED STATES
NEW YORK
+1 212 636 2000
+351 919 317 233

Mafalda Pereira
Coutinho
(Independent
Consultant)
ENQ UI RI ES Call the Saleroom or Office

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EMA I L info@christies.com
04/09/14
127
CHRISTIES SPECIALIST DEPARTMENTS AND SERVICES

DEPARTMENTS
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NY: +1 212 636 2230

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NY: +1 212 606 0536

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NY: +1 212 636 2140

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

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

NY: +1 212 636 2189
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NY: +1 212 636 2032
ISLAMIC WORKS OF ART
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KS: +44 (0)20 7389 2328

SK: +44 (0)20 7752 3109
PRIVATE COLLECTIONS
AND
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SK: +44 (0)20 7752 3239
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RUSSIAN WORKS OF ART

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KS: +44 (0)20 7389 2591

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JEWELLERY
ASIAN 20TH CENTURY

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

SK: +44 (0)20 7752 3265
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SK: +44 (0)20 7752 3203
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KS: +44 (0)20 7389 2650
TOPOGRAPHICAL
PICTURES
BRITISH & IRISH ART
MODERN DESIGN
KS: +44 (0)20 7389 2682

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

SK: +44 (0)20 7752 3291
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1500-1850
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SK: +44 (0)20 7752 3239
CLOCKS
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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
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SK: +44 (0)20 7752 3001
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AND WORKS OF ART
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KS: +44 (0)20 7389 2482

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

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

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

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

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

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

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

SK: +44 (0)20 7752 3236
TWENTIETH CENTURY
PICTURES
SK: +44 (0)20 7752 3218

VICTORIAN PICTURES
KS: +44 (0)20 7389 2468

SK: +44 (0)20 7752 3257
KS: +44 (0)20 7389 2257

SK: +44 (0)20 7752 3293
PHOTOGRAPHS
WINE
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AND ENTERTAINMENT
SK: +44 (0)20 7752 3275

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SK: +44 (0)20 7389 2502
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Fax: +1 212 636 2035
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Tel: +1 212 355 1501
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Email: christieseducation@
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Tel: +852 2978 6747
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CHRISTIES FINE ART
STORAGE SERVICES
London
+44 (0)20 7622 0609
london@cfass.com
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+1 212 974 4570
newyork@cfass.com
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Tel: +65 6543 5252
Email: singapore@cfass.com
VALUATIONS
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Tel: +44 (0)20 7389 2464

Fax: +44 (0)20 7389 2038
Email: mwrey@christies.
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Tel +1 212 468 7182
Fax +1 212 468 7141
info@christiesrealestate.com
London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
WATERCOLOURS AND
DRAWINGS
SK: +44 (0)20 7752 3235

KS: +44 (0)20 7389 2292
AUCTION SERVICES
SK: +44 (0)20 7752 3208
KS: +44 (0)20 7752 3366
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
27/05/14
128
Impressionist / Modern Day Sale

London, King Street 5 February 2015
Viewing
Contact
30 January4 February 2015

8 King Street
London SW1Y 6QT
Keith Gill
kgill@christies.com
+44 (0)20 7389 2175
KARL SCHMIDT-ROTTLUFF (1884-1976)

Weg im Schwarzwald
signed `S.Rottluff (lower right); signed, titled and numbered
`Schmidt Rottluff Weg in Schwarzwald 642 (on the stretcher)
oil on canvas
29 x 39 in. (76 x 101 cm.)
250,000 350,000
Modern British and Irish Art

London, South Kensington 12 December 2014
Viewing
Contact
611 December 2014

85 Old Brompton Road
London SW7 3LD
Angus Granlund
agranlund@christies.com
+44 (0)20 7752 3240
ROBERT ADAMS (1917-1984

Screen Form (Rods)
steel, unique
24in. (62.2 cm.) high, including the wooden base
Conceived in 1961.
The present work is recorded by the artist as Opus 128.
6,000 8,000
EUGNE BOUDIN (HONFLEUR 1824-1898 DEAUVILLE)

Le Havre. Une corvette russe dans le bassin de lEure
signed and dated E. Boudin 1883 (lower right) and inscribed Le Havre (lower left)
oil on canvas 41 x 55 cm. Painted in 1883
120,000180,000
Old Masters & 19th Century Art

including Dutch Impressionism
Amsterdam 25-26 November 2014

Viewing
Contact
21-24 November 2014

Cornelis Schuytstraat 57
1071 JG Amsterdam
Sarah de Clercq
sdeclercq@christies.com
+31 (0)20 575 52 81
christies.com
Joan Mir (1893-1983)

Sans titre
sign Mir (en bas droite)
encre, aquarelle, mine de plomb sur papier et pastel sur papier
57 x 73 cm.
120,000 180,000
Invitation to consign
Works on paper Sale
Paris 26 March 2015
Contact
tudor Davies
tdavies@christies.com
+33 (0)1 40 76 86 18
christies.com
ABSENTEE BIDS FORM
MODERN ART
CHRISTIES AMSTERDAM
TUESDAY 16 DECEMBER 2014 AT 2.00 PM
Cornelis Schuytstraat 57, 1071 JG Amsterdam

CODE NAME: AMS
SALE NUMBER: 3051
(Dealers billing name and address must agree with

taxexemption certificate. Invoices cannot be changed after
they have been printed.)
BID ONLINE FOR THIS SALE AT CHRISTIES.COM
Absentee bids must be received at least 24 hours before the auction begins.
Christies will confirm all bids received by fax by return fax. Tel: +31 (0)20 575 5258/
+31 (0)20 575 5950 Fax: +31 (0)20 575 59 74 on-line www.christies.com
3051
Client Number (if applicable)
Sale Number
BIDDING INCREMENTS
Bidding generally opens below the low estimate

and advances in increments of up to 10%, subject
to the auctioneers discretion. Absentee bids that do
not conform to the increments set below may be
lowered to the next bidding interval.
100 to 1,000
by 50
1,000 to 2,000
by 100
2,000 to 3,000
by 200
3,000 to 5,000
by 200-500-800
5,000 to 10,000
by 500
10,000 to 20,000
by 1,000
20,000 to 30,000
by 2,000
30,000 to 50,000
by 2,000-5,0008,000
50,000 to 100,000
by 5,000
100,000 +
by 10,000
The auctioneer may vary the increments during the
course of the auction at his or her own discretion.
Auction Results: +44 (0)20 7627 2707
Please also refer to the information contained in Buying at

Christies at the back of this catalogue.
I request Christies to bid on the following lots up to the maximum
price I have indicated for each lot. I understand that if my bid is
successful, the purchase price payable shall be the aggregate of the
final bid and a VAT inclusive premium calculated at 30.25% of
the Hammer Price for each lot up to and including 30,000, plus
24.2% of the Hammer Price between 30,001 and 1,200,000,
plus 14.52% of any amount in excess of 1,200,000.
Buyers Premium is calculated on this basis for each lot individually.
Lots marked with a + or ! VAT is applied differently.
I understand that Christies provides the service of executing
absentee bids for the convenience of clients and that Christies is
not responsible for failing to execute bids or for errors relating to
execution of bids. On my behalf, Christies will try to purchase
these lots for the lowest possible price, taking into account
the reserve and other bids. 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. If identical
absentee bids are received for the same lot, the written bid received
first at Christies will take precedence. Absentee bids in another
currency will be converted into Euros using the official exchange
rate on the day of sale. An invoice will be sent to you on the
following business day after the sale.
Please contact the Telephone Bid office at least 24 hours in advance
of the sale to make arrangements for telephone bidding.
Tel: +31 (0)20 575 5950.
All bids are subject to the terms of the Conditions of Sale printed in
this Christies catalogue.
10/11/14
Billing Name (please print)

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PLEASE PRINT CLEARLY

Lot number
(in numerical order)
Maximum Price
(excluding buyers premium)
Lot number
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Maximum Price
(excluding buyers premium)
If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS

Please quote number below:
IMPRESSIONIST AND MODERN
expert knowledge beautifully presented
Code
A194
L194
L3
N194
P194
K194
K5
C110
Subscription Title
Impressionist and Modern
Modern Art
(includes German, Austrian and Surrealist Art)
Impressionist & Modern Art
Swiss Art
Paintings, sculpture and works on paper by the most important artists of the late 19th century through the mid-20th century, including Czanne, Matisse, Monet, Picasso, van Gogh and all those who
forged artistic movements such as Fauvism, Cubism and Surrealism.
Paintings, sculpture and works on paper by Swiss artists from the
early 19th to the late 20th century.
Location
Issues
UKPrice
US$Price
EURPrice
Amsterdam
King Street
2
5
27
143
44
238
40
219
King Street
New York
Paris
South Kensington
South Kensington
Zurich
4
4
2
3
4
2
95
141
38
43
57
48
152
228
61
71
95
76
144
213
57
66
87
72
www.christies.com/shop
Photographs, Posters and Prints Impressionist and Modern Art
Jewellery, Watches and Wine Antiquities and Tribal Art
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Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Old Master Paintings and 19th Century Paintings
134
CHRISTIES
CHRISTIES INTERNATIONAL PLC
Patricia Barbizet, Chairman

Steven P. Murphy, Chief Executive Officer
Stephen Brooks, Chief Operating Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Franois-Henri Pinault
Nicholas Eldred, Company Secretary
CHRISTIES EXECUTIVE
Steven P. Murphy,
Stephen Brooks, Franois Curiel,
Nicholas Eldred, Karen Parker, Marc Porter,
Jussi Pylkknen, Doug Woodham
Charles Cator, Deputy Chairman,

Christies International
CHRISTIES EUROPE
CHAIRMANS OFFICE
CHRISTIES AMSTERDAM B.V.
Jop Ubbens, Chairman;

Susanne Koning, General Manager
Jussi Pylkknen, President

Orlando Rock, Deputy Chairman
Prof. Dr. Dirk Boll, Roland de Lathuy,

Eveline de Proyart, Roni Gilat-Baharaff,
Paul Hewitt, Clarice Pecori Giraldi,
Christiane Rantzau, Jop Ubbens, Juan Varez
Senior Director
Jetske Homan van der Heide;
Senior Associate Directors
Sarah de Clercq;
Stefan Doebner;
Jessica Koers;
Christiaan van Rechteren Limpurg
Associate Directors
Victor Bouman; Odette van Ginkel;
Peter van der Graaf; Nina Kretzschmar;
Manja Rottink; Anke Held
CHRISTIES EUROPEAN
ADVISORY BOARD
AMSTERDAM BASED CERTIFIED

VALUERS
Pedro Girao, Chairman,

Christopher Balfour, Patricia Barbizet,
Arpad Busson, Loula Chandris,
Kemal Has Cingillioglu, Ginevra Elkann,
I. D. Frstin zu Frstenberg, Laurence Graff,
H.R.H. Prince Pavlos of Greece,
Alicia Koplowitz,
Viscount Linley, Robert Manoukian,
Rosita, Duchess of Marlborough,
Dimitri Mavrommatis, Countess Dan
iela Memmo dAmelio, Usha Mittal,
Leopoldo Rods, igdem Simavi
Victor Bouman; Sarah de Clercq;

Odette van Ginkel;
Jetske Homan van der Heide;
Jop Ubbens.
SENIOR DIRECTORS
Mariolina Bassetti, Giovanna Bertazzoni,

Olivier Camu, Philippe Garner,
Richard Knight, Francis Outred,
Andreas Rumbler, Franois de Ricqles
DIRECTORS
AMSTERDAM AUCTION CALENDAR

NOVEMBER
DECEMBER
DECEMBER
OLD MASTERS & 19TH CENTURY ART

(INCLUDING DUTCH IMPRESSIONISM)
TUESDAY 25 NOVEMBER AT 14:00 PM &
WEDNESDAY 26 NOVEMBER AT 14:00 PM
Viewing: 21-24 November (sale 3050)
THE I.Q. VAN REGTEREN ALTENA COLLECTION

WEDNESDAY 10 DECEMBER AT 10:30 AM &
14:00 PM
Viewing: 6-9 December (sale 3052)
MODERN ART
TUESDAY 16 DECEMBER AT 14:00 PM
Viewing: 12-15 December (sale 3051)
All dates are subject to change, please phone +31 (0) 20 575 52 55 for confirmation
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 EcoManagement and Audit Scheme)
Printed in England
Copyright, Christies Amsterdam B.V. (2014)
135
Cornelis Schuytstraat 57, 1071 JG Amsterdam | +31 (0) 20 57 55 255 Telephone | +31 (0) 20 66 40 899 Facsimile

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INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

SENIOR BUSINESS MANAGERS

LONDON (KING STREET)

Tuesday 16 December 2014

In sending absentee bids or making

Jop Ubbens and Benthe Tupker

+44 (0)20 7627 2707

Browse this auction and view real-time

These auctions feature

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INTERNATIONAL HEAD OF THE DEPARTMENT

INTERNATIONAL DIRECTORS AND SENIOR SPECIALISTS

Jetske Homan van der Heide

Hans Peter Keller

Russian and CIS

SPECIALISTS AND SERVICES FOR THIS AUCTION

Jetske Homan van der Heide

Odette van Ginkel

First initial followed by

Tel: +31 (0)20 575 52 57

Tel: +31 (0)20 575 59 50

+44 (0)20 7839 9060

Tel: +31 (0)20 575 52 55

Tel: +31 (0)20 575 52 11

Tel: +31 (0)20 575 52 52

This auction is subject to

For an overview of the process, see the

MAURICE UTRILLO (1883-1955)

PROPERTY OF A PRIVATE BELGIAN COLLECTION

EDGARD TYTGAT (1879-1957)

HEINRICH HRLE (1895-1936)

PROPERTY OF A PRIVATE BELGIAN COLLECTION

VICTOR SERVRANCKX (1897-1965)

KARL SCHMIDT-ROTTLUFF (1884-1976)

PROPERTY OF AN IMPORTANT BELGIAN

PROPERTY OF A DISTINGUISHED BELGIAN COLLECTOR

GUSTAVE DE SMET (1877-1943)

PROPERTY OF AN IMPORTANT BELGIAN COLLECTION

PAUL DELVAUX (1897-1994)

The Paul Delvaux Foundation has confrmed the

PAUL DELVAUX (1897-1994)

GUSTAV KLIMT (1862-1918)

WILLY SCHLOBACH (1864-1951)

DIRK SMORENBERG (1883-1960)

FERDINAND HART NIBBRIG (1866-1915)

PROPERTY OF AN IMPORTANT BELGIAN COLLECTION

JAMES ENSOR (1860-1949)

THEO VAN DOESBURG (1883-1931)

LEO GESTEL (1881-1941)

signed and dated Leo Gestel 14 (lower right)

PHILIPP BAUKNECHT (1884-1933)

JAN WIEGERS (1893-1959)

LON DE SMET (1881-1966)

AIM JULES DALOU (1838-1902)

PROPERTY FROM THE LATE DR. ALFRED H. HEINEKEN

JAN SLUIJTERS (1881-1957)

THE MAXIMILIAN SCHELL ESTATE

THE MAXIMILIAN SCHELL ESTATE (lots 22-26)

EMIL NOLDE (1867-1956)

THE MAXIMILIAN SCHELL ESTATE

AUGUSTE RODIN (1840-1917)

THE MAXIMILIAN SCHELL ESTATE