Impressionist/Modern Day Sale

IMPRESSIONIST / MODERN DAY SALE
LONDON, THURSDAY 5 FEBRUARY 2015
INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

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

COLLECTIONS OF
PROPERTY FROM THE BLISS COLLECTION,
NEW YORK
AUCTION
Thursday 5 February 2015

at 2.00 pm (lots 401-528)
PROPERTY FROM THE COLLECTION OF

CARL HAGEMANN
8 King Street, St. Jamess

London SW1Y 6QT

NIKKI VAN DER ZYL
VIEWING

DR. PETER D. SOMMER
PROPERTY SOLD BY ART RECOVERY
INTERNATIONAL LTD ON BEHALF OF
THE HEIRS OF HENRY DAUBERVILLE
Friday
Saturday
Sunday
Monday
Tuesday
Wednesday
30 January
31 January
1 February
2 February
3 February
4 February
10.00am - 4.30pm
12.00 noon - 5.00pm
12.00 noon - 5.00pm
9.ooam - 4.30pm
9.ooam - 4.30pm
9.ooam - 3.30pm
AUCTIONEERS
Adrien Meyer
David Kleiweg de Zwaan
AUCTION CODE AND NUMBER
CONDITIONS OF SALE
In sending absentee bids or making

enquiries, this sale should be referred
to as D O N - 1 0 3 3 6
This auction is subject to

Important Notices,
Conditions of Sale and
to reserves.
[30]
AUCTION RESULTS
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US: +1 212 703 8080

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7
CONTENTS
6
Calendar of Auctions
Auction Information
10
Christies International Impressionist, 20th Century, Modern British

and Contemporary Art Departments
11
Specialists and Services for this Auction
12
Property for Sale
174
Important Notices and Explanation of Cataloguing Practice
175
Buying at Christies
176
Storage and Collection
177
Conditions of Sale and Limited Warranty
179
Salerooms and Offices Worldwide
181
Christies Specialist Departments and Services
189
Absentee Bids Form
190
Catalogue Subscriptions
IBC
Index
front cover:
Lot 426
DACS 2014.
inside front cover:
Lot 477
page one:
Lot 479
page two-three:
Lots 412, 411
page four-five:
Lots 501, 499

opposite:
Lot 410
inside back cover:
Lot 406
back cover:
Lot 478
Pechstein Hamburg/Toekendorf / DACS, 2014.
christies.com
INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

MODERN BRITISH AND CONTEMPORARY ART DEPARTMENTS
INTERNATIONAL DIRECTORS
Martha Baer
(Post-War and Contemporary Art)
Tel: +1 212 636 2071
Mariolina Bassetti
Tel: +39 06 686 33 30
Giovanna Bertazzoni
(Impressionist/Modern Art)
Tel: +44 (0)20 7389 2542
Olivier Camu
Tel: +44 (0)20 7389 2450
Cyanne Chutkow
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Brett Gorvy
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Loic Gouzer
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Marianne Hoet
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Conor Jordan
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Sharon Kim
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Brooke Lampley
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John Lumley
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Robert Manley
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Adrien Meyer
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Francis Outred
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Laura Paulson
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Jussi PylkkOnen
Tel: +44 (0)20 7389 2452
Andreas Rumbler
Tel: +41 (0)44 268 10 17
Jay Vincze
Tel: +44 (0)20 7389 2536
Barrett White
Tel: +1 212 636 2358
HONORARY CHAIRMAN,
AMERICAS
Christopher Burge
Tel: +1 212 636 2910
CHAIRMAN, AMERICAS
Impressionist/Modern Art
Derek Gillman
Tel: +1 212 636 2050
INTERNATIONAL MANAGING
DIRECTORS
Erem Kassim-Lakha
Tel: +44 (0)20 7389 2701
Post-War and Contemporary Art
Lori Hotz
Tel: +1 212 707 5915
MANAGING DIRECTORS
Impressionist/Modern Art, EMERI
Tara Rastrick
Tel: +44 (0)20 7389 2193
Julie Kim
Tel: +1 212 636 2317
BUSINESS DIRECTORS
Americas
Cara Walsh
Tel: +1 212 484 4849
EMERI
Virginie Melin
Tel: +33 1 40 76 84 32
Post-War and Contemporary Art UK
Zoe Ainscough
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SENIOR BUSINESS MANAGERS
Nina Foote
Tel: +44 (0)20 7389 2675
Eileen Brankovic
Tel: +1 212 636 2198
BUSINESS MANAGERS
Post-War and Contemporary Art,
Americas
Sarah Wendell
Tel: +1 212 707 5901
Post-War and Contemporary Art, UK
Astrid Mascher
Tel: +44 (0)20 3219 6451
Impressionist/Modern Art, Europe
Aoife Leach
Tel: +44 (0)20 7389 2109
ART ADVISORY ASIAN CLIENTS
Rebecca Wei
Xin Li
Tel: +852 2978 6796
PRIVATE SALES
New York
Adrien Meyer
Tel: +1 212 636 2056
London
LibertL Nuti
Tel: +44 (0)20 7389 2441
New York
Stefan Kist, Senior Business Director
Tel: +1 212 636 2205
Post War and Contemporary Art
New York
Alexis Klein
Tel: +1 212 641 3741
London
Beatriz Ordovas
Tel: +44 (0)20 7389 2920
WORLDWIDE
AMSTERDAM
Jetske Homan van der Heide
Odette van Ginkel
Benthe Tupker
Tel: +31 (0)20 575 5281
POST-WAR AND
CONTEMPORARY ART
Peter van der Graaf
Jetske Homan van der Heide
Nina Kretzschmar
Elvira Jansen
Tel: +31 (0)20 575 5957
AUSTRIA
Angela Baillou
Tel: +43 1 533 88 12 14
BARCELONA
Carmen Schjaer
Tel: +34 93 487 82 59
BEIJING
Salome Tan Bo
Tel: +86 (0)10 8572 7900
BRUSSELS
Marianne Hoet
Thibault Stockmann
Tel: +32 2 289 13 35
DUSSELDORF
Arno Verkade
Herrad Schorn
Tel: +49 (0)211 491 593 20
GENEVA
Nadja Scribante Amstutz
Eveline de Proyart
Anne Lamuniere
Tel: +41 (0)22 319 17 13
HONG KONG
Eric Chang
Elaine Holt
Jilly Ding
Tel: +852 2978 9985
LONDON (KING STREET)
Giovanna Bertazzoni
Olivier Camu
Jay Vincze
LibertL Nuti
Jason Carey
Cornelia Svedman
Michelle McMullan
Adrienne Everwijn-Dumas
Keith Gill
Antoine Lebouteiller
Ottavia Marchitelli
Annie Wallington
Anna Povejsilova
Tel: +44 (0)20 7389 2641
POST-WAR AND
CONTEMPORARY ART
Francis Outred
Hugues Joffre
Leonie Moschner
Dina Amin
Darren Leak
Alice de Roquemaurel
Beatriz Ordovas
Rosanna Widen
Leonie Grainger
Katharine Arnold
Tom Best
Cristian Albu
Jacob Uecker
Alexandra Werner
Alessandro Diotallevi
Paola Fendi
Tel: +44 (0)20 7389 2221
Andre Zlatinger
Nick Orchard
Tel: +44 (0)20 7389 2681
LONDON (SOUTH KENSINGTON)
Natalie Radziwil
Imogen Kerr
Albany Bell
Tel: +44 (0)20 7389 2137
Tel: +44 (0)20 7389 2137
POST-WAR AND
CONTEMPORARY ART
Bianca Chu
Zoe Klemme
Tel: +44 (0)20 7389 2502
Angus Granlund
Tel: +44 (0)20 7752 3107
MADRID
Guillermo Cid
Tel: +34 91 532 6627
MILAN
Barbara Guidotti
Elena Zaccarelli
Tel: +39 02 303 283 30
MUNICH
Jutta Nixdorf
Tel: +49 89 2420 9680
NEW YORK
Brooke Lampley
Cyanne Chutkow
Conor Jordan
Sharon Kim
Adrien Meyer
Jessica Fertig
David Kleiweg de Zwaan
Morgan Osthimer
Vanessa Fusco
Sarah El-Tamer
Allegra Bettini
Emma Hanley
Alexander Berggruen
Alyssa Ovadis
Isabel Elliman
Tel: +1 212 636 2050
POST-WAR AND
CONTEMPORARY ART
Loic Gouzer
Barrett White
Andy Massad
Jonathan Laib
Martha Baer
Ingrid Dudek
Koji Inoue
Sara Friedlander
Jennifer Yum
Alexis Klein
Amelia Manderscheid
Saara Pritchard
Michael Gumener
Edouard Benveniste
Edward Tang
Ana Maria Celis
Tel: +1 212 636 2100
PARIS
Anika Guntrum
Tudor Davies
Pierre Martin-Vivier
Tatiana Ruiz Sanz
Fanny Saulay
Olivia de Fayet
Thomas Morin
Tel: +33 (0)1 40 76 85 91
POST-WAR AND
CONTEMPORARY ART
Edmond Francey
Laetitia Bauduin
Christophe Durand-Ruel
Paul Nyzam
Etienne Sallon
Ekaterina Klimochkina
Tel: +33 (0)1 40 76 84 34
ROME
Mariolina Bassetti
Renato Pennisi
Tel: +39 06 686 33 30
SYDNEY
Ronan Sulich
Tel: +612 93 26 14 22
TEL AVIV
Roni Gilat-Baharaff
Tel: +97 23 695 0695
TOKYO
Chie Banta
Gen Ogo
+ 81 (0)3 6267 1766
ZURICH
Andreas Rumbler
Hans-Peter Keller
Rene Lahn
Philippe David
Jacqueline Riederer
Tel: +41 (0)44 268 10 12
22/12/14
10
Email. First initial followed by last name@christies.com (eg. Martha Baer = mbaer@christies.com)
SPECIALISTS IN CHARGE
AND SERVICES FOR THIS AUCTION
For assistance and further information about this sale
please contact the following on Tel: +44 (0)20 7389 2641
SPECIALISTS FOR THIS SALE, LONDON
Keith Gill
Thibault Stockmann
Ottavia Marchitelli
Keith Gill
Head of Sale
Tel: +44 (0)20 7389 2175
kgill@christies.com
Associate Specialist
Tel: +44 (0)20 7389 2515
alebouteiller@christies.com
Thibault Stockmann
Specialist
Tel: +44 (0)20 7389 2781
Tel: +32 (0)2 289 1338
tstockmann@christies.com
Ottavia Marchitelli
Junior Specialist
Tel:+44 (0)20 7389 2980
omarchitelli@christies.com
Ishbel Gray
Administrator
Tel:+44 (0)20 7752 3338
igray@christies.com
SERVICES
AUCTION ADMINISTRATOR
ABSENTEE AND TELEPHONE BIDS
PAYMENT
Ishbel Gray
Tel: +44 (0)20 7752 3338
Department Fax: +44 (0)20 7839 8326
Tel: +44 (0)20 7389 2658

Fax: +44 (0)20 7930 8870
Web: www.christies.com
BUSINESS MANAGER
CLIENT SERVICES
Buyers
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Fax: +44 (0)20 7389 2869
Consignors
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Aoife Leach
Tel: +44 (0)20 7389 2109
SENIOR BUSINESS MANAGER
Nina Foote
Tel: +44 (0)20 7389 2675
EUROPEAN MANAGING DIRECTOR
Tara Rastrick
Tel: +44 (0)20 7389 2193
INTERNATIONAL MANAGING DIRECTOR
Erem Kassim-Lakha
Tel: +44 (0)20 7389 2701
RESEARCH
Robert Brown
Fiammetta Luino
Annabel Matterson
Albany Bell
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AUCTION RESULTS
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CATALOGUES ONLINE
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EMAIL
First initial followed by last name@christies.

com
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For general enquiries about this auction,
emails should be addressed to the Auction
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COPYRIGHT NOTICE
No part of this catalogue may be reproduced,
stored in a retrieval system or transmitted by any
form or by any means, electronic, mechanical,
photocopying, recording or otherwise, without
the prior written permission of Christies.
COPYRIGHT, CHRISTIE, MANSON & WOODS
LTD. (2014)
PRIVATE SALES
Christies Private Sales supports buyers and sellers on a variety of collecting needsfrom acquiring a specific work
to buying or selling outside the auction timeline.
Drawing upon our international network of specialists, our deep knowledge of the art market, and our access to the
worlds most active collectors, we are able to connect clients swiftly and seamlessly with the art they love. Please contact
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Adrien Meyer +1 212 636 2056 ameyer@christies.com
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11
PROPERTY FROM A NOTABLE COLLECTION
l*401
BERNARD BUFFET (1928-1999)
Deux oiseaux dont un picorant
This work is recorded in the Maurice Garnier Archives.
signed Bernard Buffet (upper left)

oil on canvas
78 x 59 in. (200 x 150.2 cm.)
Painted circa 1980-1981
The present lot, from the series Les Grues dHokkaido, shows two of
the famous dancing cranes of the Kushiro Marshland in Hokkaido.
At one time thought to be extinct, by the time that Buffet saw them
on his frst trip to Japan in 1980, they were a compelling tourist
attraction, as they are to this day. The clear angularity and characterful
nature of the cranes could not fail to attract Buffets eye, and an
exhibition devoted to seven striking works from this series was held at
Galerie Maurice Garnier in October 1981.
50,000-70,000
$79,000-110,000
64,000-88,000
PROVENANCE:
Galerie Maurice Garnier, Paris.

Galerie Tamnaga, Tokyo (no. 344).
Acquired from the above by the present owner in March 1982.
12
l*402
Le bar du Libertys
signed and dated Bernard Buffet 50 (upper right)
oil on canvas
63 x 63 in. (160 x 160 cm.)
Painted in 1950
90,000-120,000
$150,000-190,000
120,000-150,000
PROVENANCE:
Galerie Boulakia, Paris.

Galerie Tamnaga, Tokyo.
Acquired from the above by the present owner in January 1981.
LITERATURE:
Y. le Pichon & M. Garnier, Bernard Buffet, vol. I, 1943-1961, Lausanne, 1986,

no. 108, p. 171 (illustrated p. 147).

As early as 1947, Buffet started to take interest in the interplay between his
angular approach to portraiture and the interiors in which his subjects posed
the powerful diagonal of a sitters arms or legs against the verticality of
the surrounding walls or windows. The angles of the barmans shoulders,
and the strict verticals of his torso, are mirrored in the shape of the coffee
machines and wine bottles behind him. The artists palette at this time was
dominated by subdued and atmospheric greys, and the visual effect of the
stark black and white of the barmans uniform, and the bright white of the
cup, must also have appealed to the artist.
13
l*403
Nature morte aux tulipes
signed Bernard Buffet (upper left) and dated 78 (upper right)
oil on canvas
32 x 39 in. (81.3 x 100.5 cm.)
Painted in 1978
30,000-40,000
$48,000-63,000
38,000-50,000
14
PROVENANCE:

Acquired from the above by the present owner in June 1981.
PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION
l*404
RAOUL DUFY (1877-1953)
La fontaine Hyres
signed Raoul Dufy (lower left)
oil and gouache on canvas
31 x 25 in. (80.6 x 65 cm.)
Painted in 1927
120,000-180,000
$190,000-280,000
160,000-230,000
PROVENANCE:
Mrs Peter Hughes, England, and thence by descent; sale, Christies, London,
7 February 2006, lot 237.
Acquired at the above sale by the family of the present owners.
LITERATURE:
M. Laffaille, Raoul Dufy, Catalogue raisonn de luvre peint, vol. II, Geneva,
1973, no. 531, p. 102 (illustrated).
Raoul Dufy frst painted Hyres in 1927, and the largest and most
striking of the Hyres paintings of that year is the present lot. La
Fontaine Hyres demonstrates Dufys gift of beautifully capturing
the essence of a location in both composition and vivid colour. The
work shows two of the towns most iconic features, its avenue of
palm trees receding up the hill towards the vieille ville in the distance,
and the imposing Godillot fountain in the foreground. The trees and
the fountains are rendered in Dufys typically striking azure blues and
verdant greens, and the eye is drawn beyond the fountain and trees to
the red and white of Lglise Saint-Paul on the horizon.
15
l*405
MARC CHAGALL (1887-1985)
Lne bleu dans le ciel du village
signed Marc Chagall (lower centre); signed and dated Chagall 1978
(on the reverse)
tempera, brush and ink on canvas
18 x 15 in. (46 x 38.5 cm.)
Painted in 1978
180,000-250,000
$290,000-390,000
230,000-310,000
PROVENANCE:
The artists estate.

Private collection, France.
Anonymous sale, Sothebys, London, 8 February
2006, lot 458.
Acquired at the above sale by the family of the
present owners.
The Comit Marc Chagall has confrmed the

authenticity of this work.
Painted in 1978, Lne bleu dans le ciel du village comes from a period of
stability and contentment in Marc Chagalls life. Having settled in Vence in
the South of France, the artist and his second wife, Valentina Brodsky, were
living in a house called Les Collines. Painted towards the end of the artists
life, Lne bleu dans le ciel du village can be seen as an amalgamation and
presentation of some of the leading themes that Chagall had examined
throughout his career; love, religion, memory and fantasy, as well as presenting
many of the artists most evocative and emblematic motifs. A street scene from
Chagalls beloved Vitebsk, the Russian town in which he was born, provides
the setting over which a heavenly sky full of foating fgures and animals are
depicted. The scene is bathed in a haze of rich blue, a characteristic of many of
Chagalls works, imbuing the image with a fantastical atmosphere, a fgment
of the distinctive visionary imagination of the artist.
A crucifxion scene can be seen in the upper left of the painting. The Bible had
served as artistic inspiration for Chagall throughout his life, particularly during
the Second World War when he painted a number of scenes of the crucifxion,
which were often met with controversy due to the merging of Christian
and Jewish religions. The animals that appear in the hazy, blue sky appear
as symbols of the rural town of Vitebsk, Chagalls birthplace. Even though
the artist spent many years away from his Russian birthplace, his national
heritage and identity remained a potent force within his painting. Chagall
once stated that, If I create from the heart, nearly everything works; if from
the head, almost nothing (Chagall, quoted in J. Baal-Teshuva, ed., Chagall:
A Retrospective, Exh. cat., New York, 1995, p. 16). Lne bleu dans le ciel du
village displays an enthralling and vivid depiction of the artists imagination
and memory. With a poetic lyricism that unites the airborne characters and
motifs, Lne bleu dans le ciel du village is a magical impression of the artists
wondrous pictorial world.
16
THE PROPERTY OF A HONG KONG COLLECTOR
l*406
Corbeille de fruits aux amoureux
signed Marc Chagall (lower right)
oil and gouache on canvas
21 x 28 in. (54.3 x 73 cm.)
Painted in 1978-1980
300,000-500,000
$470,000-780,000
380,000-630,000
PROVENANCE:
The artists estate.

Private collection, Toronto.
Weinstein Gallery, San Francisco.
Acquired from the above by the present owner
circa 2004-2005.
The Comit Marc Chagall has confrmed the

authenticity of this work.
Painted between 1978 and 1980, Corbeille de fruits aux amoureux, is a joyfully
abundant and exuberant painting that combines two of the central elements of
Chagalls uniquely personal artistic iconography: a bouquet of fowers, as well
as an amorous, foating couple at the top of the image. From the early 1920s,
bouquets of fowers had become a symbol of romantic love in Chagalls work,
and he continued to use the theme of fowers constantly throughout his career.
The exotic basket laden with fruits and the vase of brightly blossoming fowers
in Corbeille de fruits aux amoureux, evoke a sense of abundance and plenty.
At the time that this work was painted, Chagall was living in the hilltop town
of Saint-Paul-de-Vence, in the South of France. After the Second World War,
the small town on the French Riviera had emerged as a thriving artistic centre,
animated by the presence of Picasso and Matisse. Chagall described his life in
Vence as, a bouquet of roses (Chagall quoted in S. Alexander, Marc Chagall:
A Biography, New York, 1978, p. 492); a peaceful idyll, which is refected in
the sensuous, lyrical style and rich colours of Corbeille de fruits aux amoureux.
An explosion of colour, Corbeille de fruits aux amoureux demonstrates the
artists great love and mastery of colour. Francoise Gilot, one of Picassos lovers
and muses, wrote that the Spanish master once said, When Matisse dies,
Chagall will be the only painter left who understands what colour really is
Some of the last things hes done in Vence convince me that theres never
been anybody since Renoir who has the feeling for light that Chagall has.
(Picasso quoted in F. Gilot and C. Lake, Life with Picasso, New York, 1964, p.
282). Filled with brilliant light and colour, Corbeille de fruits aux amoureux is an
image that demonstrates Chagalls ceaseless enthusiasm and artistic creativity.
18
PROPERTY FROM A DISTINGUISHED PRIVATE ENGLISH COLLECTION
407
ARISTIDE MAILLOL (1861-1944)
Baigneuse debout se coiffant, le coude lev
signed with the artist's monogram and numbered M 6/6 (on top of the
base) and stamped with the foundry mark C. VALSUANI CIRE PERDUE
(on the back of the base)
bronze with light brown patina
Height: 11 in. (28.5 cm.)
Conceived in 1921 and cast in an edition of six
40,000-60,000
$63,000-94,000
51,000-75,000
PROVENANCE:
Ryuzaburo Umeghara, and thence by descent; sale, Sothebys, London, 25

June 1996, lot 328.
Acquired at the above sale by the present owner.
LITERATURE:
J. Rewald, Maillol, Paris, 1939, p. 165 (another cast illustrated pl. 77;
incorrectly dated circa 1903).
Exh. cat., An Exhibition of Original Pieces, of Sculpture by Aristide Maillol,
New York, 1958, no. 29 (another cast illustrated p. 33).
Exh. cat., Aristide Maillol, 1861-1944, New York, 1975, no. 76, p. 78
(another cast illustrated).
Exh. cat., Maillol au Palais des Rois de Majorque, Perpignan, 1979, no. 53, p.
192 (another cast illustrated p. 91; titled Le Coude lev).
Olivier Lorquin has confrmed the authenticity of this work.
22
l*408
BALTASAR LOBO (1910-1993)
Contemplative
signed and numbered Lobo FONDERIA ARTISTICA Flli. BONVICINI
(underneath her left thigh)
bronze with brown patina
26 x 54 x 27 in. (67 x 137 x 70 cm.)
Conceived in 1988 and cast in an edition of eight plus four artists proofs;
this version cast in 1995
100,000-150,000
$160,000-230,000
130,000-190,000
LITERATURE:
Exh. cat., Lobo, Osaka, 1992, no. 15 (another cast illustrated).

Exh. cat., Modern and contemporary Masters, Miami, 1996 (another cast
illustrated p. 49).
Exh. cat., Baltasar Lobo, Caracas, 1999, no. 52.
Exh. cat., Baltasar Lobo, Escluturas monumentales, Valladolid, 2007, no. 3
Exh. cat., Baltasar Lobo, Sculptures, Paris, 2010 (another cast illustrated pp.
44-45).
Exh. cat., Baltasar Lobo, Caracas, 2010 (another cats illustrated p. 112).
Exh. cat., Baltasar Lobo, Valencia, 2011 (another cast illustrated).
Exh. cat., Baltasar Lobo 1910-1993 (another cast illustrated p. 78).
PROVENANCE:
The artists studio, Paris.

Galeria Freites, Caracas.
Acquired from the above by the present owner.
Galera Freites will include this work in their forthcoming Baltasar Lobo
catalogue raisonn under the archive number 8809.
21
PROPERTY FROM A PRIVATE LONDON COLLECTION
l409
OSSIP ZADKINE (1890-1967)
Nu debout
signed O.ZADKINE (on the marble base)
ebony
Height: 34 in. (87 cm.) including base
Executed in 1936; this work is unique
150,000-200,000
$240,000-310,000
190,000-250,000
PROVENANCE:
Mme Wyss-Dunand (a student of the artist between 1935 and 1937).

Anonymous sale, Koller, Zurich, 19 November 1990, lot 5205.
Private collection, Switzerland, by whom acquired at the above sale; sale,
Christies, London, 24 June 2010, lot 391.
Galerie Thomas, Munich.
Acquired from the above by the present owner in 2012.
LITERATURE:
S. Lecombre, Ossip Zadkine, Luvre sculpt, Paris, 1994, no. 281, p. 319
(illustrated).
Cut into black, silky ebony, Nu debout illustrates Ossip Zadkines faith
in true carving and fascination for wood. In its style, the sculpture
conveys that combination of Primitive and Cubist undertones that had
characterized the artists most original work. Intuitive and expressive,
Nu debout appears as a sort of totem of Modernity, uniting the
aesthetic of the automaton expressed in the fgures strict, almost
mechanical form - with the spiritual echoes of wood, a material that
had once been alive in nature. Ionel Jianou noted the mystical qualities
of works such as Nu debout: These eyeless statues stare at us with
their whole bodies. A quiver of sensuality, desire and purity animates
the slightly rounded surfaces of these young, tall, slim, lissome, highly
polished and occasionally lacquered bodies, over which light fairly
streams (I. Jianou, Zadkine, Paris, 1964, pp. 54-56). Zadkine executed
Nu debout in 1936. At the time, the artist was enjoying international
recognition; the following year, he would exhibit 47 works at the
seminal Exposition Universelle in Paris.
22
23
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
410
AUGUSTE RODIN (1840-1917)
ternel Printemps, second tat, 3me rduction
signed Rodin (on the right side); stamped with the foundry mark F.
BARBEDIENNE, Fondeur (on the left side) numbered S 719 and F.M.M.
twice (underneath)
15 x 19 x 11 in. (39.6 x 50 x 28.5 cm.)
Conceived in 1884, this reduction in 1898, and cast between 1898 and 1918
in an edition of between 80 and 83 examples
180,000-250,000
$290,000-390,000
230,000-310,000
PROVENANCE:
Fuji Gallery, Tokyo.

Mitsukoshi Department Store, Tokyo.
Acquired from the above in the 1980s.
Robert Bowman Gallery, London.
LITERATURE:
G. Grappe, Catalogue du Muse Rodin, Paris, 1927, nos. 69-70, p. 42

(other versions illustrated).
Muse Rodin, ed., Catalogue 1931, Paris, 1931, no. 135, p. 68 (larger version
illustrated).
G. Grappe, Le Muse Rodin, Paris, 1947, p. 141 (larger version illustrated pl. 56).
B. Champigneulle, Rodin, London, 1967, nos. 34-35, p. 280 (larger plaster
versions illustrated pp. 92-93).
R. Descharnes & J. F. Chabrun, Auguste Rodin, Paris, 1967, p. 135 (larger bronze
version illustrated p. 134).
I. Jianou & C. Goldscheider, Rodin, Paris, 1967, p. 98 (another cast illustrated pp.
58-59).
J .L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, no. 32, pp.
241-245 (larger versions illustrated pp. 242-43).
A.E. Elsen, Rodin Rediscovered, Washington, 1981, p. 68 (larger clay version
illustrated, fg. 313).
A.E. Elsen, Rodins Art: The Rodin Collection of the Iris & B. Gerald Cantor Center
for Visual Arts at Stanford University, New York, 2003, pp. 494-497, no. 148
(other versions illustrated pp. 494-496).
A. Le Normand-Romain, Rodin et le bronze, Catalogue des uvres conserves au
Muse Rodin, vol. I, Paris, 2007, no. S. 583, p. 334 (another cast illustrated).
This work will be included in the forthcoming Auguste Rodin catalogue

critique de loeuvre sculpt currently being prepared by the Comit Rodin
at Galerie Brame et Lorenceau under the direction of Jrme Le Blay
under the archive number 2009-2640B.
An image of rapture and amorous union, Lternel printemps is among
Auguste Rodins most famous sculptures. With the excited grace of a dancing
satyr, a young man lifts a woman from her keens into a passionate kiss. Her
arched, abandoned body is enveloped into the vigorous twist of his, in a pose
that not only celebrates the union of man and woman, but also of immobility
and movement, surrender and passion. Charged with vital energy and romantic
transportation, Lternel printemps has been saluted as one of the very rare
sculptures in which Rodin expressed an almost undisturbed joie de vivre.
24
The work may have been originally intended to be included in Rodins

colossal model for the Gates of Hell. The elated feelings expressed
in Lternel printemps, however, could have seemed incongruous in
connection with the tragic force that animates the Gates of Hell and Rodin
eventually decided only to include the bust of the male fgure. According
to Jeanne Russell, the vision of Lternel printemps appeared to Rodin
while he listened to Beethovens Second Symphony. The sculptor would
have exclaimed: God, how he must have suffered to write that! And
yet, it was while listening to it for the frst time that I pictured Eternal
Springtime, just as I have modelled it since (quoted in A. Le NormandRomain, The Bronzes of Rodin: Catalogue of Works in the Muse Rodin,
vol. I, Paris, 2007, p. 335).
Conceived in 1884, however, Lternel printemps may have also had a
more direct, personal and emotional source: at the time the composition
was frst modelled, Rodin was living an intense relationship with a talented
and perseverant young sculptress, Camille Claudel. Rodin and Claudel
had met for the frst time in 1882, when she was only eighteen and yet
already determined to become a successful sculptress. Rodin had frst
assumed the role of tutor, but soon afterwards, impressed by the dexterity
and seriousness manifested by the young woman, he had hired her as an
assistant in his atelier at the Dpt des Marbres. Camilles brother, the poet
Paul Claudel described her as follows: A superb forehead and magnifcent
eyes of a deep blue rarely encountered except in novels her large mouth
was more proud than sensual; her hair was of that true chestnut shade
which the English call auburn, and fell to her waist. She had an air of
courage, frankness, superiority and gaiety (quoted in F. V. Grunfeld, Rodin:
A Biography, New York, 1998, p. 211). Rodins encounter with Claudel
marked a signifcant moment. The artists biographer, Frederick V. Grunfeld
commented: It was an immensely exciting time for both of them. On
Rodins side the ebb and fow of their affair could almost be charted by
the rise and fall in the number of erotic images which he produced each
year between 1884 and 1894 () These fgure () represented Rodins
conscious attempt to realize his ideas about love (F. V. Grunfeld, op. cit.,
p. 221). Evoking a perfect union of euphoria and abandonment, Lternel
printemps is one of the most acclaimed expressions of Rodins powerful
and elegant eroticism.
THE PROPERTY OF A LADY
411
PIERRE-AUGUSTE RENOIR (1841-1919)
Nu couch, vu de dos, sur fond ocre
signed Renoir (lower right)
oil on canvas
11 x 16 in. (29.5 x 42 cm.)
Painted circa 1885
380,000-550,000
$600,000-860,000
480,000-690,000
PROVENANCE:
Georges Bernheim, Paris.

Galerie Bernheim-Jeune et Cie., Paris (no. 21857), by whom acquired from
the above on 8 January 1920.
Cacheran, by whom acquired from the above on 7 March 1923.
Anonymous sale, Galerie Charpentier, Paris, 12 June 1953, lot 35.
Anonymous sale, Sothebys, London, 5 December 1962, lot 151.
Anonymous sale, Sothebys, London, 17 July 1971, lot 71.
A. Murray, by whom acquired at the above sale.
Private collection, Japan, by whom acquired circa 1980; sale, Christies, New
York, 3 November 2009, lot 18.
LITERATURE:
G.-P. & M. Dauberville, Renoir, Catalogue raisonn des tableaux, pastels,

dessins et aquarelles, vol. II, Paris, 2009, no. 1344, p. 410 (illustrated).
This work will be included in the forthcoming catalogue critique of

Pierre-Auguste Renoir being prepared by the Wildenstein Institute
established from the archives of Franois Daulte, Durand-Ruel, Venturi,
Vollard and Wildenstein.
In literature as well as in painting, talent is

shown only by the treatment of the feminine
fgures
(Renoir, 1890s, quoted in Renoir, exh. cat., London, 1985, p.16).
Pierre-Auguste Renoir, Femme nue couche, Gabrielle, 1903. Sold, Christie's New York,
4 May 2010, lot 34 ($10,162,500).
26
Since the mid-1870s Impressionism had fused fgure and ground,

granting an equal signifcance to both. From the 1880s Renoir rejected
this process and reinstated the traditional humanistic view of the fgure
as the painters prime focus, turning his attention to the female nude.
This stood in stark contrast to the aims of the Impressionist movement,
which sought to disengage with the classical aesthetic of academic
art and concentrate instead on the ever-changing outdoor world of
modern life. This change in direction can be seen, in part, due to his
visit to Italy in 1881, where Renoir was struck by the Raphael frescoes
he saw in Rome and the Pompeian works in Naples. Renoir yearned
for a greater sense of timelessness in his work and looked to his idols
Rubens, Titian, Fragonard and Boucher for inspiration, whose paintings
he saw on his travels.
Renoir saw himself as a descendent of these great masters and his
work a continuation in the lineage of classic French painting, declaring:
With all modesty, I consider not only that my art descends from a
Watteau, a Fragonard, a Hubert Robert, but also that I am one with
them (Renoir, quoted in J. Renoir, Renoir on Renoir: Interviews, Essays,
and Remarks, New York, 1989, p. 66).
One cannot, however, view Renoirs nudes as being entirely classical,
for they eschewed the traditional linearity and precision of French
classicism and presented instead a looser, more fuid and expressive
technique of painting the female fgure. As seen in Nu couch, vu de
dos, sur fond ocre, Renoir used thin layers of paint, built up to create a
surface which gave the glowing, milky appearance of skin, successfully
conveying the translucent layering of tints and the radiant blush
of living fesh. Accurate atomic detail was replaced with a greater
desire to express sensuality and a cohesive picture surface. The fgure
became disconnected from its setting, which as seen here, was often
presented as simply a blur of animated brushstrokes. Indeed this sense
of dislocation became customary from the 1880s onwards in Renoirs
nudes, where space became less defned, to the point of being
ambiguous. John House explains: The fgures become more abstracted
from the world, inhabitants of an Arcadian vision that, fully aware of
sensual delights, nevertheless transcends everyday reality (R. Shone,
A Very Private Collection: Janice H. Levins Impressionist Pictures, New
York, 2002, p. 57).
In Nu couch, vu de dos, sur fond ocre Renoirs nude is seen facing

away from us, her body is positioned into an S-shape so that the curve
of her hips is highlighted. Renoir further accentuates her feminine guile
through her long, flowing hair snaking down her back and the soft
furls of white fabric that lie beneath her, which emphasises the furrows
of her flesh. The sensuality and sense of display that is presented here
is reminiscent of the Orientalist atmosphere of the harem odalisque,
a theme which Renoir was to continue to explore over the next few
years, producing works such as Femme nue couche, Gabrielle, in 1903.
Renoir had traveled twice to Algeria in 1881 and 1882 and was greatly
moved by Orientalist art, enjoying the beguiling mood of idleness and
reverie and their preference for tastefully exposed flesh.
Renoir looked to the poised nudes of Ingres as well, who like him,
saw that the quintessential beauty of the nude lay in her sensuality.
However it is important to recognise that these were not simply works
of voyeurism but were portraits of the bodies surface, which were
translated into bold and modern experiments in painting. Martha
Lucy reiterates that the nude became a ground in which Renoir could
develop his skills, she states: The nude was like a canvas on which
Renoir could repeatedly explore his formal and theoretical interests,
such as the relationship between color and light, surface and volume,
and vision and touch (quoted in M. Lucy and J. House, Renoir, New
Haven, 2012, p. 209).
PROPERTY FROM A DISTINGUISHED BELGIAN COLLECTION
412
Les Martigues
indistinctly signed Renoir (lower right)
oil on canvas
21 x 25 in. (54 x 65 cm.)
Painted in 1888
400,000-600,000
$630,000-940,000
510,000-760,000
PROVENANCE:
Galerie Paul Vallotton, Lausanne (no. 8647).

Private collection, Belgium, by whom acquired from the above on 18
February 1963, and thence by descent to the present owner in 1974.
LITERATURE:
A. Vollard, Pierre-Auguste Renoir, Paintings, Pastels and Drawings, vol. II,

San Francisco, 1989, no. 1723, p. 355 (illustrated).
G.-P. & M. Dauberville, Renoir, vol. II, 1882-1894, Paris, 2009, no. 880, p.
117 (illustrated).

established from the archives of Franois Daulte, Durand-Ruel,
Venturi, Vollard and Wildenstein.
Depicting the picturesque town of Martigues, set northwest of

Marseille in the Provence-Alpes-Cte dAzur, Renoir captures the
luminosity and brilliance of light that was famed in the town known
as the Provencale Venice. Set looking across the Berre Lake at the
island of lle, Renoir captures the charm of the place, highlighting
the brightly coloured fshing houses that line the Canal Saint
Sbastien and the glise Sainte-Madeleine-de-lle, recognised in its
protruding tower, which punctuates the skyline. The bold colours and
ebullient brushwork seen in Les Martigues demonstrate the profound
appeal the landscape of the Cte dAzur had on Renoir, who relished
in the perpetual sunshine of the South. In a letter to friend Paul
Brard the artist proclaimed: What lovely landscapes, with distant
horizons and the most beautiful colours. The delicacies of hue are
extraordinary, alas, our poor palette cant match up to it (Renoir,
quoted in J. House, Renoir, exh. cat., London, 1985, p. 239).
28
Renoirs search for perpetual sunshine was felt most fervently in the
1880s, as the artist strove to describe the brilliance of the sunlight
and create a latent luminosity within his work. This is achieved in Les
Martigues. Applying a loose and visceral brushstroke, Renoir creates
a haze of bright blended tonalities, which gives the impression of
the town bathed in the warmth of sunlight. The bleached faades of
the fshing houses, set against the hot terracotta tiled roofs, and the
scurry of white paint, seen most prominently in the lower tripartite,
which describes the sun refecting off the water, successfully conveys
the iridescence of light. Albert Andr attributes this lustrous effect
to Renoirs technique of painting, he describes: Using pure colours
thinned with spirit, as if he were painting a water-colour, he quickly
brushes over the canvas and something vague and iridescent appears,
with the colours all fowing into one another it looks wonderful even
before one can grasp its meaning (quoted in F. Fosca, Renoir, London,
1964, p. 167).
In a letter to Madame Charpentier in 1882 Renoir wrote: So, by
looking around outside, I have fnished by seeing only the broad
harmonies, and am no longer preoccupied with the little details, which
only extinguish the sunlight, instead of increasing its brilliance (Renoir,
quoted in F. Fosca, Renoir, London, 1964, p. 147). Renoirs ambition
to focus on the wider harmonies and create a cohesive pictorial surface
comes to fruition in Les Martigues. Concentrating on the ambience
and atmosphere of the place, Renoir omits detail, only loosely painting
the town, so that the houses become almost silhouettes set against the
raging scurried blue of the water and sky. By applying such a loose,
yet dynamic brush Renoir grants the impression of wind, indicated in
the rippling waters and drifting clouds in the sky. Although Renoirs
work of the 1880s can be seen to adopt a greater sense of liberty and
deploy a more fuid and satiny brush, the extremity to which he pushes
it here remains very rare. One cannot help but make associations with
Turner, whose work he saw on his short trips to England in the 1880s.
In particular his hazy waterfront views spark comparisons, which focus
on the climate and atmosphere of a place rather than accuracy of
detail, as seen in Sun setting over the sea, 1840. However one should
not hold too much stock with this relationship, for Renoir is known to
have commented disparagingly on his work when in London.
PROPERTY SOLD BY ART RECOVERY INTERNATIONAL LTD ON BEHALF OF THE HEIRS OF HENRY DAUBERVILLE
l*413
MAURICE DE VLAMINCK (1876-1958)
La voile blanche Bougival
signed Vlaminck (lower right)
oil on canvas
25 x 31 in. (65 x 81.7 cm.)
Painted in 1909
100,000-150,000
$160,000-240,000
130,000-190,000
PROVENANCE:
Henry Dauberville, Paris.

Benjamin Cooper; sale, Sotheby's London, 23 November 1960, lot 67.
Mr. Loumansky, by whom acquired at the above sale.
Anonymous sale, Htel Drouot, Paris, 13 March 1974, lot 54.
Anonymous sale, Htel Drouot, Paris, 15 December 1977, lot 32.
Anonymous sale, Sotheby's, London, 29 November 1988, lot 57.
Private collection, Canada; sale, Christie's, New York, 12 May 1992, lot 127.
Private collection, United States, by whom acquired at the above sale.
Sold subject to a settlement between the above and the heirs of Henry
Dauberville.
LITERATURE:
M. Genevoix, Vlaminck, Paris, 1954, p. 56 (illustrated; titled Bateau voile

Chatou).
Math Valls-Bled and Godelive de Vlaminck will include this work

in their forthcoming Maurice de Vlaminck catalogue critique currently
being prepared under the sponsorship of the Wildenstein Institute.
La voile blanche Bougival was painted during Vlaminck's

transitional period of 1907-1910. Capturing the picturesque setting
of the banks of the Seine to the north west of Paris, the present
work shows the mastery and skill of Vlamincks propensity for nature.
Moving away from the fervoured Fauve style that had preoccupied
his work for the last seven years; where bold, quick brushstrokes and
vibrant pure colours had dominated his compositions, Vlaminck now
turned towards a more tempered palette and considered aesthetic.
Dispelling the impulsive manner, which epitomised his work from
1900 onwards, ever since his chance encounter with Andre Derain
on a train from Paris, Vlaminck sought to discover a more substantial
means of painting, fnding inspiration in the work of Paul Czanne,
of whose pictures he saw at the 1907 Salon dAutomne retrospective
exhibition. Enthused by his interpretation of space, experimentation
with volume and his manipulation of colour, Vlaminck adopted a more
ordered and structurally rigorous composition. Vlaminck described this
change in direction, reiterating the disillusion he now found in the
impulsive Fauvist approach to painting, he stated: Working directly
in this way, tube against canvas, one quickly arrives at an excessive
facilityThe play of pure colours, the extreme orchestration into which
I threw myself unrestrainedly, no longer satisfes me. I could not stand
being able to hit harder, to have to reach the maximum intensity, to
be limited by the blue or red of the paint dealer (M. de Vlaminck,
Dangerous Corner, London, 1961, p. 15).
Although Vlamincks style changed during this period, he never was
to lose the sense of vigor and exuberance that was imbued in his
earlier Fauve work. Indeed, one can argue that it was heightened in
the artists latter pictures, where he enjoyed a freer, less constrictive
approach to painting, allowing him to develop his own unique and
personal aesthetic. There is a visceral energy in La voile blanche
Bougival, evoked through Vlamincks enlivened brushstrokes, his bold,

yet selective palette, the rich impasto of his paint and the interplay of
of the Seine that I tried to represent the emotion that seized hold of
me when faced by this landscape (Vlaminck, quoted in M. V-Bled,
dark shadow and highlights of pure colour, most notably seen here in
the white yacht sail, which grants a latent luminosity to his painting.
Vlaminck, Catalogue critique des peintures et cramiquesde la priode

fauve, Paris, 2008, p. 361).
His skill of manipulating colour was noted by Patrick Heron who in

his 1947 essay the Changing Forms of Art wrote: Reduced to areas
that are predominantly dark or light, a landscape by Vlaminck is
nevertheless incomplete, uncreated, until the painter has introduced
those brief slabs of pure, and often primary, colour, red, yellow, blue,
green, pure white or black at certain points in the composition (P.
Heron, The Changing Forms of Art 1947, cited in A selection of
paintings by Maurice de Vlaminck, exh. cat., London, 1956, n.p.)
The intensity of his response to the landscape has drawn comparisons

with Van Gogh, who Vlaminck greatly admired, fnding in the older
artists work a means of exploring his own pictorial intentions. He
explained: In him I found some of my own aspirationsAnd as
well as revolutionary fervour, an almost religious feeling for the
interpretation of nature (Vlaminck, quoted in J. Freeman, ed., The
Fauve Landscape: Matisse, Derain, Braque and Their Circle, 19041908, exh. cat, Los Angeles, 1990, p. 21) Certainly Chatou became
an emotional touchstone, in which Vlaminck returned in order to
further advance and develop his art, taking the familiar forms of the
area around Chatou and fltering them through a new vision, a new
means of understanding the world, and importantly, a new means of
presenting it.
Returning to his beloved views of the river Seine; the yachts, barges,
tugboats, bridges and towpaths seen at Bougival, Argenteuil, Chatou
and Pecq, Vlaminck was able to infuse within his pictures his emotive
response to the landscape, which in turn has granted a romanticism
to his paintings. Vlaminck later recalled: It was in painting the banks
PROPERTY FROM A PRIVATE MONACO COLLECTION
l414
Nature morte aux vases de Moustiers
signed and dated Bernard Buffet 63 (lower centre); inscribed 5
(on the reverse)
oil on canvas
35 x 51 in. (89.4 x 130.5 cm.)
Painted in 1963
50,000-80,000
$79,000-130,000
64,000-100,000
32
PROVENANCE:
Galerie David et Garnier, Paris.

Galleria d Arte San Giorgio, Portofno.
Acquired from the above by the father of the present owner circa 1960s.
l*415
La pniche dAmsterdam
signed Bernard Buffet (lower centre) and dated 1977 (lower right);
titled and numbered La Peniche dAmsterdam I (on the reverse)
oil on canvas
38 x 57 in. (97.2 x 146.1 cm.)
Painted in 1977
PROVENANCE:
Anonymous sale, Christies, New York, 7 November 2007.

70,000-100,000
$110,000-160,000
88,000-130,000
33
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
l*416
JACQUES LIPCHITZ (1891-1973)
Le compotier
signed JLipchitz (lower left)
oil on paper laid down on canvas
18 x 13 in. (46.3 x 33.3 cm.)
14,000-18,000
$23,000-28,000
18,000-23,000
34
PROVENANCE:
Private collection, Germany.

Anonymous sale, Auktionshaus Jeschke, Greve & Hauff, Berlin, 7 December
2004, lot 281.
Simone and Jean Tiroche, by whom acquired at the above sale, and thence by
descent; sale, Christies, London, 19 June 2013, lot 437.
417
Sucrier et bol
signed Renoir. (lower right)
oil on canvas
6 x 10 in. (17 x 26.8 cm.)
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
Jacques Sainsre, Paris, by 7 April 1960.

Olivier Sainsre, Paris, by 25 March 1963.
Private collection, Vienna; sale, Christie's, London, 3 December 1996, lot 118.
EXHIBITED:
Paris, Galerie Charpentier, Natures mortes franaises, du XVIIe sicle nos

jours, 1951, no. 176 (titled Tasse et sucrier).

established from the archives of Franois Daulte, Durand-Ruel, Venturi,
Vollard and Wildenstein.
Please note that this work will be included in the second supplement
to the catalogue raisonn des tableaux, pastels, dessins et aquarelles
de Renoir being prepared by Guy-Patrice and Floriane Dauberville,
published by Bernheim-Jeune.
35
l*418
Bouquet au vase jaune et vert
signed Bernard Buffet (lower right) and dated 1978 (lower left)
oil on canvas
45 x 32 in. (116.5 x 81.3 cm.)
Painted in 1978
40,000-60,000
$63,000-94,000
51,000-76,000
PROVENANCE:

Acquired from the above by the present owner in September 1982.
PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION
419
ALEXEJ VON JAWLENSKY (1864-1941)
Variation
PROVENANCE:
signed with the intials A.J. (lower left)

oil on linen-fnish paper laid down on board
14 x 10 in. (36.5 x 26.7 cm.)
Painted in 1917
Anonymous sale, Stuttgart, Stuttgarter Kunstkabinett, 20-21 May 1960,

lot 225.
Crane Kalman Gallery, London.
Jacques OHana, London.
Acquired from the above by the father of the present owners.
60,000-80,000
LITERATURE:
$95,000-130,000
76,000-100,000
M. Jawlensky, L. Pieroni-Jawlensky, & A. Jawlensky, Alexej von Jawlensky:

Catalogue Raisonn of the Oil Paintings, vol. II, 1914-1933, London, 1992,
no. 949, p. 234 (illustrated).
*420
ALEXEJ VON JAWLENSKY (1864-1941)
Stilleben mit Blumenstock
signed with the initials A.j. (lower left)
oil on canvas
11 x 15 in. (30.2 x 40.3 cm.)
Painted circa 1909
300,000-500,000
$480,000-790,000
380,000-630,000
PROVENANCE:
Anonymous sale, Hauswedell & Nolte, Hamburg, June 1976,

lot 712.
Private collection, Switzerland.
Leonard Hutton Galleries, New York.
EXHIBITED:
Moscow, Skhola Gallery, Alexej von Jawlensky, October December 2010 (illustrated).
LITERATURE:
M. Jawlensky, L. Pieroni-Jawlensky & A. Jawlensky, Alexej

von Jawlensky, Catalogue Raisonn of the Oil Paintings, vol. I,
1890-1914, London, 1991, no. 301, p. 255 (illustrated).
In the still lifes, I was not searching

for the material object; instead, I
wanted to express an inner vibration
by means of form and colour.
(A. Jawlensky, quoted in The Blue Rider In the
Lenbachhaus, Munich, Munich, London and New York,
2000, n.p.)
38
l*421
La bte noire
signed Marc Chagall (lower right); signed again Chagall (on the reverse)
acrylic, tempera and black ink on canvas
18 x 15 in. (45.7 x 38 cm.)
Painted in 1978
350,000-450,000
$560,000-710,000
450,000-570,000
PROVENANCE:
Pierre Matisse Gallery, New York (no. 3270), by whom acquired

directly from the artist by May 1979.
Galleria Gissi, Turin (no. 6728), by November 1980.
Anonymous sale, Sothebys, London, 28 November 1989, lot 59.
EXHIBITED:
New York, Pierre Matisse Gallery, Marc Chagall, Paintings and

Temperas 1975-1978, May 1979, no. 37 (illustrated).
Tokyo, Fuji Television Gallery, Marc Chagall, 1979, no. 12
(illustrated).
Turin, Galleria Gissi, I Contemporanei, Collettiva, November 1980.
The Comit Marc Chagall has confrmed the authenticity of

this work.
There is nothing anecdotal in my

pictures - no fairy tales - no literature in
the sense of folk-legend associations...
For me a picture is a plane surface
covered with representations of objects
- beasts, birds, or humans - in a certain
order in which anecdotal illustrational
logic has no importance. The visual
effectiveness of the painted composition
comes frst. Every extra-structural
consideration is secondary
(Chagall, quoted in interview with James Johnson Sweeney,
1946, J. Baal-Teshuva, ed., Chagall, A Retrospective, Exh.
cat., New York, 1995, p. 277).
40
Divided into different facets of bright, jewel-like colour, La bte noir,

executed in 1978, illustrates many of the central elements of Marc Chagalls
personal iconography. Filled with dreamlike visions, Chagalls art was
nourished by his Russian childhood and Jewish sense of identity. In La
bte noir, Chagalls characteristic subjects meet as if in a dream: a fgure
holding a bouquet of fowers, a boy with a donkey, a pair of lovers and
a rural village scene of Chagalls native town, Vitebsk, are merged into a
kaleidoscopic world which seems to emanate from the bellowing of a black
animal at the centre of the composition.
Chagalls lifelong passion for colour can be clearly seen in La bte noir.
He emphatically stated that, Colour is purity. Colour is art. Pure art. Or its
fundamental intonation But one must undoubtedly be born with colour.
If I love Vitebsk so much it is not only because I was born there but because
it was there that I found my colour (Chagall quoted in J. Baal-Teshuva, ed.,
Chagall, A Retrospective, Exh. cat., New York, 1995, p. 322). For Chagall,
colour was imbued with an expressive and personal resonance, as well as
fulflling a pictorial role. In La bte noir the bold use of blue, red, green and
black imbues the scene with a visual richness, an illustration of the artists
diverse experimentations with the compositional and expressive possibilities
of colour.
THE PROPERTY OF A EUROPEAN COLLECTOR
l*422
JEAN-PIERRE CASSIGNEUL (B. 1935)
Les trois voiliers
PROVENANCE:
Acquired directly from the artist by the present owner.

signed CASSIGNEUL. (lower centre)
oil on canvas
25 x 21 in. (65 x 54 cm.)
Painted in 2014
35,000-45,000
$56,000-71,000
45,000-57,000
42
Jean-Pierre Cassigneul has confrmed the authenticity of this work.
THE PROPERTY OF A EUROPEAN COLLECTOR
l*423
Dimanche au bois
signed CASSIGNEUL. (lower centre)
oil on canvas
31 x 25 in. (81 x 65 cm.)
Painted in 2008
PROVENANCE:
Acquired directly from the artist by the present owner.
40,000-60,000
$63,000-94,000
51,000-76,000
43
l424
ANDR BRASILIER (B. 1929)
Quatres cavaliers
signed Andr Brasilier. (lower right); signed, dated and titled Quatres
Cavaliers Andr Brasilier. 1990 (on the reverse)
oil on canvas
76 x 51 in. (195 x 130 cm.)
Painted in 1990
35,000-55,000
PROVENANCE:
$56,000-86,000
45,000-69,000

EXHIBITED:
Paris, Galerie Etienne Sassi, Andr Brasilier, Peintures - Cramiques,

November - December 1990, (illustrated).
Tokyo, Daimaru Museum, Lexposition des Brasilier de Brasilier, April 1992,
no. 70, p. 93 (illustrated); this exhibition later travelled to Osaka, Navio
Museum, April - May 1992, Sapporo, Marui Imai, July 1992, and Fukuoka,
Daimaru, Fukuoka Tenjin, September 1992.
Paris, Bagatelle, Mairie de Paris, Andr Brasilier Bagatelle, September November 1992, no. 74, p. 78 (illustrated).
Menton, Palais Carnols, Muse des Beaux-Arts, Andr Brasilier, August September 1994, p. 41 (illustrated).
Metz, LArsenal and Galerie Arts Gambetta, Brasilier, June - September 1995.
LITERATURE:
J.-L. Chalumeau, Andr Brasilier, uvres rcentes et indites, Lessence du

pictural, Prigueux, 1994, no. 7 (illustrated).
X. Viader, Andr Brasilier: Un tableau cest un message de posie, in ParisTurf, 9 February 2001, p. 20 (illustrated).
X. de Coulanges, Andr Brasilier, Catalogue raisonn, vol. I, 1982-2002,
Lausanne, 2002, no. 1990/11, p. 171 (illustrated).
This work will be included in the forthcoming Andr Brasilier catalogue

raisonn being prepared by Alexis Brasilier.
THE PROPERTY OF A PRIVATE SWISS COLLECTOR
l425
ANDR BRASILIER (B. 1929)
Chantal New York
signed Andr Brasilier. (lower right); signed with the initials and titled A.B.
Chantal New York (on the reverse)
oil on canvas
57 x 44 in. (145.3 x 113.7 cm.)
Painted in 1983
40,000-60,000
$63,000-94,000
PROVENANCE:
Anonymous sale, Christies, New York, 11 February 2009, lot 20.

EXHIBITED:
Tokyo, Nichido Gallery, Andr Brasilier, October 1983, no. 8.
This work will be included in the forthcoming Andr Brasilier catalogue

raisonn being prepared by Alexis Brasilier.
51,000-75,000
45
l*426
FERNAND LGER (1881-1955)
Composition avec coquille
signed and dated F.LEGER.29 (lower right); signed again, dated and
inscribed Composition avec coquille F.LEGER.29 (on the reverse)
oil on canvas
25 x 21 in. (65 x 54.3 cm.)
Painted in 1929
400,000-600,000
$630,000-940,000
510,000-750,000
PROVENANCE:
Paul Rosenberg, Paris (no. PH2718).

Paul and Marguerite Rosenberg, Paris, and thence by descent; sale,
Christies, Paris, 3 December 2007, lot 21.
LITERATURE:
Fernand Lger au Kunsthaus de Zurich, in Cahiers dArt, Paris,

1933, nos. 3-4 (illustrated; titled Paysage la coquille).
E. Ptrova, Fernand Lger, Prague, 1966, p. 75 (illustrated).
G. Bauquier, Fernand Lger, Catalogue raisonn 1929-1931, Paris,
1995, no. 605, p. 18 (illustrated; titled Paysage la coquille).
Villa Savoye, Poissy. 1928-1931. View of the exterior in the surroundings.

FLC/ ADAGP, Paris and DACS, London 2014.
Fernand Lgers brilliantly coloured Composition avec coquille, painted in

1929, dates from a period during which Lger had begun to introduce
natural, organic forms into his mechanically inspired, geometric compositions.
As a result, his paintings of this time, of which Composition avec coquille is a
prime example, became less rigidly structured, permeated with visual rhythms
and pictorial contrasts that the juxtaposition of forms engendered.
Within a foating composition of seemingly abstract forms, two shells
are depicted in front of a black and white structure that is reminiscent of
architect, Le Corbusiers seminal modernist building, the Villa Savoye, situated
outside Paris. Constructed between 1928 and 1931, this iconic piece of
architecture, with its bold structure of white, interlocking and unadorned
geometric parts, was central to the development of architecture throughout
the 20th Century; a visible embodiment of Le Corbusiers Purist aesthetic.
Lger had a keen awareness and appreciation of modern architecture
and had met Le Corbusier in 1920. In 1929, the year that Composition
avec coquille was painted, Lger and Le Corbusier both wrote statements
in which they affrm an equivalence between modern architecture and
modern painting. Le Corbusier saw an analogy between the combination
and interplay of geometric forms in Lgers modern painting and his
own conception of architecture, and likewise, Lger envisioned artistic
components, such as colour, as having an architectural function. In this way,
Composition avec coquille could be seen as Lgers visual tribute to the
shared modernist visual aesthetics of the painter and architect.
Lger is in pursuit of further discovery about the

modern world. As a painter, he perceives himself
to be powerfully positioned to participate in this
great current more pervasive every day that is
the phenomenon of contemporary architecture:
countless new objects are being created under the
sign of this new spirit, and the general production
of our era is tearing us from the past and
propelling us into an imminent new phase.
Le Corbusier, LArchitecture et Fernand Lger, in Lger: Modern Art and the
Metropolis, Exh. cat., Philadelphia, 2014, p. 215).
46
427
427
AFTER A DESIGN BY DIEGO GIACOMETTI
(1902-1985)
428
AFTER A DESIGN BY DIEGO GIACOMETTI
(1902-1985)
La promenade des amis
La rencontre
signed with the monogram, dated and numbered DG 86GB5 EA XXIII

(on the reverse)
hand-woven wool pile rug
67 x 93 in. (171 x 237.5 cm.)
Designed in 1984 and woven in an edition of 100 plus artists proofs
signed with the monogram, dated and numbered DG 86GB5 EA XXIII

(on the reverse)
hand-woven wool pile rug
69 x 92 in. (176 x 234.6 cm.)
Designed in 1984 and woven in an edition of 100 plus artists proofs
6,000-8,000
6,000-8,000
$9,500-13,000
$9,500-13,000
7,600-10,000
7,600-10,000
48
428
429
DIEGO GIACOMETTI (1902-1985)
Couple
PROVENANCE:
signed Diego (on the base)

bronze with dark brown patina
Conceived circa 1957
Michel Audiard, Paris, by whom acquired directly from the artist, and thence
by descent.
Anonymous sale, Christies, London, 10 December 1997, lot 312.
25,000-35,000
$40,000-55,000
32,000-44,000
LITERATURE:
F. Francisci, Diego Giacometti, Catalogue de luvre, vol. I, Paris, 1986, p.

115 (another cast illustrated p. 55; titled Les acrobates II, terrasse).
D. Marchesseau, Diego Giacometti, Paris, 1986, p. 117 (another cast
illustrated).
49
l430
JACQUES LIPCHITZ (1891-1973)
Rape of Europa II
signed J. Lipchitz and with the artists thumbprint (on top of the base); with
the foundry mark BEDFORD.BRONZE.FDRY. N.Y. (on the side of the base)
Height: 15 in. (40 cm.)
Length: 23 in. (58.5 cm.)
Depth: 13 in (33 cm.)
Conceived circa 1938 and cast in bronze in an edition of seven
50,000-80,000
$79,000-130,000
64,000-100,000
50
PROVENANCE:
Otto Gerson Fine Art Associates, New York.

William and Virginia Booth Vogel, Milwaukee, by whom acquired from the
above, and thence by descent; sale, Christies, New York, 10 November
1994, lot 263.
LITERATURE:
M. Raynal, Jacques Lipchitz, Paris, 1947 (another cast illustrated).

R. Goldwater, Lipchitz, Amsterdam, 1954, no. 17 (another cast illustrated).
Exh. cat., The Sculpture of Jacques Lipchitz, New York, 1954, p. 62 (another
cast illustrated).
I. Patai, Encounters, The Life of Jacques Lipchitz, New York, 1961, no. 33
A. Lerner, ed., The HIrshhorn Museum & Sculpture Garden, New York, 1974,
no. 481, p. 340 (another cats illustrated p. 339).
A. G. Wilkinson, Jacques Lipchitz, A Catalogue Raisonn, vol. I, The Paris
Years 1910-1940, New York, 1996, no. 343, p. 225 (another cast illustrated
p. 213).
K. de Baraano, Jacques Lipchitz, The Plasters, A Catalogue Raisonn 19111973, Bilbao, 2009, no. 246, p. 345 (the painted plaster version illustrated).
PROPERTY FROM A PRIVATE GERMAN COLLECTION
l431
KEES VAN DONGEN (1877-1968)
Femme nue au lierre
signed van Dongen. (lower left)
painted ceramic tiles
19 x 15 in. (50 x 40 cm.) overall
Executed circa 1908-1910
100,000-150,000
$160,000-240,000
130,000-190,000
PROVENANCE:
Private collection, Germany, by whom acquired in the 1960s, and thence by descent.
EXHIBITED:
[Possibly] Paris, Bernheim-Jeune & Cie., Exposition Van Dongen, November - December
1908, no. 84 (titled Femme et branche de lierre) or no. 85 (titled La toilette).
This work will be included in the forthcoming catalogue critique of the work of
Kees Van Dongen being prepared by Jacques Chalom des Cordres under the
sponsorship of the Wildenstein Institute.
Hall, Villa Sad, where van Dongen lived from 1915

until the end of 1921, showing a similar ceramic tiles
composition in the fre place.
DACS 2014.
51
PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION
432
ALBERTO GIACOMETTI (1901-1966)
Tte de Rol-Tanguy sur double socle
signed and numbered Alberto Giacometti 6/8 and with the foundry mark
Susse Fondeur Paris (on the lower socle)
Conceived in 1946 and cast in 1961 in an edition of eight
120,000-180,000
$190,000-280,000
160,000-230,000
PROVENANCE:
David Lvy & Associs, Paris.

Private collection, UK.
LITERATURE:
R. Hohl, Alberto Giacometti, Lausanne, 1971, p.

109 (another cast illustrated).
Exh. cat., Alberto Giacometti, Skulpturen,
Gemlde, Zeichnungen, Graphik, Berlin, 1987,
no. 75, p. 198 (another cast illustrated).
The Fondation Alberto et Annette Giacometti

Database no. AGD 496.
Tte de Rol-Tanguy sur double socle was created by Giacometti as a memorial

to the French Resistance fghters. As the Resistance commander and one
of the leading protagonists in the Liberation of Paris in August 1944, the
portrait of Colonel Rol-Tanguy is a beftting commemoration to the efforts of
the French people who stood up against the Nazi German occupation. RolTanguy, born Henri Tanguy, embarked on his political career in 1937 when he
joined the International Brigades to fght for the Spanish Republic, returning
to France after the war. With the outbreak of the Second World War Tanguy
was conscripted into the French army. After their surrender, Tanguy went
underground and became one of the leaders of the communist resistance in
Paris, where he organised a group that became the Francs-Tireurs et Partisans
(FTP), taking the nom de guerre of "Colonel Rol", after a close friend who had
died in Spain. In June 1944, Tanguy took command of the group the French
Forces of the Interior in the le-de-France, who were part of the forces that
began the Liberation of Paris, and after days of fghting had diminished the
German General Dietrich von Choltitzs army. With 100,000 men under his
orders he prepared the Liberation of Paris and freed France's capital along with
Gnral Leclerc on August 24, 1944. Despite such heroic efforts Tanguy is said
to have remained modest, fnding amusement in his fame.
Alberto Giacomettis admiration for Rol-Tanguy is apparent in the present
work. Giacometti grants a sense of monumentality to his portrait of Tanguy,
Colonel Rol-Tanguy, October 1944.

Photo by PNA Rota/Getty Images.
52
whose face holds a quiet air of authority, while the brown patina of the bronze
imbues warmth of character. Reinhold Hohl saw that this form of sculpture
marked a step forward in the progression of three-dimensional fguration,
he stated: The austere portrait head of Colonel Rol-Tanguy is something
completely new in the history of sculpture after Rodin and Bourdelle, DuchampVillon, and Brancusi; when one compares it with Giacometti's own portrait
bronzes of 1925 or his studies of heads of 1935, one can see very clearly the
path he took over two decades. For, in addition to the impressionistic richness
of its surface (Rodin), the classicistic "fruitful moment" of its style (Bourdelle)
and "the forms that are true in sculpture" (Duchamp-Villon, Brancusi), this
head has a presence which comes closer to giving the impression of reality than
any of his earlier work" (Hohl, op cit, p. 135).
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
q 433
CHRISTIAN ZERVOS (1889-1970)

Pablo Picasso, 1881-1973 - Catalogue raisonn
the complete set of 34 volumes, linen-bound hardback, numerous plates and
illustrations, published by Editions Cahiers dArt, Paris, between 1949 and 1978
each volume: 13 x 9 in. (33 x 25 cm.)
thirty four (34)
20,000-30,000
$32,000-47,000
26,000-38,000
54
THE PROPERTY OF A DISTINGUISHED COLLECTOR
434
JOZSEF RIPPL-RNAI (1861-1927)
Model for Count Tivadar Andrssy service
printed with the artists monogram, impressed with the Zsolnay (Pcs)
mark and numbered 1 431 (underneath), inscribed 351.570.270.C.
(underneath)
glazed ceramic plate
Diameter: 11 in. (30 cm.)
Conceived in 1897-1898 and manufactured by Zsolnay circa 1913
15,000-25,000
$24,000-39,000
19,000-31,000
PROVENANCE:
Hugo Gergely, Enzersdorf, Austria.

Acquired from the above by the present owner in July 1993.
Edit Plesznivy has kindly confrmed the authenticity of this work.
Among the Nabi artists, the Hungarian Jzsef Rippl-Rnai (1861-1927),

was the most prolifc producer of ceramics. Today the largest holdings of
his works in this medium are in Budapests Decorative Museum of Applied
Arts. In 1896 Rippl-Rnai was commissioned to decorate the dining room
in the town house of Comte Tivadar Andrssy, his patron in Budapest. He
designed the entire room, including tapestries, furniture, and a porcelain
dinner service. It was one of the earliest Art Nouveau rooms in Hungary.
On 15 January 1898, Rippl-Rnai wrote the following letter to Mr Radisics,
the director of the Museum of Applied Arts in Budapest: For the month
of May, I will already have some furniture ready, and by the summer,
my tableware will count nearly three hundred pieces (S.I. Bagot, Les
principes de Jzsef Rippl-Rnai, Annuaire du muse des Arts dcoratifs
et du muse dArt DExtrme-Orient, Paris, 1962, p. 94). The plates in the
service were executed in collaboration with the manufacturer Zsolnay in
Pcs (South Hungary). Featuring foral motifs, the plates are inspired by
Japanese prints and textiles, and executed with a vivid glazing, for which
Zsolnay was famous.
PROPERTY FROM AN IMPORTANT JAPANESE COLLECTION
l*435
AFTER MARC CHAGALL (1887-1985)
La danse
with signature Chagall and monogram of the Yvette Cauquil-Prince atelier (in
the weave lower left); inscribed PIECE UNIQUE 1/1 la danse de Marc Chagall
Pice unique termine: 1997 (on a label affxed to the reverse)
hand-woven wool tapestry
105 x 74 in. (268 x 188.5 cm.)
Conceived in 1950 and executed by the Yvette Cauquil-Prince atelier in 1997;
this work is unique
100,000-150,000
$160,000-240,000
130,000-190,000
PROVENANCE:
Yvette Cauquil-Prince, Paris.

Commissioned from the above by the present owner.
EXHIBITED:
Le Mans, Collgiale St-Pierre-la-Cour, Tapisseries de

Peintres, hommage au matre duvre Yvette CauquilPrince, June - September 1997, p. 7 (illustrated).
Vienna, Kunsthaus, Meister des 20. Jahrhunderts,
Tapisserien, February - May 2000 (illustrated on the
back cover).
Fukui, City Art Museum, Marc Chagall et Yvette
Cauquil-Prince, June July 2012, no. T-13, p.
53 (illustrated); this exhibition later travelled to
Matsuzakaya, Museum of Art, September October
2012, and Shoto, Museum of Art, December 2012
January 2013.
In February 1950 two of the founders of the Watergate Theatre

in London came to know Marc Chagall who was wintering
at Cap Ferrat in the South of France, and told him of their
theatre, designed to be an experimental centre for the arts.
Chagall offered to paint murals for it which would be his frst
mural decorations for a theatre since his work for the State
Jewish Theatre, Moscow, in 1919-20. Some months later two
large paintings, La danse and Le cirque bleu arrived in London,
and were placed on the side walls of the auditorium. They
remained there until February 1951, when the artist recalled
them for an exhibition of large paintings at the Galerie Maeght
in Paris and his exhibition at Nice the following winter. Upon
Chagalls death both works were donated to the Muse national
dart Moderne in Paris.
The present lot is a unique tapestry of La danse, commissioned
from the master weaver Yvette Cauquil-Prince. In 1964, Chagall
became acquainted with Yvette Cauquil-Prince, whose weaving
atelier had already been working with many of Chagalls
contemporaries - Max Ernst, Fernand Lger, Pablo Picasso, Georges
Braque, Paul Klee, Wassily Kandinsky and Alexander Calder - to
translate their work into tapestries. Chagall was very taken with
the quality of her work, and from then on had his tapestry designs
executed in her studio. From existing lithographs, gouaches and
other media she made 24 highly acclaimed tapestries on Biblical
themes, the circus, and other Chagall subjects.
56
THE PROPERTY OF A CHICAGO COLLECTOR
l*436
AFTER PABLO PICASSO (1881-1973)
La danse
with signature PICASSO' and monogram of the Cavalaire Drrbach atelier
(in the weave lower left)
hand-woven Aubusson wool tapestry
116 x 78 in. (297 x 199.3 cm.)
Conceived in 1925 and woven at a later date by the atelier J. de la BaumeDrrbach in an edition of three
100,000-150,000
$160,000-240,000
130,000-190,000
PROVENANCE:
Robert Four Manufacture, Aubusson.

Acquired from the above by the present owner
in 2001.
La Danse, now in the collection of the Tate, has been described by

John Richardson as an allegorical masterpiece (see J. Richardson,
A Life of Picasso, The Triumphant Years 1917-1932, London, 2007,
pp. 274-283). The picture was the result of Picassos emotional
state following the death of one of his earliest friends, Ramon
Pichot, whose profle can be seen on the right hand side by one of
the dancers. Picasso felt that Pichots widow, Germaine Gargallo
had been in great part responsible for his friends death, and
we see in La Danse Picassos fear that his increasingly fractious
relationship with Olga, often identifed as the central dancer, could
have the same impact on his own happiness and health. When
Picasso showed the fnished painting to Andr Breton, it was
immediately seized upon as a surrealist icon.
In 1966 Picasso authorized Atelier J. de la Baume-Drrbach in
Cavalaire, France, to create an edition of three tapestries after
La Danse. Picasso had been working closely with Drrbach since
1955, when they produced a tapestry of Guernica. Picasso and
Drrbach went on to work closely together to produce a number
of Picassos iconic works as tapestries, particularly for Nelson
Rockefeller, who commissioned 18 different designs. The frst
example from the edition was sold to the Nelson A. Rockefeller
collection, Kykuit, Tarrytown, New York and the second to the
Muse dArt Moderne de la Ville de Paris.
58
l437
ROBERT MARC (1943-1993)
Composition
signed ROBERT MARC (lower centre); signed again ROBERT MARC
(on the reverse)
oil on canvas
57 x 34 in. (146 x 88.6 cm.)
12,000-18,000
$19,000-28,000
16,000-23,000
60
PROVENANCE:
The artists estate.

Forum Gallery, New York.
Barry Friedman Ltd, New York.
This work will be included in the forthcoming catalogue raisonn

currently in preparation by Annie Fromentin-Sangnier.
l*438
LOPOLD SURVAGE (1878-1968)
Paysage cubiste
signed and dated Survage. 20 (lower right); signed again and inscribed
Survage 20 rue Ernest Gerson (on the stretcher)
oil on canvas
51 x 38 in. (130.5 x 97 cm.)
Painted in 1920
45,000-65,000
$71,000-100,000
57,000-82,000
PROVENANCE:
Private collection, France; sale, Christies, London, 26 June 1996, lot 277.
EXHIBITED:
Moscow, Russian Academy of Artistic Sciences, LArt Moderne Franais,

May - June 1928.
Paris, Muse Galliera, Survage, exposition rtrospective, April - May 1966,
no. 36 (titled Paysage - arbres).
Eric Brosset has kindly confrmed the authenticity of this work.
61
*439
JUAN GRIS (1887-1927)
Broc et carafe
signed and dated Juan Gris 25 (lower left)
oil on canvas
19 x 24 in. (50 x 61 cm.)
Painted in January-July 1925
350,000-550,000
$560,000-860,000
450,000-690,000
PROVENANCE:
Gisela M. Reber, Lugano, by 1926.

Galerie Simon, Paris, by 1931.
Vicomte de Lch, Paris, by 1935.
Bernard Poissonnier, Paris, by 1969.
Galerie Louise Leiris, Paris (no. 14446).
Acquired from the above; sale, Sothebys, London, 27 June 2000, lot 32.
EXHIBITED:
Paris, Galerie Beaux-Arts, Les Crateurs du Cubisme, March - April 1935, no.
50 (titled Nature morte, broc et fruit).
Bern, Kunstmuseum, Juan Gris, October 1955 - January 1956, no. 106.
Cologne, Klnischer Kunstverein, Autour du Cubisme, April - May 1964, no.
20 (illustrated).
Paris, Galerie de Paris, Les plaisirs de la table, December 1965.
Milan, Galleria del Milione, Juan Gris, dipinti e disegni 1911-1927, March April 1968, no. 7 (illustrated).
LITERATURE:
C. Einstein, Die Kunst des 20. Jahrhunderts, Berlin, 1926, p. 561 (illustrated
pl. 323; titled Stilleben).
R. Edouard-Joseph, Dictionnaire biographique des artistes contemporains,
19190-1930, Paris, 1931, p. 150 (illustrated).
D.-H. Kahnweiler, Juan Gris, His Life and Work, London, 1969, p. 317
(illustrated p. 305; titled Pitcher and Carafe).
J. A. Gaya Nuo, Juan Gris, Paris, 1974, no. 534, p. 246 (illustrated p. 228).
D. Cooper, Juan Gris, Catalogue raisonn de luvre peint, Paris, 1977, no.
502, p. 326 (illustrated p. 327).
62
Painted in 1925, just two years before Gris untimely death in 1927,
Broc et carafe is a lyrical still-life that displays the artists mastery
of the still-life genre that had preoccupied him since his frst cubist
explorations in 1912. With rich, warm hues, Gris returned to the
domestic objects, which had frst inspired the early compositions of
Cubism, including a copy of French newspaper Le Journal. A deep red,
fctive border frames the still-life scene, providing a pictorial stage on
which to view Gris masterful formal inventiveness.
From the last phase of the artists career, Broc et carafe exudes a sense
of compositional balance and harmony. The objects are arranged
frontally across the canvas, and are depicted with a sense of totality
and wholeness. Gris dealer, Daniel-Henry Kahnweiler posited that it
was during these fnal years of the artists life that his work attained
a perfect equilibrium between a carefully composed compositional
structure and a sensuous harmony of colour and form; a summation
of his artistic explorations. He wrote, It was at this time that he laid
the foundations of the method that culminated in the masterpieces
of his last years, which sum up the whole of his earlier work. (D. H.
Kahnweiler, Juan Gris, His Life and Work, London, 1969, p. 144).
In 1925, at the time when Broc et carafe was painted, Gris had fnally
achieved a certain prosperity and professional success. The renowned
Parisian art dealer, Paul Rosenberg, had approached Gris, imploring
the artist to accept his offer to represent him. Gris, faithful to DanielHenry Kahnweiler, the dealer with whom the artist had a contract
and at whose gallery he had just enjoyed a successful exhibition,
declined Rosenbergs offer. In early 1927, just a few months before
Gris frail health drastically deteriorated, the artist rejoiced that,
Today, at nearly forty years old, I believe that I am approaching a
new period of expression, of pictorial expression, of picture-language;
a well-thought out and well-fnished unity. (Gris, quoted in Maurice
Raynal, Anthology of Painting in France, from 1966 to the Present
Day, Paris, 1927, in Kahnweiler, ibid., p. 204). Broc et carafe perfectly
encapsulates a sense of unity, balance and serenity, and the pictorial
expression that Gris believed his fnal works embodied.
l*440
GEORGES BRAQUE (1882-1963)
Nature morte au poisson
signed G Braque (lower left)
oil on canvas
19 x 24 in. (50 x 61.2 cm.)
Painted circa 1936
250,000-350,000
$400,000-550,000
320,000-440,000
PROVENANCE:
Mr. Georges Halphen, Paris, and thence by

descent; sale, Christies, New York, 5 November
2003, lot 263.
Judith and Abraham Amar Foundation, London,
by whom acquired at the above sale; sale,
Painted circa 1936, Georges Braques Nature morte au poisson dates from a
period of great creativity for the artist, during which his still-life paintings were
considered to be among the greatest of his career. As Europe stood on the
brink of war, Braques paintings of this time, including Nature morte au poisson,
demonstrate his inventiveness with the still-life genre; his ability at combining
colour, form and structure to create visually compelling images. Art historian,
John Golding wrote of these still-life paintings, At the time of the outbreak
of the Second World War Braque was at the zenith of his maturity and had
attained international recognition as one of the greatest living artists. The stilllifes executed in the second half of the 1930s are among the fullest and most
sumptuous in the entire French canon. (J. Golding, The Late Paintings An
Introduction in Braque, The Late Works, Exh. cat., London, 1997, p. 1).
In Nature morte au poisson, Braque has depicted objects in a stylised manner:
a number of fsh are arranged on a black dish, a piece of lemon placed next
to them, and to the left lies a tied bunch of asparagus, and a glass. Tucked
underneath the curving form of the table is a snippet of printed-paper,
reminiscent of the copies of Le Journal, the French daily newspaper that Braque
inserted into many of his cubist still-lifes. The pictorial space is fattened, and
this is emphasised through the suggestion of the decorative patterns that
surround the objects placed in the centre of the image. The varying hues of
grey and brown in the painting create a bold contrast with the orange fsh
in the centre of the composition, the lightly applied paint of the inanimate
objects suggesting the translucent appearance of fsh scales. Braque has taken
these everyday, commonplace objects and transformed them into vivid and
compelling still-life subjects, rich with texture and colour.
64
(verso)
PROPERTY FROM A EUROPEAN PRIVATE COLLECTION
l*441
PABLO PICASSO (1881-1973)
Trois poissons
signed and dated Picasso 13.4.57. (underneath)
partially glazed and engraved terracotta plate
Diameter: 17 in. (43.3 cm.)
Executed on 13 April 1957; this work is unique
40,000-60,000
$63,000-94,000
51,000-76,000
PROVENANCE:

Private collection, Switzerland; sale, Christies, London, 1 December 2011,
lot 24.
LITERATURE:
G. Rami, Ceramica de Picasso, Barcelona, 1974, no. 549, pp. 207, 289
(illustrated p. 207).
Sold with a photo-certifcate from Claude Ruiz-Picasso.
66
Throughout Picassos work with ceramics at Vallauris, he experimented

with the representation of three-dimensional objects. In this unique
example, Trois Poissons, Picasso plays with illusion by trying to
counteract the dip in the middle of the bowl with a shadow beneath
the second fsh, which is in turn disguised as the pattern on the
third fsh, bringing the second fsh to life and making it appear to
protrude out of the bowl. The imagery of the three fsh can be traced
back to the Ancient Greek tradition, particularly the fsh plates in the
Campanian style. However, instead of painting three fsh around a
central point, as in Greek examples, Picasso plays with form, cleverly
integrating the three fsh by repeating a simple shape using a neat thin
line. These lines are incised into the plate, contributing particularly to
the humorous character of the fshs eyes.
The present lot is one of a small number of unique plates of the
same shape decorated with different fsh designs during a three day
period in April 1957, and recorded in Georges Ramis seminal survey
Ceramiques de Picasso of 1975. The variation between these different
recorded plates demonstrates Picassos absolute mastery of ceramics.
*442
DIEGO GIACOMETTI (1902-1985)
Table basse trapzodale: modle aux cerfs et aux chiens
PROVENANCE:
stamped with the signature and the artist's monogram DIEGO DG (on the
lateral strut)
bronze with brown and green patina
Length: 26 in. (66.3 cm.)
Depth: 21 (54 cm.)
Michel Audiard, France.

Acquired from the wife of the above in 1986.
Anonymous sale, Christies, London, 30 April 1999, lot 109.
Private collection, Switzerland, by whom acquired at the above sale; sale,
70,000-100,000
$120,000-160,000
89,000-130,000
LITERATURE:
M. Butor & J. Vincent, Diego Giacometti, Paris, 1985, p. 125 (another cast
illustrated).
F. Francisci, Diego Giacometti, Catalogue de loeuvre, vol. I, Paris, 1986, pp.
106-107 (another cast illustrated).
D. Marchesseau, Diego Giacometti, Paris, 1986, p. 85 (another cast
illustrated).
F. Baudot, Diego Giacometti, Paris, 2001, p. 78 (another cast illustrated).
67
PROPERTY FROM A EUROPEAN PRIVATE COLLECTION
l443
Grand vase aux femmes nues
stamped and numbered MADOURA PLEIN FEU/EMPREINTE ORIGINALE DE
PICASSO/E .E and pottery stamps (on the inside)
painted and engraved terracotta vase with white engobe
Conceived in 1950 and executed in a numbered edition of 25, this work is
the Exemplaire Editeur
250,000-450,000
$400,000-700,000
320,000-560,000
PROVENANCE:
The Madoura Collection; their sale, Christies, London, 25 June 2012, lot 141.
LITERATURE:
G. Bloch, Pablo Picasso, Catalogue de loeuvre grav cramique, 1949-1971,

Bern, 1972, vol. III, no. 20, p. 28 (another example illustrated).
G. Rami, Picassos Ceramics, Secaucus, 1974, no. 689, pp. 291 and 277
(another example illustrated).
A. Rami, Picasso, Catalogue of the Edited Ceramic Works, 1947-1971,
Madoura, 1988, no. 115, p. 65 (another example illustrated in situ, pp. 13
and 16; another example illustrated pp. 64-65).
68
PROPERTY FROM AN EAST COAST COLLECTION
l*444
Grand vase aux danseurs
stamped and numbered EMPREINTE ORIGINALE DE PICASSO / MADOURA
PLEIN FEU / 1 (inside the rim); dated 24 juin 50 (at the bottom)
painted and engraved terracotta vase with white engobe
Conceived in 1950 and executed in a numbered edition of 25
250,000-450,000
$400,000-710,000
320,000-570,000
PROVENANCE:
Private collection, by whom acquired circa 1960, and thence by descent;

sale, Sothebys, New York, 8 November 2007, lot 455.
LITERATURE:
G. Bloch, Pablo Picasso, Catalogue de luvre grav cramique, 19491971, vol. III, Bern, 1972, no. 19, p. 28 (another example illustrated).
G. Rami, Ceramica de Picasso, Barcelona, 1974, no. 690, p. 291 (another
example illustrated p. 277).
A. Rami, Picasso, catalogue de loeuvre cramique dit, 1947-1971,
Vallauris, 1988, no. 114, p. 63 (another example illustrated).
Exh. cat., Picasso Editions cramiques, Tarascon, 1991, no. 99, p. 110
(another example illustrated p. 108).
70
l445
GEORGES BRAQUE (1882-1963)
Nature morte la thire (fond vert)
signed G Braque (lower right)
oil on canvas
14 x 41 in. (37 x 105 cm.)
Painted in 1957
200,000-300,000
$320,000-470,000
260,000-380,000
PROVENANCE:
Aim Maeght, Paris.

Galerie Helios Art, Brussels.
Acquired from the above by the family of the present owners in April 1959.
EXHIBITED:
Paris, Muse National dArt Moderne, LEcole de Paris dans les collections
belges, July 1959, no. 21 (titled Nature morte and incorrectly dated 1927).
Munich, Haus der Kunst, Georges Braque, October - December 1963, no.
137, p. 56 (illustrated pl. 128; titled Die Teekanne).
LITERATURE:
Maeght, ed., Catalogue de luvre de Georges Braque, Peintures 19481957, Paris, 1959, pl. 123 (illustrated).
You see, I have made a great discovery: I no

longer believe in anything. Objects dont exist
for me except in so far as a rapport exists
between them, and between them and myself.
When one attains this harmony, one reaches a
sort of intellectual non-existence what I can
only describe as a state of peace which makes
everything possible and right. Life then becomes
a perpetual revelation.
(G. Braque quoted in, Cooper, Braque: The Great Years, Chicago, 1972,
p. 101)
Painted in 1957, in the fnal phase of his long and fruitful career, Nature
morte la thire (fond vert) is an example of Georges Braques great
mastery of and fair for the still-life genre. With rich, opulent colours,
and areas of thick impasto, Braque has conveyed a sumptuous image
of a still-life within an interior. The undulating curves of the table, on
which objects, including a plate of fruit, are arranged, contrasts with
the vertical structure of the background. Detail is simplifed, reduced to
planes of colour, separated in places by passages of white.
The long, rectangular shape of Nature morte la thire (fond vert)
was a format Braque had often exploited throughout his career. In
1957, the time that Nature morte la thire (fond vert) was painted,
Braque was also working on a number of landscapes and seascapes at
his home in Varengeville, Normandy, conceived in the same horizontal
format as the present work.
The idea of manipulating the shape of the canvas to impart a stronger

structural force to the composition was not new in Braques artistic
practice: in the early decades of the 1900s, the artist had, for instance,
used an oval format to give power to his revolutionary cubist still-lifes.
In Nature morte la thire (fond vert), the rectangular-shaped canvas
allows Braque to depict the width of the table on which the objects
are placed, invoking a literal sense of the pictorial space.
l446
ANDR DERAIN (1880-1954)
Assiette de fruits et femme disposant des fleurs dans
un vase
signed a Derain (lower right)
oil on canvas
35 x 45 in. (89 x 116.5 cm.)
Painted circa 1947
30,000-50,000
$48,000-79,000
38,000-63,000
PROVENANCE:
Maurice Renou, Paris.

Acquired by the family of the present owners circa 1950-1952.
EXHIBITED:
Brussels, Galerie Georges Giroux, Exposition dart franais contemporain,

February 1947, no. 19 (titled Jeune femme, fleurs et fruits).
Antwerp, Muse Royal des Beaux-Arts, Exposition jubilaire, L'Art
contemporain, Salon 1955, May - June 1955, no. 138, p. 38 (titled Nature
Morte).
belges, July 1959, no. 40 (titled Nature morte et jeune femme).
LITERATURE:
M. Kellermann, Andr Derain, Catalogue raisonn de luvre peint, vol. III,

Paris, 1999, no. 1608, p. 71 (illustrated; incorrectly dated circa 1948-1950).
74
l447
ANDR DERAIN (1880-1954)
Table garnie
signed a Derain (lower right)
oil on canvas
32 x 39 in. (82 x 99.7 cm.)
PROVENANCE:

LITERATURE:
M. Kellermann, Andr Derain, Catalogue raisonn de luvre peint, vol. III,

Paris, 1999, no. 1509, p. 46 (illustrated).
20,000-30,000
$32,000-47,000
26,000-38,000
75
l448
Paysage czannien
oil on canvas
15 x 18 in. (38.2 x 46.5 cm.)
50,000-80,000
$79,000-130,000
64,000-100,000
76
PROVENANCE:
Acquired by the family of the present owners in 1956.

l449
Paysage
oil on canvas
28 x 36 in. (73 x 92.6 cm.)
60,000-90,000
$95,000-140,000
76,000-110,000
PROVENANCE:

EXHIBITED:
belges, July 1959, no. 167.

77
l450
Cavaliers, avenue du bois
signed Raoul Dufy (lower right)
oil on canvas
23 x 28 in. (60 x 73 cm.)
Painted in 1909
PROVENANCE:

EXHIBITED:
80,000-120,000
Brussels, Palais des Beaux-Arts, Dufy dans les collections belges, November
1943.
$130,000-190,000
LITERATURE:
110,000-150,000
78
M. Laffaille, Raoul Dufy, Catalogue raisonn de luvre peint, vol. I, Geneva,

1972, no. 278, p. 233 (illustrated).
l451
L avenue du bois, le Palais Rose
signed Raoul Dufy (lower left)
oil on canvas
24 x 29 in. (61 x 74.5 cm.)
Painted in 1926
PROVENANCE:
Galerie Le Centaure, Brussels.

EXHIBITED:
$130,000-190,000
Brussels, Palais des Beaux-Arts, Dufy dans les collections belges, November
1943.
Munich, Haus der Kunst, Raoul Dufy, June - September 1973, no. 62
(illustrated; titled Rosa Palais in der Avenue du Bois).
110,000-150,000
LITERATURE:
80,000-120,000
C. Zervos, Raoul Dufy, Paris, 1928, no. 57 (illustrated).

M. Laffaille, Raoul Dufy, Catalogue raisonn de luvre peint, vol. III, Geneva,
1976, no. 965, p. 36 (illustrated).
79
l452
MAURICE UTRILLO (1883-1955)
Chapelle Notre-Dame de la Salette, Ars (Ain)
signed and dated Maurice, Utrillo, V, 1926, (lower right)
oil on canvas
23 x 31 in. (60 x 81 cm.)
Painted in 1926
60,000-80,000
$95,000-130,000
76,000-100,000
80
EXHIBITED:
Brussels, Palais des Beaux-Arts, 40 ans dArt vivant, Hommage Robert

Giron, March - April 1968, no. 16 (illustrated; titled Notre Dame de la
Salette).
LITERATURE:
P. Ptrids, Luvre complet de Maurice Utrillo, vol. II, Paris, 1952, no. 1159,
p. 470 (illustrated p. 471).
l453
GEORGES ROUAULT (1871-1958)
Suaire
oil on canvas
26 x 19 in. (67 x 50 cm.)
Painted circa 1939
55,000-75,000
$87,000-120,000
70,000-95,000
PROVENANCE:
Acquired by the family of the present owners in 1956.

EXHIBITED:
Paris, Muse National dArt Moderne , LEcole de Paris dans les collections
Ixelles, Muse des Beaux-Arts, LEcole de Paris dans les collections belges,
November - December 1961, no. 133; this exhibition later travelled to
Charleroi, Palais des Beaux-Arts, January - February 1962.
Ostend, Casino-Kursaal, Confrontatie, August 1971.
Ostend, Museum voor Moderne Religieuze Kunst, Moderne Religieuze Kunst
met retrospective Michel Ciry, June - September 1974.
The Fondation Georges Rouault has confrmed the authenticity of this

work.
81
Chana Orloff and Jules Pascin were part of a vibrant community of

immigrant artists who focked to Paris in the frst half of the 20th
century.
Both had a Jewish upbringing, and were drawn to the freedom
and artistic allure that the city of lights offered. Orloff was born in
the Ukraine and immigrated with her family to Palestine at the age
of seven. She travelled to Paris in 1910 to pursue an occupation
in the dress-making business. She studied art instead, and became
involved with the art community in Paris, frequenting their cafs and
befriending many of the leading artists of the period. In 1916 she
married the poet Ary Justman. Her home became a meeting place for
artists and literary fgures, Modigliani, Kisling to name but two, as
well as visiting artists from Palestine such as Reuven Rubin. She was
well known as a portraitist.
Pascin, nee Pincas, was born in Bulgaria and studied in Vienna and
Munich. In 1905 he moved to France and changed his name. He was a
member of the artist community in Montparnasse and frequented the
same left bank cafs as Orloff. He travelled to the US and Cuba and
exhibited his works widely in Paris and the US, with Alfred Barnes as a
noteable collector. He was an enthusiastic draughtsman and depicted
scenes of life in the brothels of Cuba and in Paris. He exhibited with
Cassirer in Berlin, Flechtheim, and Berthe Weill as well as in various Paris
Salons. In 1929, he signed a contract with the Bernheim-Jeune Gallery,
and his work was exhibited in New York at the Museum of Modern Art.
Both artists focused mainly on the human fgure. While Orloffs
subjects are portraits or scenes of family life, Pascin chose to depict a
racier aspect of life in Paris.
The following four works originate from the same European collection, led
by Chana Orloffs Madone, a rare example of her early work in marble.
l*454
CHANA ORLOFF (1888-1968)
Bretonne
signed and numbered Ch. Orloff 2/8 (on the right side of the base);
inscribed with the foundry mark Susse Fondeur Paris (on the back of the
base); stamped with the foundry mark SUSSE FONDEUR PARIS CIRE PERDUE
(underneath)
bronze with light brown patina
Conceived in 1919; this bronze version cast in 1969-1970
18,000-25,000
$29,000-39,000
23,000-32,000
PROVENANCE:
Mme Elie Justman, Paris (daughter-in-law of the artist).

Acquired from the above by the present owner in the 1970s.
LITERATURE:
G. Talphir, Chana Orloff, Tel Aviv, 1950 (wood version illustrated pl. 7; dated
1921).
H. Gamzu, Chana Orloff, exh. cat., Tel Aviv Museum of Art, 1969, no. 4
(wood version illustrated).
H. Gamzu, J. Cassou, C. Goldscheider and G. Coutard-Salmon, Chana Orloff,
Brescia, 1980, p. 124 (another cast illustrated pl. 33).
F. Marcilhac, Chana Orloff, Paris, 1991, p. 208, no. 33 (another cast
illustrated, p. 209; carved wood version illustrated in color p. 37, fg. 2).
82
l*455
CHANA ORLOFF (1888-1968)
Madone
signed and dated Chana Orloff 1915-1921 (on the right side)
marble
Conceived in 1913; this marble version executed in 1915-1921
45,000-55,000
$71,000-86,000
PROVENANCE:
Mrs Jacques OHana, London.

Acquired from the above by the present owner, 1974.
LITERATURE:
H. Gamzu, J. Cassou, C. Goldscheider & G. Coutard-Salmon, Chana Orloff,

Brescia, 1980, p.123 (another version illustrated, pl. 13).
F. Marcilhac, Chana Orloff, Paris, 1991, p. 204, no. 13 (another version
illustrated in color, p. 25, fg. 3 and p. 205).
57,000-69,000
83
*456
JULES PASCIN (1885-1930)
Marcelle assise
signed pascin (lower left)
oil and charcoal on canvas
32 x 25 in. (81.2 x 65 cm.)
Painted in Paris in 1926
25,000-35,000
$40,000-55,000
32,000-44,000
84
PROVENANCE:
Acquired by the present owner in the 1970s.

LITERATURE:
Y. Hemin, G. Krohg, K. Perls, and A. Rambert, Pascin, Catalogue raisonn,

peintures, aquarelles, pastels, dessins, Paris, 1984, vol. I, no. 547, p. 287
(illustrated).
*457
JULES PASCIN (1885-1930)
Fillette en rose
PROVENANCE:
signed pascin (lower right)

oil and charcoal on canvas
36 x 28 in. (92 x 73 cm.)
Painted in Paris in 1926
Galerie Bernheim-Jeune, Paris.

Galerie Paquereau, Paris.
Mrs. Jean Howard, Los Angeles; sale, Christies, New York, 18 May 1983, lot 411.
30,000-50,000
$47,000-78,000
38,000-63,000
LITERATURE:
Y. Hemin, G. Krohg, K. Perls & A. Rambert, Pascin, Catalogue raisonn, peintures,

aquarelles, pastels, dessins, Paris, 1984, vol. I, no. 543, p. 285 (illustrated; the
illustration is incorrectly numbered).
85
PROPERTY FROM A PRIVATE ENGLISH COLLECTION
l458
AFTER GEORGES ROUAULT (1871-1958)
Intrieur dEglise ( la vote claire)
inscribed Email unique execut selon mes conseils et avec mon approbation
Georges Rouault (on the reverse)
enamel on copper
11 x 8 in. (29 x 21.6 cm.)
Executed circa 1950; this work is unique
PROVENANCE:
Saint-Martin de Ligug Abbey, by 1952.

Jacques OHana Ltd, London (no. 337).
Acquired by the grandfather of the present owner, and thence by descent.
EXHIBITED:
12,000-18,000
Paris, Galerie de France, Emaux de Ligug, 1951, no. 2

Paris, Muse National dArt Moderne, Georges Rouault, July - October 1952,
no. 121 [titled Intrieur dglise (Piliers rouges)].
$19,000-28,000
LITERATURE:
16,000-23,000
86
B. Dorival & I. Rouault, Rouault, Loeuvre peint, vol. II, Monte Carlo, 1988, no.
13, p. 303.
PROPERTY FROM AN IMPORTANT SWISS COLLECTION
l*459
Le ciel rouge
The Comit Marc Chagall has confrmed the authenticity of this work.

oil on canvas
9 x 8 in. (24.2 x 21.3 cm.)
80,000-120,000
$130,000-190,000
110,000-150,000
87
l*460
MOSE KISLING (1891-1953)
Le parc
signed Kisling (lower left)
oil on canvas
33 x 30 in. (85 x 76.4 cm.)
25,000-35,000
$40,000-55,000
32,000-44,000
88
This work will be included in Volume IV and additions to Volumes I, II

and III of the catalogue raisonn of the work of Moise Kisling being
prepared by Jean Kisling and Marc Ottavi.
l*461
Couple au cirque
tempera, watercolour and pen and India ink on masonite
18 x 15 in. (46 x 38.1 cm.)
Executed in 1981
150,000-250,000
PROVENANCE:
Anonymous sale, Galerie Kornfeld, Bern, 15 June 2007, lot 17.

Galerie Salis & Vertes, St. Moritz.
The Comit Marc Chagall has confrmed the authenticity of this work.
$240,000-390,000
190,000-320,000
89
TWO IMPORTANT EARLY WORKS BY TAMARA DE LEMPICKA FROM A PRIVATE CALIFORNIAN COLLECTION
l*462
TAMARA DE LEMPICKA (1898-1980)
Femme assise
signed DE LEMPICKA (upper left)
oil on canvas
21 x 13 in. (55 x 33.3 cm.)
Painted circa 1925
200,000-300,000
$320,000-470,000
260,000-380,000
PROVENANCE:
Galerie du Luxembourg, Paris, by 1972.

Anonymous sale, Sotheby Parke Bernet, Inc., New York, 13
June 1980, lot 469.
Private collection, by 1997.
EXHIBITED:
Paris, Galerie du Luxembourg, Tamara de Lempicka de 1925

1935, June - July 1972, no. 18, p. 13.
LITERATURE:
F. M. Ricci, ed., The Major Works of Tamara de Lempicka,

1925 to 1935, Milan, 1978, p. 75 (illustrated p. 54).
A. Blondel, Tamara de Lempicka, Catalogue raisonn, 19211979, Lausanne, 1999, no. B.61, p. 132 (illustrated).
At the beginning of my career, I was

looking around me and could see only
complete destruction in painting. I
was disgusted with the banality into
which art had fallen. I felt Picasso
embodied the novelty of destruction. I
revolted; I looked for a mtier that did
not exist any longer. I was working
very fast and with an easy brush. I
aimed at technique, mtier, simplicity,
and good taste. My goal: Do not
copy. Create a new style, colors light
and bright, return to elegance in my
models
Tamara de Lempicka, quoted in Kizette de LempickaFoxhall, Passion by Design: The Art and Times of Tamara
de Lempicka, Oxford, 1987, p. 52-53.
90
Tamara de Lempicka arrived in Paris in 1918, feeing the Russian Revolution.

Married and already a mother, she was determined to carve for herself a
prominent position in the affuent, glamorous art world of the French capital.
By 1926 she had succeeded, becoming one of the most sought-after portraitists
of the time. Both executed in the mid-1920s, Bouteille et chou-fleur and
Femme assise date from a crucial, transitional period in the career of Lempicka,
in which the artist started to form the linear, sculptural style that would
characterise her most memorable works.
While in Paris, Lempicka joined the art classes of Maurice Denis and Andr
Lhote. The methodical teaching of Denis, together with the volumetric aesthetic
of Lhote gave Lempicka the cues for the development of her own pictorial
style. Painted respectively in 1924 and 1925, Bouteille et chou-fleur and
Femme assise represent two early manifestations of Lempickas distinct painting
aesthetics. Regrouping an odd selection of objects, Bouteille et chou-fleur is
a rare, intriguing still life, displaying wonderful light effects that lend to the
scene an almost hallucinatory dimension. The smoky, dark background of the
composition and the emphasised roundness of the elements already foresee the
most characteristic qualities of Lempickas future works. Executed a year later,
Femme assise is an example of that sensual monumentality which the artist
would famously bestow onto her models.
With their crisp lines and rotund forms, in the 1920s Lempickas paintings
came to epitomise the style and taste of the beau monde. Although echoing,
in certain regards, the periods Retour lordre tendency, Lempickas style
ultimately was the expression of a very personal, calculate take on painting. The
artist would later explain: I was the frst woman who did clear painting and
that was the success of my painting. Among a hundred paintings you could
recognize mine. And galleries began to put me in the best rooms, always in
the center, because my painting attracted people. It was neat; it was fnished
(quoted in Kizette de Lempicka-Foxhall, Passion by Design: The Art and Times
of Tamara de Lempicka, Oxford, 1987, p. 53). In 1925, Lempicka would
introduce herself to the Count Emmanuele Castelbarco, who enthusiastic
about her work organised a solo exhibition of her works at his gallery
Bottega di Poesia in Milan. The event was a success, granting Lempicka access
to Milans noble society and veritably launching her career as a sought-after,
glamorous portraitist. Painted just before that seminal exhibition, Bouteille
et chou-fleur and Femme assise announce the advent of Lempickas striking,
unique style.
TWO IMPORTANT EARLY WORKS BY TAMARA DE LEMPICKA FROM A PRIVATE CALIFORNIAN COLLECTION
l*463
Bouteille et chou-fleur
signed T.DE LEMPICKA (upper right)
oil on canvas
18 x 21 in. (46.5 x 55.5 cm.)
Painted circa 1924
60,000-80,000
$95,000-130,000
76,000-100,000
PROVENANCE:
Barry Friedman, Ltd., New York, by 1994.

EXHIBITED:
Paris, Galerie du Luxembourg, Tamara de Lempicka de 1925

1935, June - July 1972, no. 1, p. 12 (titled Nature morte au pain;
with inverted dimensions).
New York, Barry Friedman, Ltd., Tamara de Lempicka, October November 1996, no. 19 (titled Nature morte au pain).
Tokyo, Isetan Bijutsukan, Tamara de Lempicka, July 1997, no. 8,
p. 46 (illustrated); this exhibition later travelled to Hiroshima, Fine
Art Museum, August 1997; Nagoya, Matsuzakaya Art Museum,
September 1997; and Osaka, Daimaru Art Museum, October November 1997.
LITERATURE:
A. Blondel, Tamara de Lempicka, Catalogue raisonn, 1921-1979,

Lausanne, 1999, no. B.45, p. 115 (illustrated pp. 115-117).
92
THE ART OF THE SURREAL
PROPERTY FROM A PRIVATE COLLECTION
l*464
Ville des rochers I
signed DE LEMPICKA (lower right)
oil on canvas
13 x 10 in. (35 x 26.2 cm.)
Painted circa 1947
30,000-50,000
$48,000-79,000
38,000-63,000
PROVENANCE:

Anonymous sale, Htel Drouot, Paris, 9 December 1989, lot 83.
LITERATURE:
M. Vaux, Fonds Lempicka, Centre Georges Pompidou, Paris, 1972.

A. Blondel, Tamara de Lempicka, Catalogue raisonn, 1921-1979,
Lausanne, 1999, no. B.275, p. 345 (illustrated).
Painted circa 1947, Ville des rochers is one of a pair of paintings that
Tamara de Lempicka created in response to the atrocities and trauma
caused by the Second World War. In a surprising departure from
Lempickas portraits and still-life works, Ville des rochers resorts to
an unprecedented surreal style, presenting the vision of an imagined
landscape. Jagged rocks and stalactites form an uninhabitable landscape.
The vertical, trunk-like forms in the foreground are reminiscent of the
legs of a fgure, in which the scarred, eroded rock seems to evoke the
bones, muscles and ligaments. The hallucinatory quality of this seemingly
decomposing, inhospitable landscape is illustrative of Lempickas reaction
to the terrifying horrors that had befallen Europe during the war. At the
time Ville des rochers was painted, Lempicka was living in the United
States, where she had moved to in 1939, just before the invasion of
Poland by Hitlers armies, and the subsequent outbreak of war. Of Polish
birth, Lempicka was deeply concerned by the plight of the people of her
native country, and during her stay in America the artist became involved
with war-relief work, donating time and money for the beneft of Polish
as well as British people. Ville des rochers demonstrates Lempickas
subjective, artistic response to the fearsome trauma of war and the
immeasurable destruction and loss of human life it had caused.
l465
ANDR MASSON (1896-1987)
Dans la clairire
signed Andr Masson (lower right)
pastel on canvas
28 x 19 in. (73.3 x 50 cm.)
Executed in 1959
PROVENANCE:

Private collection, Switzerland; sale, Sothebys, London, 20 October 1999, lot 570.
The Comit Andr Masson has confrmed the authenticity of this work.
15,000-25,000
$24,000-39,000
19,000-31,000
95
THE PROPERTY OF AN IMPORTANT TEXAS COLLECTOR
*466
DOROTHEA TANNING (1910-2012)
Untitled
signed Dorothea Tanning (lower right)
oil on canvas
5 x 7 in. (14 x 18 cm.)
Painted circa 1959
7,000-10,000
$12,000-16,000
8,900-13,000
96
PROVENANCE:
Julien Levy, Paris, and thence by descent; sale, Tajan, Paris, 6 October 2004,
lot 332.
Acquired at the above sale by the present onwer.
*467
MERET OPPENHEIM (1913-1985)
Une parente eloigne (A distant relative)
moulded white substance (Rugosit) in bronze-coloured iron frame
10 x 9 x 6 inches (27 x 23 x 16 cm.)
Executed in August 1966
15,000-25,000
$24,000-39,000
19,000-32,000
PROVENANCE:
Baron and Baroness J.B. Urvater, Brussels and Paris, by 1989.

Galerie 1900-2000, Paris,
EXHIBITED:
Stockholm, Moderna Museet, Meret Oppenheim, April - May 1967, no. 50

(pl. VIII)
LITERATURE:
B. Curiger, Meret Oppenheim, Zurich/Frankfurt/New York, 1989, no. P 112a,

p. 196 (illustrated).
97
l*468
DORA MAAR (1907-1997)
Femme au banc vert
PROVENANCE:
inscribed 'DECEMBRE 38' (on the stretcher)

oil on canvas
63 x 51 in. (162 x 130 cm.)
Painted in December 1938
Claude Gassian, Paris.

Henriette and Andr Gomes, Paris; their sale, Htel Drouot, Paris, 18 June 1997, lot 129.
Galerie 1900-2000, Paris.
15,000-20,000
$24,000-31,000
19,000-25,000
98
l469
MAX ERNST (1891-1976)
Pollen dans le bois
signed max ernst (lower right)
oil and frottage on paper laid down on canvas
9 x 12 in. (24.2 x 31.7 cm.)
Painted circa 1953
60,000-80,000
$94,000-130,000
76,000-100,000
PROVENANCE:
Galleria Flaviana, Milan.

Galleria dArte del Naviglio, Milan (no. 1700).
Galleria dArte del Cavallino, Venice, by 1970.
Private collection, Venice, by 1971.
Achim Mller, New York, by 1987.
Fabian Carlsson, Malaga; sale, Sothebys, London, 6 February 2007, lot 371.
Private collection, by whom acquired at the above sale; sale, Sothebys, London,
25 June 2009, lot 180.
EXHIBITED:
Turin, Galleria Civica dArte Moderna, La pittura moderna straniera nelle collezioni
private italiane, March - April 1961, no. 71 (illustrated).
Trieste, Museo Castello di San Giusto, Arte Fantastica, July - August 1964, no. 21.
Bologna, Galleria de Foscherari, Max Ernst, November - December 1970, no. 16
(illustrated).
LITERATURE:
W. Spies, S. & G. Metken, Max Ernst, vol. IV, Werke 1939-1953, Cologne, 1987,

PROPERTY OF A PRIVATE SWISS COLLECTION
l*470
SALVADOR DAL (1904-1989)
Dance of Time II
inscribed Dal' and numbered '2/8 (lower left on the clock); with the foundry
mark Cera persa/Perseo/SA/Mendrisio (on the base)
bronze with green patina
Conceived in 1979 and frst cast in 1984, this version cast at a later date in an
edition of eight plus four artist's proofs and two Foundry proofs
200,000-400,000
$320,000-630,000
260,000-500,000
PROVENANCE:

LITERATURE:
R. & N. Descharnes, Dal, The Hard and The Soft, Spells for the Magic of
Form, Sculptures & Objects, Azay-le-Rideau, 2004, no. 637, p. 248 (another
cast illustrated).
Exh. cat., Masterpieces and Beyond, Sites Unseen, Hong Kong, 2006, pp.
10-11 (another cast illustrated).
Exh. cat., Dal in Singapore, Singapore, 2006, pp. 32-33 (another cast
illustrated).
Exh. cat., Salvador Dal in Shanghai, Shanghai, 2009, pp. 70-71 (another cast
illustrated).
B. Levi, Dal in the Third Dimension, The Stratton Foundation Collection,
Turin, 2010, p. 331 (another cast illustrated pp. 58-59).
Exh. cat., Dal, The Vision of a Genius, New York, 2010, p. 62 (another cast
illustrated).
Exh. cat., Awaken your imagination in Bahrain, Dubai, Opera Gallery, 2011,
p. 13 (another cast illustrated).
Exh. cat., Dal, Mind of a Genius, Singapore, 2011, (another cast illustrated
on the back cover).
Exh. cat., Dal sexpose Megve, Megve, 2011, p. 11 (another cast illustrated).
Exh. cat., Dal, Mind of Genius, Taipei, 2012, p. 11 (another cast illustrated).
Exh. cat., The Dal Universe Florence, Florence, 2013, pp. 32-33 (another cast
illustrated).
Robert and Nicolas Descharnes have confrmed the authenticity of this

work.
The Dance of Time II embodies one of Dals most powerful and potent
motifs: the melting watch. First making its appearance in the painting
Persistence of Memory, 1931, the melting clock or pocket watch, as it is
known, has become emblematic of Dals interplay between the imaginary
and real, and in turn has become a symbol of the Surrealist movement.
Conceived in 1979 and frst cast in 1984, this museum scale later version
of The Dance of Time II is one of the fnest sculptural examples of this
theme, commanding a striking presence at 59 inches high.
Throughout his career Dal experimented with softness and
malleability, exploring the possibilities of manipulating and mutating
recognizable objects to distort and disrupt the conventions of reality.
Dal juggled pretense and reality so that they fell within the same
realm of imagination, in the hope of provoking and stimulating
societal, political and cultural norms. Through the application of
photographic precision he created a world that looked palpable and
touchable, despite its state of dissolution, blurring the boundaries
between the unconscious and conscious. One of his most compelling
means was transforming objects that were normally hard into soft,
draped and often oozing counterparts, in an attempt to make what is
set malleable; one of the most famed being the melting watch.
Dal was captivated by the possibilities of actual time and remembered
time and was drawn to the potential of its fexibility. Dals clock has
become synonymous with mankinds fascination with the longevity
of time and the mortality of life. This is particularly noted in the
Persistence of Memory, where the image of ants crawling upon a
closed pocket watch has become regarded as a sign of decay. When
viewing the Persistence of Memory at the Julien Levy Gallery, New
York, in 1932 critics were split on its meaning; some viewed the
melting clocks as a metaphor for the ephemeral nature of mankind
and our inevitable demise, whilst others interpreted it as Dals attempt
to defy time, seeing it as an enduring image of mans triumph over
the forces of deterioration. As seen in Dance of Time II Dal freezes
the clocks hands, bending them to such a degree that they cease to
operate. By doing so Dal encourages us to contemplate the notion
of time and consider its fuidity, whilst also evoking a sensation of
timelessness. Dal explained: Materialisation of the fexibility of time
and the indivisibility of time and space. Time is not rigid. It is one with
space fuid (Dal, quoted in Dal, exh. cat., Milton, 1990, p. 86). Dal
saw himself akin to Albert Einstein in his challenge to the concept
of absolute or universal time and has claimed to have paralleled his
scientifc discoveries, in particular those presented in his theory of
relativity, published in 1920, which upturned the old notions of a
cosmic order.
Although the exact meaning of the melting clock may elude us, what
remains a constant in Dals work is his humorous imagination and
unrelenting innovativeness. In his autobiography, the artist narrated
the accidental genesis of this memorable image, which gives us an
insight into his ingenious and eccentric creative mind:
We had topped off our meal with a very strong Camembert, and
after everyone had gone I remained for a long time seated at the table
meditating on the philosophic problems of the super-soft which
the cheese presented to my mind. I got up and went into the studio,
where I lit the light in order to cast a fnal glance, as is my habit, at
the picture I was in the midst of painting. This picture represented a
landscape near Port Lligat, whose rocks were lighted by a transparent
and melancholy twilight; in the foreground an olive tree with its
branches cut, and without leaves. I knew that the atmosphere which I
had succeeded in creating with this landscape was to serve as a setting
for some idea, for some surprising image, but I did not in the least
know what it was going to be. I was about to turn out the light, when
instantaneously I saw the solution, I saw two soft watches, one of
them hanging lamentably on the branch of the olive tree (S. Dal, The
Secret Life of Salvador Dal, New York, 1942, p. 317).
101
PROPERTY FROM A PRIVATE ITALIAN COLLECTION
l471
GIORGIO DE CHIRICO (1888-1978)
Vita silente di frutta in un paese
signed G.de Chirico (lower right)
oil on canvas
11 x 15 in. (30 x 40.3 cm.)
Painted circa 1955
20,000-30,000
$32,000-47,000
26,000-38,000
102
PROVENANCE:
Galleria Marescalchi, Bologna.

This work is sold with a photo-certifcate from Claudio Bruni

Sakraischik.
PROPERTY FROM A PRIVATE ITALIAN COLLECTION
l472
GIORGIO DE CHIRICO (1888-1978)
Cavalli antichi
signed G.deChirico (lower right)
oil on canvas
23 x 19 in. (60.3 x 50.3 cm.)
Painted in 1949
60,000-90,000
PROVENANCE:
Galleria dArte Rotta, Genoa (no. 853).

Galleria Marescalchi, Bologna, by 1974.
LITERATURE:
C. Bruni Sakraischik, Catalogo generale Giorgio de Chirico, vol. VI, opere dal
1931 al 1950, Milan, 1974, no. 502 (illustrated).
$95,000-140,000
76,000-110,000
103
473
JULIO GONZLEZ (1876-1942)
Petite Vnus
signed and numbered By R Gonzalez 4/6 (at the bottom, on
the reverse)
Height: 8 in. (20 cm.) excluding base
Conceived circa 1936-1937 and cast at a later date in an edition
of six plus four casts numbered 0, 00, EA and HC and a further
cast marked MAM, Barcelona for the Donacin Gonzlez
25,000-35,000
$40,000-55,000
32,000-44,000
PROVENANCE:
Galerie de France, Paris.

Private collection, France, by whom acquired from the above in
1970.
EXHIBITED:
New York, Saidenberg Gallery, Julio Gonzlez, Les matriaux de

son expression, March - April 1970; this exhibition later travelled
to Essen, Museum Folkwang, June - September 1970, and Paris,
Galerie de France, November - December 1970.
LITERATURE:
J. E. Cirlot, El escultor Julio Gonzlez, in Exh. cat., Goya, Madrid,

1955, no. 4, pp. 206-212 (another cast illustrated no. 11, p. 210).
M.N. Pradel de Grandy, La Donation Gonzlez au Muse National
dArt Moderne, in La Revue du Louvre, Paris, 1966, no. 53, p. 14.
V. Aguilera Cerni, Gonzlez, Itinerario de una dinasta, Barcelona,
1973, no. 443, p. 298 (another cast illustrated p. 337).
J. Merkert, Julio Gonzlez, Catalogue raisonn des sculptures,
Milan, 1987, no. 221 (another cast illustrated p. 249).
104
PROPERTY FROM THE BLISS COLLECTION, NEW YORK
l*474
MARINO MARINI (1901-1980)
Giocolieri
inscribed with raised intials M.M (on top of the base)
bronze with brown patina hand-chiseled and painted by the artist
Conceived in 1953
40,000-60,000
$63,000-94,000
51,000-76,000
PROVENANCE:
The Museum of Modern Art, New York.

Elizabeth Bliss Parkinson, New York, by whom acquired from the
above.
By descent from the above to the present owner.
LITERATURE:
A. M. Hammacher, Marino Marini, Sculpture Painting and

Drawing, New York, 1970, p. 202 (another cast illustrated).
H. Read, P. Waldberg & G. Di San Lazzaro, Marino Marini,
Complete Works, New York, 1970, no. 305, p. 369 (another cast
illustrated).
E. Caballo, Marino Marini, Milan, 1980, no. 127, p. 158 (another
cast illustrated).
M. P. Garberi, Marino Marini, Guida al Museo, Milan, 1984, no.
S.10, p. 35 (another cast illustrated, p. 34).
M. Meneguzzo, Marino Marini, Il Museo alla Villa Reale di Milano,
Milan, 1997, no. 17, p. 22 (another cast illustrated).
This work is sold with a photo-certifcate from the

Fondazione Marino Marini.
105
PROPERTY FROM A PRIVATE SWEDISH COLLECTION
475
ALEXANDER KANOLDT (1881-1939)
Garten I
signed A. Kanoldt (lower left)
oil on board
19 x 28 in. (50.2 x 71 cm.)
Painted in 1910
40,000-60,000
$63,000-94,000
51,000-76,000
EXHIBITED:
Munich, Moderne Galerie, Die Neue Knstlervereinigung, Turnus 19101911, September 1910, no. 63; this exhibition later travelled to Mannheim,
Karlsruhe; Hagen; Berlin, Galerie Paul Cassirer, January - February 1911;
Leipzig, Dresden, Galerie Arnold; Munich, Weimar; Berlin, Neue Secession.
Helsingfors, Atheneum, Deutsche Kunst, 1922.
Munich, Stdtische Galerie im Lenbachhaus, Der Blaue Reiter und das Neue
Bild, July - October 1999, no. 140, p. 345 (illustrated pl. 87).
Dr. Michael Koch, Munich, has confrmed the authenticity of this work.
PROVENANCE:
Hofrat Theodor Brodersen.

Anonymous sale, Bukowskis, Stockholm, 27 November 1996, lot 274.
106
Alexander Kanoldt is best known for his work of the 1920s and his
contribution to the Neue Sachlichkeit movement. Paintings from as
early as 1910 are rare. With its vivid colours and free handling of
paint the present early work relates closely to Jawlensky and the Fauve
artists whose work Kanoldt had seen for the frst time at the second
exhibition of the Neue Knstlervereinigung Mnchen in 1910. In 1912
Kanoldt was to write of Jawlensky, that he owed him much thanks
for his own development (Exh. cat., Alexander Kanoldt, Freiburg im
Breisgau, 1987, p. 18).
476
PAUL KLEE (1879-1940)
Nacktes Bild
signed Klee (upper right); dated and numbered 1938 N 2 (lower left, on
the artists mount) and titled nacktes Bild (lower right, on the artists mount)
oil on jute laid down on the artists mount
25 x 15 in. (65.5 x 38.5 cm.) the canvas
27 x 19 in. (69.5 x 49.5 cm.) the mount
Painted in 1938
100,000-150,000
$160,000-240,000
130,000-190,000
PROVENANCE:
Lily Klee, Bern, by descent from the artist in 1940.

Klee-Gesellschaft, Bern, by 1946.
Daniel-Henry Kahnweiler, Paris.
A. Thurstrup collection, Djursholm, Sweden.
Galerie Beyeler, Basel, by 1969.
Private collection, Germany, by whom acquired from the above on 15 June
1971, and thence by descent.
LITERATURE:
The Paul Klee Foundation, ed., Paul Klee, catalogue raisonn, vol. VII, 19341938, Bern, 2003, no. 7404, p. 421 (illustrated).
107
477
ERNST LUDWIG KIRCHNER (1880-1938)
Drei Htten am Hgel, Rote Htten
signed EL Kirchner (on the reverse); with the Nachlass stamp and inscription
Da/Aa6 (on the reverse)
oil on canvas
23 x 27 in. (60.5 x 69.5 cm.)
Painted in 1919
400,000-600,000
$630,000-940,000
510,000-760,000
PROVENANCE:
The artists estate.

Kurt Forberg, Dusseldorf.
Galerie Wilhelm Grosshenning, Dusseldorf.
Acquired from the above by the father of the
present owners on 1 April 1958.
Drei Htten am Hgel, Rote Htten depicts three alpine huts in

the mountains above Frauenkirch near Davos, where Kirchner
had been sent to recuperate after his breakdown during the
First World War. As a note in his diary from this period states,
the painting was begun on the 28th August 1919. It belongs
therefore, to the period in which Kirchner frst began to paint
again after his illness and marks his frst explorations in what
would become a completely new style stimulated by his new
surroundings and more philosophical state of mind.
LITERATURE:
D.E. Gordon, Ernst Ludwig Kirchner, Cambridge,

1968, no. 599, p. 353 (illustrated).
L. Grisebach, Ernst Ludwig Kirchners Davoser
Tagebuch, Wichtrach/Bern, 1997, p. 48.
I trust you will see... that something new is

expressing itself here, and something quite
different from the beautiful, refned French
art you have so graciously cultivated and
promoted. People are always frightened at frst
by the novel and unwonted: doubtless that is
why the people of Winterthur are so horrifed
by my work.
(Ernst Ludwig Kirchner, Letter to Georg Reinhart, 1924 quoted in
Lothar Grisebach, ed, Ernst Ludwig Kirchners Davoser Tagebuch,
Ostfldern, 1997, p. 249)
Kirchners Davos period was marked by a renewed interest in

colour prompted largely by the rich hues and extraordinary vistas
of the high alpine landscape within which he was now living. In
the autumn of 1918 as he frst began to recover from his illness
he wrote to a friend: There below, you will probably still be
having summer, while our sun already gilds the mountains and
the larch trees become yellow. But the colours are wonderful
like old dark red velvet. Down below the cabins stand out the
boldest Paris blue against the yellow felds. For the frst time here
one really gets to know the worth of individual colours. And in
the bargain, the stark monumentality of the rows of mountains.
(Ernst Ludwig Kirchner Letter to Nelle Van de Velde, Oct. 13
1918. quoted in Donald E. Gordon, Ernst Ludwig Kirchner,
London, 1968, p. 107.)
While the jagged, and edgy brushwork of Kirchners pre-war city
paintings still distinguishes parts of this painting, the red tones of
the three alpine huts, here echoed in both the evening sky and
the earthy colours of the hill, reveal Drei Htten am Hgel, Rote
Htten to be a work that clearly refects Kirchners new-found
excitement in his new surroundings and the dramatic effect
Swiss mountain life was to have on his work.
(verso)
108
(recto)
l478
HERMANN MAX PECHSTEIN (1881-1955)
Stilleben mit pfeln und Schneeball
signed and dated HMPechstein 1923 (upper right)
oil on canvas
34 x 27 in. (88.5 x 70 cm.)
Painted in 1923 (recto) and 1921 (verso)
280,000-350,000
$450,000-550,000
360,000-440,000
PROVENANCE:
Private collection, Germany, by the early 1930s.

Private collection, England, by descent from the
above.
LITERATURE:
A. Soika, Max Pechstein: Das Werkverzeichnis der

lgemlde, 1919-1954, vol. II, Munich, 2011,
no. 1923/2, p. 297 (illustrated; verso: Dame mit
Fcher, no. 1923/2v, illustrated p. 532).
In the 1920s, as before the war, Pechstein was widely regarded in the public
eye to be the leading exponent of expressionist painting in Germany. In 1922,
Pechstein had become a member of the Preussische Akademie der Knste and
a professor at the Hochschule fr Bildende Knste in Berlin. This period was
one of relative stability for Pechstein and he achieved great social and economic
success. The artistic experiments that Pechstein had begun in 1909, during his
frst trip to Nidden, and then subsequently during summers spent at Moritzburg
with his fellow Brcke artists, could now fnd their natural progression in the
1920s, as his harsh, Expressionist palette was gradually replaced with a softer
aesthetic.
Around 1922, Pechstein executed a series of dramatic colourist landscapes in
Leba in East Pommerania. Had it not been for the new division of boundaries
in post-war Europe, Pechstein would certainly have moved permanently to his
beloved Nidden. Instead, Nidden had now been deemed part of Lithuania and
so Pechstein was forced to look for a new paradise to paint. On discovering
Leba, in what is now Poland, Pechstein decided to settle there. The Leba
landscapes share with the present work an extraordinarily vibrant colour
range and sense of contrast that also recalls his celebrated South Sea pictures
executed in Palau. Seeming to combine the recedents set by both Czanne
and Matisse in the feld of still-life painting, Pechstein, has arranged the work
almost solely in accordance with these colour contrasts, placing a striped
blue table-cloth on a red table against a powerful blue background. With an
assortment of rich colourful fruit arranged in the bowl and across the table and
a small sculpture reminiscent of his trips to Palau, the artist imbues this serene
still-life with an intensity and sense of exoticism that sets it apart from many of
his still-lives of the period.
In 1922 Max Osborn described the paintings Pechstein executed in Leba
with words that could equally apply to his still-lives: He wants to capture the
pulsating brightness, the interweaving of the blinding light and the wonderful
clear air, or the fltering effect that occurs through the humid atmospheric
veil. It evokes an Impressionist theme, but the execution is entirely different.
There is nothing analysed, nothing dissolved into a maze of details... The whole
series of Leba pictures allows us to observe a new development. The colourful
expression has kept its layered fatness, but it is richer, and more lively in its
structure (M. Osborn, Max Pechstein, Berlin, 1922).
(verso)
l*479
GABRIELE MNTER (1877-1962)
Dorfstrasse in Blau
oil on board
13 x 10 in. (35 x 25.6 cm.)
300,000-500,000
$480,000-790,000
380,000-630,000
PROVENANCE:
The artists estate.

Galerie Resch, Gauting.
Private collection, Germany, by whom acquired from the above, and thence
by descent; sale, Christies, London, 7 February 2008, lot 28.
Acquired at the above sale by the family of the present owners.
EXHIBITED:
Munich, Stdtische Galerie im Lenbachhaus, Gabriele Mnter 1877-1962,

Gemlde, Zeichnungen, Hinterglasbilder und Volkskunst aus ihrem Besitz,
April - July 1977, no. 28, p. 66 (illustrated on the cover).
Cambridge, Massachusetts, Busch-Reisinger Museum, Harvard University,
Gabriele Mnter, Between Munich and Murnau, September - November
1980, no. 22, p. 29 (illustrated); this exhibition later travelled to Princeton,
University Art Museum, November 1980 - January 1981.
Chicago, Museum of Contemporary Art, Naive and Outsider Painting from
Germany and Paintings by Gabriele Mnter, March - May 1983, no. 6, p. 110).
Hamburg, Kunstverein, Gabriele Mnter, April - May 1988, no. 25
(illustrated pl. XIV); this exhibition later travelled to Darmstadt, Hessisches
Landesmuseum, June - August 1988, and Aichtal-Aich, Sammlung
Eisenmann, September 1988.
LITERATURE:
P. Lahnstein, Mnter, Ettal, 1971 (illustrated pl. 5, dated 1908).
The multi-coloured houses of Murnau, the small, picturesque German

village on the edge of the Bavarian Alps, provided the impetus for
Dorfstrasse in Blau. Painted circa 1908-1910, Dorfstrasse in Blau
illustrates the radical shift in Gabriele Mnters career that occurred at
this time, during which she turned from painting naturalistic depictions
of the landscape, to instead rendering visions of nature in a more
abstract and subjective way.
Mnter frst visited Murnau in the summer of 1908, with her former
teacher and then lover, Wassily Kandinsky, as well as their friends,
artists Alexej Jawlensky and Marianne von Werefkin. This summer
sojourn had a great impact on each of these artists work, and
both Mnter and Kandinsky adopted a new mode of conveying the
landscape around them. A sensation of vibrant colour, in Dorfstrasse
in Blau, Mnter has eschewed illusions of space and depth, instead
distilling and simplifying the essential forms of the street scene and
rendering it with planes of broad, unmodulated colour. The shades
of vivid blue that demarcate the sky and shadows of the scene are
used naturalistically, yet any colouristic nuances are absent, and
instead the colours are intensifed and exaggerated, to the point of
becoming almost autonomous entities within the picture. Moreover,
the fattened areas of gleaming colour, and the black lines that
demarcate them, are reminiscent of a stained-glass window, a
reference to Mnters interest at this time in the folk tradition of
Bavarian glass painting common to Murnau.
Writing in 1911, Mnter recalled of this period in which Dorfstrasse
in Blau was painted, I made a great leap from copying from nature,
in a more or less Impressionist style, to feeling the content of things
abstracting conveying an extract. (G. Mnter quoted in Gabriele
Mnter: The Search for Expression 1906-1917, exh. cat., London,
2005, p. 27). In Dorfstrasse in Blau, Mnter has distilled nature,
depicting its raw essence, to create a heightened vision of reality that
refects her own emotional response to the world around her. It was
this concept that would become central to the Expressionist group Der
Blaue Reiter, which would be founded in Munich in 1911, by Mnter
and Kandinsky, Jawlensky, Werefkin and Marc, among others.
Gabriele Mnter and Olga von Hartmann, Kochel, 1909
112
THE PROPERTY OF A GERMAN COLLECTOR
l480
KARL SCHMIDT-ROTTLUFF (1884-1976)
Weg im Schwarzwald
signed S.Rottluff (lower right); signed, titled and numbered
Schmidt=Rottluff Weg im Schwarzwald -642- (on the stretcher)
oil on canvas
30 x 40 in. (76.2 x 101.6 cm.)
Painted in 1964
250,000-350,000
$400,000-550,000
320,000-440,000
PROVENANCE:
Galerie Gnther Franke, Munich.

Acquired from the above by the father of the present owner,
circa 1965.
EXHIBITED:
Munich, Haus der Kunst, Groe Kunstausstellung Mnchen,

June - October 1965, no. 300, p. 29 (illustrated p. 36).
Hermann Gerlinger has confrmed the authenticity of

this work.
Painted in 1964 this striking landscape is a late depiction by Karl

Schmidt-Rottluff of a rural road winding through the dramatic vista
of Germanys Schwarzwald or Black Forest. Rendered in a series of
sharp, angular, free forms of heightened, almost psychedelic colour
in places, the painting is a remarkable example of the late style
that Schmidt-Rottluff frst developed in the 1920s and to which he
adhered for the rest of his life.
Softer and more muted than the more vigorous, dynamic, raw and
spontaneous paintings of his Die Brcke days, paintings such as Weg
im Schwarzwald present a calmer, more idealized vision of nature as
a more harmonious and cosmically-united entity. Still the product of
an intuitive and spontaneous response to his subject matter Weg im
Schwarzwald reveals the artist still painting directly onto the empty
canvas without frst drawing and creating an expressionistic vision of
the scene before him, but with a more mature sense of the overall
balance and coordination of the whole.
Personally, Schmidt-Rottluff had written in 1914, I dont have any
programme, only an unaccountable longing to take hold of what I
see and feel, and to fnd the most direct means of expression for such
an experience. I only know that there are some things which cannot
be grasped by either intellect or words. (Karl Schmidt-Rottluff Das
Neue Programm: Antwort auf eine Rundfrage ber knstlerische
Programme, Kunst und Kunstler, vol 12, Berlin 1914, p. 308). It was
to this, essentially intuitive and anti-intellectual, approach to his work
that Schmidt-Rotluff, unlike many of his Die Brcke colleagues, would
remain faithful throughout his life.
114
l*481
LYONEL FEININGER (1871-1956)
Windmill
signed Feininger (lower right); inscribed Lyonel Feininger,1936 Windmill
(on the stretcher)
oil on canvas
19 x 29 in. (48.8 x 75.7 cm.)
Painted in 1936
150,000-200,000
$240,000-310,000
190,000-250,000
PROVENANCE:
The artist's estate, at least until 1961.

Willard Gallery, New York.
Marlborough Gallery, New York.
Private collection, Germany.
Galerie Lopes, Zurich (no. GLK 5425).
Probably acquired from the above by the present owner.
EXHIBITED:
Oakland, Mills College Art Gallery, Lyonel Feininger, June August 1936,
no. 2; this exhibition later travelled to San Francisco, Museum of Art, War
Memorial, Civic Center, August September 1936, Seattle, Henry Art
Gallery, University of Washington, October 1936, and New York, Nierendorf
Gallery, May 1937.
Santa Barbara, Faulkner Memorial Art Gallery, Lyonel Feininger, Exhibition of
Oil and Watercolor Paintings and Prints, January 1937, no. 17.
New York, Mrs. Cornelius J. Sullivan Gallery, Lyonel Feininger, Exhibition
of Paintings and Watercolors from 1919 to 1938, November 1938, no. 12,
this exhibition later travelled to Milwaukee, Art Institute, n/a, Baton Rouge,
Department of Fine Arts, Louisiana State University, January 1939, Berea,
Berea Art College, n/a.
Munich, Haus der Kunst, Lyonel Feininger, March - May 1973, no. 141, p. 88
(illustrated p. 153); this exhibition later travelled to Zurich, Kunsthaus, May July 1973.
LITERATURE:
H. Hess, Lyonel Feininger, London, 1961, no. 377, p. 284 (illustrated).

H. Schulz-Vanselow, Lyonel Feininger und Pommern, Kiel, 1999, p. 286 (titled
Landschaft mit blauer Mhle).
W. Timm, Feininger an der Ostseekste in Lyonel Feininger, Von
Gelmeroda nach Manhattan, Retrospektive der Gemlde, ed. by R, Berlin,
1998, p. 303.
Achim Mller, Managing Principal of The Lyonel Feininger Project LLC,

confrmed the authenticity of this work. The work is registered in the
archives of The Lyonel Feininger Project LLC, New York Berlin with
the no. 1304-12-18-14.
The work will be included in Volume II of the forthcoming Catalogue
Raisonn of Paintings by Lyonel Feininger edited by Achim Mller.
116
Windmill is a powerful example of the potency of Feiningers

otherworldly aesthetic. Poetically capturing the duality of his Romantic
nostalgia for the past, which is rendered with a uniquely modern
sensibility, and his enthrallment for the mechanical and technological
inventions of the day, Windmill serves to highlight Feiningers unique
and individual style of painting.
Feiningers work is often compared to that of the Cubists, who he
exhibited alongside in the 1911 Salon des Indpendants, seen most
notably in his dissection of form and space. However one cannot
judge him purely by such terms, other infuences can be seen to be
at play; the Orphist simultaneity of colour and defnition of light as
force and the Futurist technique of rendering physical movement by
jagged angular lines. Indeed, one should view Feiningers work as
independent of any artistic movement, for his visual vocabulary is
as much about an exploration of the realm of his personal fantasy
and a search for the synthesis of reality and imagination, than it is a
pursuit of an aesthetic philosophy. Feininger highlighted the technical
difference between the two, citing: Cubism is a synthesis, but may
easily be degraded into mechanism My cubism is visionary, not
physical (Feininger, quoted in P. Selz, Lyonel Feininger, Exh. cat., New
York, 1969, p. 7).
Feininger, an American national who moved to Germany aged sixteen
in 1887, where he lived for over forty years, often expressed a sense
of being stateless, discerning: In Germany I was der Amerikaner;
here in my native land I was sometimes classifed and looked upon
as a German painter (Feininger quoted in Lyonel Feininger, Marsden
Hartley, exh. cat., New York, 1944). This sense of isolation is felt in his
work, seen most poignantly in Windmill, where a lone windmill sits
amidst an angular and broken, jagged world, dwarfed by the endless
expanse of the sky. Set upon an unstable, tilted ground, the windmill
is seen slowly, dangerously edging towards the brink, imbuing a sense
of frailty and ominance to the picture. These feelings of remoteness
and alienation, instilled with an air of the sinister, were not uncommon
in Feiningers work, especially those of the 1930s that respond to the
mounting political tensions in Germany and the ever growing threat he

and his family felt under the Nazi regime. One of the most powerful
The present work, with its bright orange and yellow hues, paired with
the vivid blue and red of the windmill, is, therefore, a rare example
paintings of this period is The Red Fiddler, 1934, that describes his
dismay at the violence of humanity, which he expressed in a letter
to his wife Julia in 1935: people today are walking in a dream, in
a mechanized, dehumanized compulsion (Feininger, quoted in U.
Luckhardt, Lyonel Feininger, Munich, 19189, p. 43).
of paintings of the period. Feiningers sunnier outlook can perhaps

be attributed to the excitement of his teaching trip to California the
same year, on the invitation of the Mills College in Oakland. Or, as is
more likely, it can be seen as a disengagement from the horrors of
reality, as was customary for Feininger, and the result of a retreat into
his own world, where he was free to explore his own fantasies. He
explained: One can choose between living in the midst of turmoil
or withdrawing from todays over-activity, carrying with ones mind
and heart the picture of this world according to ones consciousness
(Feininger, quoted in B. Haskell, Lyonel Feininger At the Edge of the
World, Exh. cat., New York, 2011, p. 141).
From 1930 the Nazis began their campaign against the defamation
of modern art, dismantling works from museums, confscating private
pictures and organising degenerate exhibitions, such as Entartete
Kunste that opened on the 19th July 1937 and included twenty-four
Feininger works, which aimed to clarify what art was un-German
and therefore unacceptable. Feininger, unsurprisingly, produced few
works between 1932 and 1936 and when he did often worked with a
somber and rather melancholic palette.
THE PROPERTY OF A PRIVATE COLLECTOR
l482
ALFONS WALDE (1891-1958)
Einsamer berghof
signed A. Walde (lower right); dated 1935 and inscribed
(on the artists label attached to the reverse)
oil on board
13 x 23 in. (33.4 x 52.8 cm.)
Painted in 1935
150,000-250,000
$240,000-390,000
190,000-320,000
PROVENANCE:
Acquired directly from the artist, and thence by

descent to the present owner.
Dr. Ammann has confrmed the authenticity

of this work.
Born in Kitzbhel in Tyrol, Alfons Walde began his career at the Technische
Hochshule in Vienna, where he studied architecture from 1910 to 1914, whilst
simultaneously perfecting his skills as a painter. Here he came into contact with
Egon Schiele, Gustav Klimt and Ferdinand Hodler, whose work was of great
infuence to the burgeoning artist. In 1911 Walde had his frst exhibition at
Innsbruck and in 1913 submitted four works to the celebrated Vienna Secession
exhibition. With the outbreak of the First World War in 1914, Waldes artistic
ambitions were put on hold as he joined the Tyrolean Kaiserschtze, heading
to the high mountains of Austria. Following the end of the war Walde returned
to Kitzbhel and fully devoted himself to painting. During the 1920s Walde
participated in a number of exhibitions of the Secession and the Wiener
Knstlerhaus. In 1924 he received frst and second prize at the competition
"Winterbilder" and a year later took part at the Biennale Romana in Rome.
Around 1928 he fnally found his own characteristic style that gave expression
to the Tyrolean mountain scenery - particularly the living winter landscapes and its robust people through the use of highly reduced inland drawings and a
pastose colouring.
Einsamer berghof showcases one of Alfons Walde's most characteristic motifs
that of an Austrian chalet perched on the snowy slopes of his local Kitzbhel
under a radiant blue sky, flled with crisp bright light. Often painting his
compositions en plein air after skiing to various viewpoints, Walde has been
recognised as the frst artist to successfully make skiing the subject of painting.
The present work captures the picturesque scenery of the remote Kitzbhel
Mountains, depicting a traditional wooden chalet perched upon a rocky
outcrop, whilst a Tyrolean woman stands in the foreground with a child in
her arms, granting a sense of scale. Using a myriad of nuanced shades of
white Walde succeeds in capturing the brilliance of the mountain light, which
radiates off the snowy slope, while the contrasting blue shadows, mirror the
deep blue expanse of sky above, creating a perfectly balanced and harmonious
composition. Deploying a tempered palette of subtle tones, rendered in a
unique tempera style with pastose colouring, Walde creates a wonderfully
worked surface, dispensing of any unnecessary detail to create a stylised and
reduced style.
Kitzbhel, 1920.
Photo Austrian Archives/Scala Florence.
118
PROPERTY FROM AN IMPORTANT PRIVATE SWISS COLLECTION
l*483
KARL HOFER (1878-1955)
Sechs Pfirsiche mit einer Schachtel
signed with the monogram CH (lower right)
oil on canvas
15 x 22 in. (39.6 x 55.8 cm.)
Painted in 1938
30,000-50,000
$47,000-78,000
38,000-63,000
120
PROVENANCE:
Galerie Buchholz, Berlin, by whom acquired directly from the artist.

Joachim Fernau, Munich, by whom acquired from the above circa 1942-1943.
Presumably stolen during transportation to Coburg.
Recovered by the Monuments Fine Arts and Archives Section, and transferred
to the Munich Central Collecting Point, April 1947 (MCCP no. 43170).
Transferred as heirless to Hugo Ruef, Munich on 8 March 1961.
Recovered by Joachim Fernau from the above (before the planned auction on
13-14 March 1961) and thence by descent.
LITERATURE:
J. Fernau, "Bilderschicksale", in Refugium, Hauszeitschrift Dr. Rentschler &

Co., Laupheim, 1965.
I. K. Rigby, Karl Hofer, New York, 1976, p. 215 (titled Six Peaches in a Basket).
K.B. Wohlert & M. Eisenbeis, Karl Hofer, Werkverzeichnis der Gemlde, vol. II,
Cologne, 2007, no. 1408, p. 265 (illustrated).
PROPERTY FROM THE COLLECTION OF CARL HAGEMANN
l484
ERICH HECKEL (1883-1970)
Andenken
signed with the initials and dated E H 32 (upper left); signed and dated
again Heckel 32 (on the reverse) and inscribed Heckel "Andenken" 1932
(on the stretcher)
tempera on canvas
27 x 25 in. (69 x 64.1 cm.)
Painted in 1932
50,000-80,000
$79,000-130,000
63,000-100,000
PROVENANCE:
Dr Carl Hagemann, Frankfurt, by whom acquired directly from the artist in

1934, and thence by descent to the present owner.
EXHIBITED:
Frankfurt, Stdelmuseum, Die Sammlung Hagemann, September - November

1948.
Erfurt, Angermuseum, Erich Heckel, Lebensstufen, 1992.
LITERATURE:
P. Vogt, Erich Heckel, Recklinghausen, 1965, no. 1932/12 (illustrated).
Erich Heckel painted the present lot in remembrance of his Die Brcke
friend Otto Mueller, shown in profle in the left foreground, who had
passed away in 1930. The work is framed by two of their common
intellectual interests to the left a green book with a portrait of the
poet Friedrich Hlderlin, and to the right a carved wooden statue of
another poet, Stefan George.
121
PROPERTY FROM THE COLLECTION OF NIKKI VAN DER ZYL
485
MAX LIEBERMANN (1847-1935)
Kohlfeld im Wannseegarten nach Nordwesten
signed and dated M Liebermann 18. (lower right)
oil on canvas
13 x 18 in. (33.3 x 46 cm.)
Painted in 1918
30,000-50,000
$47,000-78,000
38,000-63,000
122
PROVENANCE:
Georg Less, Berlin, by 1914.

Anneliese van der Zyl-Less, Mallorca, by descent from the above in the 1960s.
Nikki van der Zyl, London, by descent from the above in 2005.
Professor Dr. Matthias Eberle will include this painting in his

forthcoming supplement to the Liebermann catalogue raisonn (Max
Liebermann. Werkverzeichnis der Gemlde und lstudien) as no.
1918/37.
THE PROPERTY OF AN ITALIAN GENTLEMAN
486
GUSTAV KLIMT (1862-1918)
Entwurf zu einem Theatervorhang
oil on canvas
20 x 16 in. (53 x 42.5 cm.)
35,000-45,000
$55,000-70,000
44,000-56,000
PROVENANCE:
Alfred Stix, Vienna.

Galleria del Levante, Milan, by 1967.
Galleria Galatea, Turin (no. 1022).
Probably acquired from the above by the father of the present owner, and
thence by descent.
LITERATURE:
F. Novotny & J. Dobai, Gustav Klimt, Salzburg, 1975, no. 28, p. 285.
Exh. cat., Gustav Klimt, Vienna, 1984, no. 3 (illustrated p. 38).
We are very thankful to Dr Alfred Weidinger who has confrmed the

authenticity of this work after examination of the original. He will
include this work as number 57a in the new edition of the Gustav
Klimt catalogue raisonn.
l487
OTTO DIX (1891-1969)
Weibliche Leichen (Anatomie Dresden-Friedrichstadt)
signed and dated Dix 22 (lower right)
oil on canvas laid down on board
18 x 24 in. (46.6 x 62.3 cm.)
Painted in 1922
100,000-150,000
$160,000-230,000
130,000-190,000
PROVENANCE:
Anonymous sale, Hauswedell & Nolte, Hamburg, 6 June 1974, lot 375.
Galerie Klihm, Munich, by 1978.
Galerie Valentien, Stuttgart, by 1983
Private collection, Germany; sale, Christies, London, 7 October 1999, lot 190.
EXHIBITED:
Berlin, Galerie Nierendorf, Otto Dix, September - December 1966, no. 39,
p. 27 (illustrated).
Stuttgart, Galerie der Stadt, Otto Dix zum 80, Geburtstag, October November 1971, no. 52 (incorrectly catalogued as oil on paper); this
exhibition later travelled to Paris, Muse dArt Moderne de la Ville de Paris,
February - April 1971.
London, Institute of Contemporary Art, Berlin, a Critical View of Ugly
Realism 20s-70s, November 1978 - January 1979 (illustrated).
Stuttgart, Galerie Valentien, Otto Dix, Gemlde, Aquarelle, Zeichnungen,
October 1983, no. II, p. 14 (illustrated; incorrectly catalogued as oil on
paper).
Brussels, Palais des Beaux-Arts, Otto Dix, 1891-1969, June - July 1985, no.
29, p. 52 (incorrectly catalogued as oil on paper).
Munich, Museum Villa Stuck, Otto Dix, August - October 1985, no. 275.
Stuttgart, Galerie der Stadt, Otto Dix, Zum 100, September - November
1991, no. 1922.3, p. 332 (incorrectly catalogued as oil on paper); this
exhibition later travelled to Berlin, Nationalgalerie, November 1991 February 1992.
Hamburg, Kunsthalle, Im Blickfeld George Grosz, John, der
Frauenmorder, October - December 1993, p. 22 (illustrated pl. 14).
Tokyo, Eine Krise der Kunst, Entartete Kunst im Dritten Reich, 1995, no.
34; this exhibition later travelled to Kanagawa Kenritsu Kindai Bijutsukan,
August -September 1995; Miyagi-ken Bijutsukan, September -November
1995; Kochi Kenritsu Bijutsukan, November - December 1995; Yamaguchi
Kenritsu Bijutsukan, December 1995 - January 1996.
Milan, Fondazione Antonio Mazzotta, Otto Dix, March - June 1997, p. 79.
Paris, Muse Maillol, Allemagne, les annes noires, October 2007 February 2008, p. 241 (illustrated p. 181).
LITERATURE:
H. E. Kleiner-Natrop & F. Lffler, Die Medizin im Werke von Otto Dix,

in Personal- und Vorlesungsverzeichnis der Medizinischen Akademie Karl
Gustav Carus, Dresden, 1968, p. 16 (illustrated pl. 11).
F. Lffler, Otto Dix 1891-1969, Oeuvre der Gemlde, Recklinghausen,
1981, no. 3 (illustrated; incorrectly catalogued as oil on paper).
124
Im such a realist....that I have to see

everything with my own eyes, in order to
confrm that that is the way it is....I have to
experience all of lifes depths. Thats why I
volunteered for war.
(Dix quoted in Otto Dix, Exh. cat., London, 1992, p. 78)
Executed in 1922 Weibliche Leichen (Anatomie DresdenFreidrichstadt) (Female Corpses - Anatomy Dresden Friedrichstadt)
is an intimate and powerfully expressive depiction of the corpses of
two women lying on a slab in the local morgue.
In the aftermath of the First World War in which he had served
for four years on both Eastern and Western Fronts, Dix became
a frequent visitor to the Friedrichstadt morgue attached to his
local hospital. Here, he made painstakingly detailed anatomical
studies of human internal organs with what many of the staff
of the hospital recalled as an obsessive if not perverse relish.
In disciplining himself to the undertaking of this macabre selfdictated course in human anatomy Dix seems to have quenched
two polemical needs within himself; the satisfying his own
obsessive curiosity for seeing things the way they really are
and also the exorcising of many of the traumatic events he had
witnessed during his time at the front.
You dont notice as a young man, Dix later commented on the
after effects of his war experience, that you were after all, badly
affected. while at the same time insisting that, You have to see
things the way they are. You have to be able to say yes to the
human manifestations that exist and will always exist.....I portrayed
states, states that the war brought about, and the results of war
as states.(quoted in Otto Dix im Selbstbildnis, D. Schmidt, Berlin
1981, p. 279.)
As much as the war experience, its traumatic aftermath and the

catastrophic social and economic degeneration during the frst
years of the Weimar Republic prompted Dix, to develop an art that
exposed the reality of things without, as much as possible, judging
them. In this respect and in purely formal terms, such great later
works as large oil painting The Trench (1923) and the epic cycle of
etchings Der Krieg owe a signifcant debt to the works Dix made in
the Friedrichstadt morgue.
In Weibliche Leichen Dix presents the cold reality of two dead bodies.
The fact that these are two female bodies - one young the other old
- suggests associations with one of the central themes of Dixs art of
this period; that of the Prostitute as both a victim of society and of the
violent lust of the sex-murderer. However, unlike many of his works of
this period, here the connection is not made explicit, the cold reality of
the dead bodies is left to speak for itself. Stylistically, Weibliche Leichen
is one of the last of Dixs grey paintings.
In 1919/20 I began to paint everything completely grey, Dix

explained, because it came closest to my experience, to what I saw
- the grey streets, the grey people. It was also, a certain extent in
contradiction to the enormous bright colours of the Expressionists.... I
said to myself: but it isnt really brightly coloured. Its all much darker,
the tones are all much more subdued, much simpler. In short, I wanted
to show things , just as they really are. (op.cit., p. 103)
Painted with large expressive gestural brushstrokes that recall Dixs
most Expressionistic work of 1918/19 Dixs mastery of his medium also
displays a tender if somewhat playful attention to detail in this clearly
lovingly crafted work. Somewhat ironically and with a sense of black
humour not at all unusual for a war veteran like Dix, Weibliche Leichen
reveals the artist delighting in the paradox of a sensuous and animated
use of oil being used to depict an inanimate and macabre subject . I
wasnt at all interested in depicting ugliness. Dix asserted, Everything
Ive ever seen is beautiful. (Ibid, p.149.)
PROPERTY FROM A PRIVATE SWISS COLLECTION
*488
HENRI FANTIN-LATOUR (1836-1904)
Roses
PROVENANCE:
signed and dated Fantin. 87 (lower right)

oil on canvas
10 x 9 in. (26.8 x 23.8 cm.)
Painted in 1887
Robertson and Bruce Ltd, Dundee.

Mr. Finn, Scotland, by whom acquired form the above in 1918, and thence
by descent.
Private collection, Switzerland, circa 1960.
40,000-60,000
$63,000-94,000
51,000-75,000
126
Galerie Brame & Lorenceau will include this painting in their

forthcoming Fantin-Latour catalogue raisonn.
PROPERTY FROM AN IMPORTANT COLLECTION
489
HENRI DE TOULOUSE-LAUTREC (1864-1901)
Un petit chat
indistinctly signed (upper right) and indistinctly inscribed (upper left)
oil on board
11 x 9 in. (32.4 x 23.6 cm.)
Painted in 1882
100,000-150,000
$160,000-240,000
130,000-190,000
PROVENANCE:
Fabre collection, Paris.

Jos Hessel, Paris, by 1926.
Grgoire Tarnopol, New York, by 1964.
Maxwell Davidson Gallery, New York.
Madame M. G. Dortu, Paris.
Anonymous sale, Sothebys, London, 27 June 1984, lot 109.
EXHIBITED:
New York, Wildenstein and Company, Toulouse-Lautrec, Loan exhibition,

February - March 1964, no. 3 (illustrated; dated 1880).
LITERATURE:
M. Joyant, Henri de Toulouse-Lautrec 1864-1901, Peintre, vol. I, Paris, 1926,

p. 256.
M. G. Dortu, Toulouse-Lautrec et son uvre, New York, 1971, no. P.156, p.
70 (illustrated p. 71).
PROPERTY FROM AN IMPORTANT COLLECTION
*490
HENRI DE TOULOUSE-LAUTREC (1864-1901)
Tte de femme
signed with monogram (lower left)
oil and pastel on board
15 x 15 in. (39.3 x 38.3 cm.)
Painted circa 1892
PROVENANCE:
Olivier Sainsre, Paris.

Anonymous sale, Christie's, London, 10 February 2011, lot 510.
EXHIBITED:
70,000-100,000
Paris, Huguette Bers, Peintures et dessins des XIX et XX sicles,

Winter 1989 (illustrated).
$120,000-160,000
LITERATURE:
89,000-130,000
128
M.G. Dortu, Toulouse-Lautrec et son uvre, vol. II, New York, 1971,
no. P.461 (illustrated p. 279).
B. Foucart & G.M. Sugana, Tout l'uvre peint de Toulouse-Lautrec,
Paris, 1986, no. 405 (illustrated p. 113).
G. Nret, Toulouse-Lautrec, Paris, 1991, p. 142 (illustrated fg. 194).
PROPERTY FROM A PRIVATE BELGIAN COLLECTION
l 491
MARIE LAURENCIN (1883-1956)
La Guitariste
signed Marie Laurencin (upper right)
oil on canvas
28 x 23 in. (72.5 x 60 cm.)
Painted circa 1923
60,000-80,000
PROVENANCE:
Csar Wynrock, Brussels.

Galerie Le Centaure, Brussels.
Private collection, Brussels, and thence by descent to the present owner.
LITERATURE:
D. Marchesseau, Marie Laurencin Catalogue Raisonn de luvre Peint,

Tokyo, 1986, no. 253, p. 140 (illustrated).
$95,000-130,000
76,000-100,000
129
THE PROPERTY OF A DISTINGUISHED COLLECTOR
*492
BERTHE MORISOT (1841-1895)
Julie Manet jouant au violon en robe blanche
stamped with the signature Berthe Morisot (Lugt 1826; lower left)
oil on canvas
33 x 23 in. (85.3 x 60.4 cm.)
Painted in 1894
180,000-250,000
$290,000-390,000
230,000-320,000
PROVENANCE:
Michelle Rosenfeld Gallery, New York.

Acquired by the father of the present owner in the 1950s.
EXHIBITED:
Paris, Galerie Durand-Ruel, Berthe Morisot (Madame Eugne

Manet): exposition de son oeuvre, March 1896, no. 56.
Geneva, Galerie Motte, Exposition Berthe Morisot, 1841-1895,
June 1951, no. 15.
Bilbao, Museo de Bellas Artes de Bilbao, Mujeres Impresionistas:
la otra Mirada, November - February 2002, no. 58.
Lodve, Muse de Lodve, Berthe Morisot, Regards pluriels,
June - October 2001, no. 32 (illustrated p. 219).
LITERATURE:
M. Angoulvent, Berthe Morisot, Paris, 1933, no. 596.

M.-L. Bataille & G. Wildenstein, Berthe Morisot, catalogue des
peintures, pastels et aquarelles, Paris, 1961, no. 375 (illustrated
pl. 355).
A. Clairet, D. Montalant & Y. Rouart, Berthe Morisot, 18411895, catalogue raisonn de loeuvre peint, Montolivet, 1997,
no. 380 (illustrated p. 299).
130
Julie Manet, born in 1878 to Morisot and Eugne Manet, Edouard

Manets brother, was at the very centre of the Impressionist
community from a young age. She not only sat for portraits by the
hand of her mother, but was also painted by Pierre-Auguste Renoir
on a number of occasions. In the same year as the present work was
executed, Renoir captured the strong bond between mother and
daughter in a portrait of Berthe and Julie that remained in the artists
family until 2000 (sold Christies, New York, 8 May 2000, lot 27).
The two were inseparable, and their closeness is conveyed through
paintings as well as Morisots diaries. In one of them, the artist recalls
an afternoon in the park with Julie: I walk with Julie in Paris. We sit
down, me thinking of my painting of a garden, looking at the shadows
that play across the sand and the roofs of the Louvre. I search with
her the relation of the shadows and the sunlight. She sees pink in the
sunlight, purple in the shadows (Berthe Morisots notebook, 1885).
Julie Manet jouant au violon en robe blanche was painted in Morisots
new apartment in rue Weber where she moved following the death of
her husband Eugne in 1893. In their new home, Morisot converted
some of the maids rooms into a new studio, and so domestic and
artistic life blended together, as is demonstrated by the fact that
this delightful painting shows not a model in the studio, but rather
Morisots daughter practicing violin in a room in their new apartment.
The doorframe behind Julie, to the left of the composition, and the
tall music stand to the right act as framing devices, and their strong
linearity is echoed by Julies studied upright pose with violin resting on
her shoulder, her long brown hair and flowing luminous white dress,
with its dark and bright blue highlights. The smooth contours and
elongated brushwork of the present work stand in marked contrast
to the frenzied brushwork of her earlier paintings, clearly illustrating
the results of her new working methods, and also testifying to the
influence of her close friend Renoir.
l493
CHARLES CAMOIN (1879-1965)
La brune au sein nu
signed Ch Camoin (lower left)
oil on canvas
21 x 28 in. (54.5 x 73.4 cm.)
Painted in 1931
30,000-50,000
$48,000-79,000
38,000-63,000
132
PROVENANCE:
Stolein collection, Cannes, by 1962.

Anonymous sale, Christies, London, 3 April 1990, lot 324.
LITERATURE:
D. Giraudy, Camoin, sa vie son uvre, Marseille, 1972, no. 361, p. 201.
494
HENRI LEBASQUE (1865-1937)
Le Cannet, Le peignoir japonais
PROVENANCE:
signed H Lebasque (lower right)

oil on canvas
24 x 19 in. (61 x 50.3 cm.)
Painted circa 1926
Mme Henri Lebasque, Paris.

Pierre Lebasque, Paris, by descent from the above.
Anonymous sale, Sothebys, London, 20 March 1991, lot 34.
50,000-80,000
$79,000-130,000
LITERATURE:
D. Bazetoux, Henri Lebasque, Catalogue Raisonn, vol. I, Neuilly-sur-Marne,

2008, no. 1099, p. 274 (illustrated).
64,000-100,000
133
495
Nu allong
PROVENANCE:
signed Lebasque (lower right)

oil on canvas
18 x 21 in. (46.5 x 54.9 cm.)
Muse du Petit-Palais, Geneva.

Galerie Flix Vercel, Paris.
Anonymous sale, Christies, London, 28 November 1989, lot 300.
35,000-45,000
$56,000-71,000
45,000-57,000
134
LITERATURE:
D. Bazetoux, Henri Lebasque, Catalogue raisonn, vol. I, Neuilly-sur-Marne,

2008, no. 997, p. 254 (illustrated).
l496
HENRI LAURENS (1885-1954)
Femme couche
signed with the monogram HL (on the right side of the base)
terracotta
Width: 21 in. (54.6 cm.)
Depth: 6 in. (15.7 cm.)
Conceived in 1930 and cast in an edition of six
50,000-70,000
PROVENANCE:
Galerie Louise Leiris, Paris.

Dr Franz Meyer, Zurich.
Dr Marguerite Meyer-Mahler, Zurich, and thence by descent; sale, Sothebys,
London, 8 December 1998, lot 156.
LITERATURE:
Exh. cat., Henri Laurens, Exposition de la donation aux Muses Nationaux,

Paris, 1967, no. 144 (another cast illustrated).
$79,000-110,000
64,000-88,000
135
l497
HENRI LAURENS (1885-1954)
Deux femmes
signed with the monogram and numbered HL 2/8 (underneath)
terracotta
Width: 9 in. (24.8 cm.)
Depth: 4 in. (11.5 cm.)
Conceived in 1926 and cast in an edition of eight
40,000-60,000
$63,000-94,000
51,000-76,000
PROVENANCE:
Galerie Simon, Paris, by whom acquired directly form the artist (no. 9731).
LITERATURE:
W. Hoffmann, The Sculpture of Henri Laurens, New York, 1970, p. 218

(another cast illustrated pl. 112).
PROPERTY FROM AN IMPORTANT PRIVATE SPANISH COLLECTION
l498
BALTASAR LOBO (1910-1993)
Sur le sable
110,000-150,000
signed and numbered Lobo 2/8 (on the rim of the hair); stamped with the
foundry mark FONDERIA BONVICINI VERONA ITALIA (on the rim of her
left shoulder)
bronze with green and brown patina
Length: 35 in. (92 cm.)
Conceived in 1985 and cast in 1987 in an edition of eight plus four artists
proofs
PROVENANCE:
80,000-120,000
Galera Freites, Caracas.

LITERATURE:
J.-E. Muller, Lobo, Catalogue raisonn de luvre sculpt, Paris, 1985,

no. 542, p. 184 (smaller version illustrated).
Galera Freites will include this sculpture in their forthcoming

Baltasar Lobo catalogue raisonn under the number 8503.
$130,000-190,000
137
499
ARISTIDE MAILLOL (1861-1944)
Baigneuse debout
signed A. MAiLLoL (on top of the base) and with the foundry mark .Alexis
Rudier. Fondeur. Paris. (at the back of the base)
Conceived in wood 1900 and cast in bronze before 1952
150,000-250,000
$240,000-390,000
190,000-320,000
PROVENANCE:
Dina Vierny, Paris.

Private collection, United States; sale, Christies,
London, 26 March 1984, lot 2.
LITERATURE:
J. Rewald, Maillol, London, 1939, p. 166 (another

cast illustrated pl. 121).
W. George, Aristide Maillol, Paris, 1965, p. 232
(another cast illustrated pl. 129).
W. George, Aristide Maillol et lme de la
sculpture, p. 128 (another cast illustrated p. 133)
Olivier Lorquin has confrmed the authenticity

of this work.
Baigneuse debout was cast in the late
1930s after one of Aristide Maillols earliest
sculptures. Expressing the artists ever lasting
fascination for the female form, this bronze
is indeed based on a small wood sculpture
the artist had carved in 1900, at the very
beginning of his career as a sculptor. Standing
in the contrapposto pose of Classical statuary
and gently balancing her arms, concealing
one behind her hip and raising the other to
her head, Baigneuse debout constitutes one
of the earliest expressions of the linear style
and rounded forms which would become the
essential characteristics of Maillols art. For
the rest of his career, Maillol would indeed
remain faithful to the aesthetic he had frst
138
expressed in early works such as Baigneuse

debout. In 1939, John Rewald would observe:
there is nothing brusque in his evolution,
nothing intellectual, it resembles that of a
limpid stream which in due course becomes a
river; its water has remained clear but its bed
has deepened (J. Rewald, Maillol, London,
1939, p. 23). Compositions such as Baigneuse
debout represent thus the spring of Maillols
river, constituting a wonderful, early
rendition of the grounded idealism the artist
would eventually publicly affrm, on a larger
scale, with the seminal work La Mditerrane
in 1905.
Originally trained as a painter, Maillol started
sculpting in the 1890s. Legend has it that
his interest for the medium sparkled in
1896, when the artist sculpted a decorative
pattern on the cradle of his new-born son.
Soon afterwards, Maillol began to cut small
fgures in wood, such as the one from
which Baigneuse debout was cast in the late
1930s. Maillol narrated the genesis of his
frst sculpted fgure to his friend Henri Frre:
When I cut my frst sculpture, I had no idea
of what I was going to do. I was not able to
draw, of course. I did a head, then I did a
neck, shoulders, breasts, a stomach, two legs,
one after the other. One knows after all how
a neck is done, how are the breasts and it
created something rather good (quoted in
U. Berger, Maillol Sculpteur: Conception et

mthode de travail, pp. 39-61, in Aristide
Maillol, exh. cat., Lausanne, 1996, p. 40).
One could imagine the original wood model
of Baigneuse debout to have also been
conceived with such inspired, candid fair.
The apparent facility with which Maillol frst
sculpted a human form underlines the artists
assured artistic vision, whose principles would
guide him for the rest of his life. Throughout
his career, the artist would indeed remain
committed to the same, profound ideas of
formal perfection and harmony that had frst
inspired his work. The rounded shapes and
Classical pose of Baigneuse debout were the
result of the artists wish to attain with his
art an absolute idea. He explained: Form
pleases me and I make it but for me it is a
means of expressing an idea. I look for ideas
() that is why it is nothing to copy the
nude. Reproducing a nude woman does not
mean making a statue. It is necessary, when
composing the face of a young girl, that I give
her the expression of all girls. My feeling passes
from my mind into my fgures. My statues are
poems of life. Instead of using the medium of
verse I explain myself in sculpture (J. Rewald,
op. cit., p. 23). Simplifed to its essential form,
Baigneuse debout is a testimony to Maillols
persistent search for beauty and harmony in the
wake of the Modern times.
PROPERTY OF A CHICAGO COLLECTOR
*500
Nu la peau de lopard, Le Cannet
signed Lebasque (lower right)
oil on canvas
38 x 63 in. (97 x 161.9 cm.)
Painted in Le Cannet in 1926
100,000-150,000
$160,000-240,000
130,000-190,000
PROVENANCE:
Frdric Manaut, Paris.

Galerie lObsidienne, Paris.
Anonymous sale, Sotheby's, London, 5 April 1978, lot 25.
Acquired by the family of the present owner, circa 1980.
EXHIBITED:
San Francisco, Montgomery Gallery, Lebasque, February-April

1986, no. 50, p. 80 (illustrated in colour).
LITERATURE:
D. Bazetoux, Henri Lebasque, Catalogue raisonn, Paris, 2008,

vol. I, no. 949, p. 246 (illustrated; with incorrect dimensions).
Christine Lenoir and Maria de la Ville Fromoit have

confrmed the authenticity of this work.
When Lebasque moved to Paris in 1885, he often visited the atelier of

Lon Bonnat; a painter, collector, and professor at the Ecole des BeauxArts. Infuenced by Bonnat as well as his fellow students Pierre Bonnard
and Edouard Vuillard, Lebasque adopted the intimiste style, of which the
present large-scale work is an important example.
Henri Lebasque frst visited the French Rivieria in 1906 at the suggestion of his
friend Henri Manguin. In 1924, Lebasque relocated to the region to permanently
take advantage of its unparalleled light. Returning often in the intervening years,
the artist would earn the sobriquet Painter of Joy and Light.
Settling in Le Cannet, a town just to the north of Cannes, Lebasque
continued painting landscapes and domestic scenes, but increasingly
focused on the depictions of female nudes. Infuenced by his friend and
neighbor Henri Matisse, with whom Lebasque had founded the Salon
dAutomne in Paris in 1903, he developed a penchant for the depiction of
lavish patterning in interior spaces.
Suffused with warm, natural light, Lebasques languorous Nu la peau de
lopard, Le Cannet recalls Matisses depiction of voluptuous odalisques in
exotic settings throughout the 1920s. The texture of the leopard rug and
the upholstery on which the fgure rests is suggested through the artists
use of airy brushwork. The tinges of green at the extreme edges of the
womans fgure hint at the wild use of colour favoured by Matisse and his
fellow fauve painters; however, in palette the present work is perhaps more
closely related to the work of Camille Pissarro, with whom Lebasque had
also studied in Paris.
Lisa A. Banner has written that Lebasques 1920s nudes were the
culmination of [his] intimist manner of paintingthe celebration of the
female form as fertile, warm, and inspiring... Matisses nudes of the same
period, painted in his neighboring villa on the Riviera, share his rich decorative
sense, but approach the nude in a more intellectual style, as opposed to
Lebasques sensuous style. Lebasque painted his young models in poses of
penetrating intimacy and subtle clarity (Exh. cat., Lebasque, San Francisco,
1986, pp. 70 and 72).
140
PROPERTY FROM THE COLLECTION OF DR. PETER D. SOMMER
501
MAXIMILIEN LUCE (1858-1941)
Baigneuses Saint-Tropez
signed and dated Luce 93 (lower right)
oil on paper laid down on canvas
27 x 32 in. (70.2 x 81.2 cm.)
Painted in 1893
180,000-250,000
$290,000-390,000
230,000-320,000
PROVENANCE:
The artists estate.

Jean Bouin-Luce, Paris, by descent from the above; his estate
sale, Htel Drouot, Paris, 16 December 1999, lot D.
EXHIBITED:
Paris, Galerie Odermatt-Cazeau, Maximilien Luce, poque

no-impressionniste 1887-1903, November 1987 - January
1988, no. 25 (illustrated).
LITERATURE:
D. Bazetoux, Maximilien Luce, Catalogue raisonn de luvre

peint, vol. II, Paris, 1986, no. 957, p. 239 (illustrated p. 240).
M. Ipas, Les peintres de Saint-Tropez, Barbentane, 1999, p.
42 (illustrated).
Painted in 1893, Maximilien Luces Baigneuses Saint-Tropez is one of

a series of landscapes from the South of France that Luce painted at the
beginning of the 1890s. Luce has taken the subject of nude bathers within
a landscape, a classically inspired composition often used in the Western
tradition of art, and rendered it in his distinctive Neo-Impressionist style.
In Baigneuses Saint-Tropez, Luce has employed vivid chromatic harmonies
and bold contrasts of colour to evoke the brilliant light, and sun-drenched
landscape of the Cte dAzur. In 1887, six years before Baigneuses SaintTropez was painted, Luce had met Georges Seurat, Paul Signac and Camille
and Lucien Pissarro, artists who had renounced the spontaneous approach
of Impressionism to instigate a systematic technique, known as Divisionism,
whereby colour was applied to the canvas in separate dabs of pigment,
with careful adherence to colour theory and optical laws. Luce embraced
this technique, however, he differed from these artists due to his intense
and instinctive love of colour. His originality as a colourist is clearly apparent
in Baigneuses Saint-Tropez; the composition is structured through the
advancing shades of oranges and yellow and the vibrant green vegetation
of the foreground, which contrast with the receding blues of the sea, sky
and horizon beyond.
Saturated with luminous colour, Baigneuses Saint-Tropez serves as a
pendant to Luces misty renderings of nocturnal Paris, exemplifying the
artists mastery at capturing varied light effects and atmospheric moods.
The Mediterranean coast served as rich inspiration for Luce. He made
frequent visits to the South of France, often to visit Paul Signac and HenriEdmond Cross, who were deeply enamoured with Saint-Tropez and the
surrounding area, while simultaneously painting scenes in the misty, cloudy
weather of Paris and the north of France.
142
PROPERTY FROM A PRIVATE SWISS COLLECTION
l*502
PIERRE BONNARD (1867-1947)
Le double pin or Les deux pins (Environs de Cannes)
signed Bonnard (lower right)
oil on canvas
20 x 23 in. (51 x 60 cm.)
Painted in 1914
250,000-350,000
$400,000-550,000
320,000-440,000
PROVENANCE:
Galerie Bernheim-Jeune, Paris, by whom acquired

directly from the artist in 1914.
LArt Moderne, Lucerne.
Private collection, by 1968, and thence by descent
to the present owner.
LITERATURE:
J. & H. Dauberville, Bonnard, Catalogue raisonn

de loeuvre peint, vol. II, 1906-1919, Paris, 1968,
I have become a painter of

landscapes, not because I have
painted landscapes - I have
done only a few - but because
I have acquired the soul of a
landscape painter insofar as I
have been able to free myself
of everything picturesque,
aesthetical or any other
convention that has been
poisoning me
(Bonnard, 1935, quoted in Some Thoughts
on Pierre Bonnard, Bonnard, exh. cat.,
Salzburg, 1991, n.p.).
As seen in the present work, Bonnard deployed a highly individual style, which founced
conventions of colour and form, focusing instead on the fugitive and delicate forms of observation.
Bonnards keen sense of observation was highlighted by Thade Natanson, an early collector of the
artists work: His nearsightedness is that of an observer, but it eliminates useless details. Behind his
spectacles, usually lively pupils glanced at or fx upon successive objects, to make them his own
(quoted in J.T. Soby, J. Elliott and M. Wheeler, Bonnard and his environment, exh. cat., New York,
1964, p. 17) This sense of making them his own was characteristic of Bonnard who enjoyed
manipulating and modifying reality to his own artistic vision, offering new pictorial interpretations
of visual experience, which pushed his art to new limits.
Around the beginning of the First World War, when the present work was painted, Bonnard
was in the midst of an introspective period in which he attempted to reconcile and balance
colour with form, anxious that he had given too much precedence to colour in his formative
impressionist days. Bonnard began to work with a new emphasis on composition, constantly
shifting the perspective and arrangement of everyday subjects. One of his most effective tools was
the deployment of space, introducing framing and enclosing devices, which imbued a personal
and familiar feel to his work. Despite these measures, however, Bonnard remained essentially a
colourist, devoted to wedding sensations of colour and rejoicing in combinations of unfamiliar
intermediate tones. Bonnard expressed his joy of colour stating: Colour alone will suffce to
express all one wants to say, there is no need for highlighting or modelling in painting. It seemed
possible for me to reproduce light, shape and character by the use of colour alone, without the
help of any values (Bonnard, quoted in Some Thoughts on Pierre Bonnard, Bonnard, exh. cat.,
Salzburg, 1991, n.p.). Le double pin displays Bonnards mastery of tone, seen most notably in the
mountains in the background, in which he pairs sky blue, pink and lilac hues, which are mirrored
in the sky above, to give a sense of half-light. While the touch of vivid red in the yachts sails,
eschews our central focal point, drawing our eye across the composition.
Le double pin expresses the luxuriant aspect of the French countryside; its rich sinuous textures
and the vibrancy of southern light, while still instilling a sense of permanence. Bonnard initiates a
dialogue with the classical landscapes conceived by Nicolas Poussin, Claude Lorrain, Camille Corot,
and Paul Czanne. But, most importantly, he sets out on a personal exploration of the different
formal and pictorial possibilities offered to him by the colourful Mediterranean landscape. Bonnard
did not imagine his pictures in the abstract, yet he aimed to create a strong and sumptuous
texture throughout his painting, which often gave his work a decorative aesthetic. Nicolas Watkins
explains: Bonnard's solution to the problem of reconciling depth with the decorative assertion of
the surface in the painting was to treat the landscape as a kind of tapestry into which the view
was woven (Bonnard, London, 1994, p. 156).
144
503
HENRY MORET (1856-1913)
Les falaises, Ile de Groix
PROVENANCE:
signed and dated .Henry Moret. 96. (lower left)

oil on canvas
21 x 25 in. (54.2 x 65 cm.)
Painted in 1896
Charles Durand-Ruel, Paris.

Galerie Abels, Cologne.
Acquired from the above by the present owner in the early 1960s.
40,000-60,000
Jean-Yves Rolland will include this work in his forthcoming Moret

catalogue raisonn.
$63,000-94,000
51,000-75,000
146
PROPERTY FROM A DISTINGUISHED ENGLISH COLLECTION
504
Les bls, pays de Riec
signed and dated Henry Moret. 1902. (lower left)
oil on canvas
21 x 25 in. (54.3 x 65.1 cm.)
Painted in 1902
PROVENANCE:
Acquired by the present owner circa 2000.

catalogue raisonn.
40,000-60,000
$63,000-94,000
51,000-75,000
147
THE PROPERTY OF A PRIVATE FRENCH COLLECTOR
505
La maison de Renoir Cagnes-sur-Mer
signed Renoir (lower left)
oil on canvas
8 x 10 in. (22 x 27.4 cm.)
100,000-150,000
$160,000-240,000
130,000-190,000
PROVENANCE:
Anonymous sale, Guy Loudmer, Paris, 16 June 1991,

lot 55.
This work will be included in the forthcoming

catalogue critique of Pierre-Auguste Renoir being
prepared by the Wildenstein Institute established
from the archives of Franois Daulte, DurandRuel, Venturi, Vollard and Wildenstein.
Please note that this work will be included in the
second supplement to the catalogue raisonn
des tableaux, pastels, dessins et aquarelles de
Renoir being prepared by Guy-Patrice and Floriane
Dauberville, published by Bernheim-Jeune.
In 1907 Renoir moved to the picturesque setting of Cagnes-surMer, in the Provence-Alpes-Cte dAzur, purchasing the pretty
stone farmhouse Les Collettes, where he was to live until he died in
1919. Relocating here with his wife Aline Charigot and two children
Pierre and Claude, this move in part was prompted by his increasing
rheumatoid arthritis, which he hoped would desist in warmer climes.
Set amongst beautiful olive and citrus groves, with views overlooking
the Mediterranean sea and mountainous vistas beyond, the twostorey house was to provide the perfect setting for Renoirs painting,
supplying an infnite source of inspiration in his fnal years. The
present work is evocative of Renoirs feelings for the place, with
the warmth of tone and radiance of light conveying his love for Les
Collettes. Depicting the charming countryside that surrounded his
home, Renoir instills a sense of life to the work through his enlivened
brushstroke and dynamic use of colour.
Today Les Collettes remains a museum to Renoir, housing fourteen
works by the artist and a collection of family possessions. The rooms
in which he painted and the basement where he sculpted have been
preserved, so one can see Renoirs painting materials and easel at
which he painted his beloved Les Collettes.
Renoir painting in his garden in Cagnes-sur-Mer.

Private Collection / Archives Charmet / Bridgeman Images.
148
PROPERTY FROM A SOUTHERN GERMAN COLLECTION
506
MAXIME MAUFRA (1861-1918)
Lorage le soir, lanse de Port-Goulphar, Belle-le-en-Mer
signed and dated Maufra 1909 (lower right)
oil on canvas
23 x 29 in. (60.3 x 73.6 cm.)
Painted in 1909
25,000-35,000
$40,000-55,000
PROVENANCE:
Acquired in the 1960s, and thence by descent to the present owner.

EXHIBITED:
Morlaix, Muse des Jacobins, Les peintres de Belle-le-en-Mer, sur les pas de
Monet, July - November 1994, no. 64, p. 86 (illustrated p. 87).
LITERATURE:
A. Alexandre, Maxime Maufra, peintre marin et rustique (1861-1918), Paris,

1926, p. 127 (illustrated).
32,000-44,000
Caroline Durand-Ruel Godfroy will include this painting in her
forthcoming catalogue critique of paintings by Maxime Maufra.
150
PROPERTY FROM A SWISS FAMILY COLLECTION
l*507
HENRI-CHARLES MANGUIN (1874-1949)
Paysage de Saint-Tropez
signed and dated Manguin 1904 (lower right)
oil on canvas
19 x 24 in. (50.5 x 61.4 cm.)
Painted in Autumn 1904
60,000-90,000
$95,000-140,000
76,000-110,000
PROVENANCE:
The artists estate.

Madame Henri Manguin, Saint-Tropez, by descent from the artist in 1949.
Private collection, Paris, by 1969.
Private collection, Switzerland, by 1973.
Galerie Richard, Zurich.
Acquired from the above by the present owner in July 1986.
EXHIBITED:
Munich, Pariser Maler, 1906.

Paris, Galerie Brame, Manguin, 1954, no. 6.
Geneva, Galerie Motte, Manguin, 1958, no. 14, p. 8 (illustrated p. 6).
Paris, Galerie Montmorency, Quarante tableaux de Manguin, 1958, no. 7 (titled
Saint-Tropez).
Paris, Galerie de Paris, Les amis de Saint-Tropez, May - June 1961, no. 37 (illustrated).
Chartres, Chambre de Commerce, Marquet et ses amis, July - September 1961,
no. 1, p. 15 (titled Saint-Tropez).
Paris, Galerie de Paris, Manguin, tableaux Fauves, May - June 1962, no. 7 (illustrated).
London, Arthur Tooth & Sons, Henri Manguin, October - November 1966, no. 22
(titled Saint-Tropez, le golfe).
La Rochelle, Muse des Beaux-Arts, Manguin, July - September 1969, no. 3
(illustrated on the cover)
Dusseldorf, Stdtische Kunsthalle, Henri Manguin, Erste deutsche Retrospektive,
October - December 1969, no. 9, p. 19 (illustrated p. 16; titled Saint-Tropez); this
exhibition later travelled to Berlin, Neuer Berliner Kunstverein, April - May 1970,
no. 8.
LITERATURE:
L. Manguin & C. Manguin, Henri Manguin, Catalogue raisonn de luvre peint,

Neuchtel, 1980, no. 121, p. 76 (illustrated).
508
MAXIME MAUFRA (1861-1918)
Le lac Lauvitel (Dauphin)
signed and dated Maufra 1904. (lower right)
oil on canvas
32 x 39 in. (81.3 x 100.3 cm.)
Painted in 1904
20,000-30,000
$32,000-47,000
26,000-38,000
152
PROVENANCE:
Acquired in the 1960s, and thence by descent to the present owner.
Caroline Durand-Ruel Godfroy will include this painting in her

forthcoming catalogue critique of paintings by Maxime Maufra.
THE PROPERTY OF A LADY
l509
Rue de village sous la neige
PROVENANCE:
signed Vlaminck (lower left)

oil on panel
18 x 21 in. (46.3 x 54.5 cm.)
L. Descaves, Paris.
Private collection, Paris; sale, Christies, London, 30 June 1980, lot 52.
25,000-35,000
$40,000-55,000
32,000-44,000

153
l510
ALBERT MARQUET (1875-1947)
Beau temps Montplaisant
signed marquet (lower left)
oil on canvas
18 x 24 in. (46.2 x 61.2 cm.)
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
Mme Albert Marquet, Paris.

Private collection, London, by whom acquired from the above through
Kndler & Co., New York, in 1968.
Arthur Tooth & Sons, London (no. 8458).
Anonymous sale, Sothebys, London, 3 April 1974, lot 80.
Anonymous sale, Christies, London, 26 June 1990, lot 304.
EXHIBITED:
Paris, Galerie des Capucines, Albert Marquet, Marcel Andr, Charles Camoin,
April 1958, no. 1.
LITERATURE:
J.-C. Martinet & G. Wildenstein, Marquet, LAfrique du Nord, Catalogue de

luvre peint, Paris, 2001, no. I-520, p. 378 (illustrated).
154
l511
Le yacht blanc, La Rochelle
PROVENANCE:
signed marquet (lower left)

oil on canvas
19 x 24 in. (50.3 x 61.1 cm.)
Painted in 1920
Galerie Druet, Paris (no. 10409).

Gabriel Sabet, Geneva, and thence by descent; sale, his estate sale,
Sothebys, London, 8 December 1998, lot 135.
100,000-150,000
$160,000-240,000
This work will be included in the critical catalogue of Albert Marquets

paintings being prepared by the Wildenstein Institute
130,000-190,000
155
512
ACHILLE LAUG (1861-1944)
Barque de pche Collioure
signed and dated A.Laug 1927 (lower right)
oil on canvas
19 x 28 in. (50 x 73 cm.)
Painted in 1927
25,000-35,000
$40,000-55,000
32,000-44,000
156
PROVENANCE:
Private collection, France, by whom acquired directly from the artist, and
thence by descent.
This work will be included in the catalogue raisonn of Achille Laug

currently being prepared by Mrs. Nicole Tamburini.
l513
Port de Saint-Jean-de-Luz
signed marquet (lower right)
oil on canvas
19 x 24 in. (50.4 x 61.3 cm.)
Painted in 1927
40,000-60,000
PROVENANCE:
Serret et Fabiani, Paris.

Acquired from the above by the present owner on 15 November 1984.
This work will be included in the critical catalogue of Albert Marquets

paintings being prepared by the Wildenstein Institute.
$63,000-94,000
51,000-76,000
157
*514
Les bords de la Mditerrane
signed Renoir. (lower left)
oil on canvas
10 x 18 in. (25.3 x 46.3 cm.)
Painted circa 1887
200,000-300,000
$320,000-470,000
260,000-380,000
PROVENANCE:
Galerie Durand-Ruel et Cie, Paris, by whom acquired

directly from the artist on 15 August 1916.
Ricardo Costa, Irun, Spain, by whom acquired from
the above on 28 July 1920.
Hammer Galleries, New York.
Acquired from the above by the present owner,
circa 1989.
EXHIBITED:
New York, Hammer Galleries, Renoir, Paintings from

1870-1914, May - June 1984, p. 35 (illustrated).
LITERATURE:
E. Fezzi, Lopera completa di Renoir nel periodo

impressionista, 1869-1883, Milan, 1972, no. 330, p.
103 (illustrated; dated 1878).
G.-P. & M. Dauberville, Renoir, Catalogue raisonn
des tableaux, pastels, dessins et aquarelles,
1882-1894, vol. II, Paris, 2009, p. 114, no. 875
(illustrated).
This work will be included in the forthcoming

catalogue critique of Pierre-Auguste Renoir
being prepared by the Wildenstein Institute
established from the archives of Franois
Daulte, Durand-Ruel, Venturi, Vollard and
Wildenstein.
Following his trip to Italy in 1881 Renoir became preoccupied with the classical
traditions of the paysage compos. Les Bords de la Mditerrane is one of the fnest
examples of the work that Renoir did during his transitional period of 1883-1888, in
which he came to question the spontaneity and informality of the Impressionist plein
air techniques and began to look to the more systematic examples of classical art,
in the hope of realising a more substantial model of painting. John House explains:
Renoir was deliberately moving away from any suggestion of the feeting or the
contingent, away from the Impressionist preoccupation with the captured instant (J.
House, Renoir, exh. cat., London, 1985, p. 242).
Renoir believed that by transporting the majority of his painting to his studio he was
able to impart a greater level of refection within his work. He stated: In working
directly from nature, the painter ends up by simply aiming at an effect, and not
composing the picture at all; and he soon becomes monotonous (Renoir, quoted in F.
Fosca, Renoir, London, 1964, p. 152). Renoir looked to the examples of Raphael and
the old masters for conviction, whom he saw succeeded in manipulating light, tonality
and form to create a weightier and more monumental aesthetic, not to the detriment
of luminosity. He stated: Although Raphael never worked outside he did study the
sunlight, as his frescoes are full of it (Renoir, quoted in D. Druick, Renoir, Chicago,
1997, p. 55).
This change in direction can be seen in Les Bords de la Mditerrane, where Renoir
deploys a more fuid and harmonious manner of painting, moving away from the
staccato brushstrokes of his earlier years. The present work sees Renoir adopt a more
natural palette, based on the direct perception of tones and light. Colour is now used
as a support to the defnition of form, rather than the primary focus. Francois Fosca
describes the effect that this had on the artists painting: Formely he had loved colour
for its own sake, and enjoyed grouping together attractive, gaily harmonious tints;
henceforth, colour was to serve him as a means of rendering the weight and mass
of volumes which melt into one another with the fowing elasticity of a serpent, the
fuidity of a cloud (F. Fosca, Renoir, London, 1964, pp. 166-167).
Renoir was keen to portray an Arcadian vision of the French landscape, which was
timeless, natural and unchanging. This is portrayed in Les Bords de la Mditerrane
which shows an unspoiled view of the coast, free from any signs of industry or
contemporary modern life, with only a lighthouse in the distance, and a few faint
fgures seen staring out to sea. Accuracy to the details of the setting was less
important to Renoir than a unifed and harmonious aesthetic. These timeless values
can be seen in Les Bords de la Mditerrane, which paints a romantic vision of the
French coastline.
158
515
EUGNE BOUDIN (1824-1898)
Un canal Abbeville
signed E.Boudin . (lower left)
oil on panel
12 x 16 in. (32.8 x 41.2 cm.)
Painted circa 1894
40,000-60,000
$63,000-94,000
51,000-76,000
160
PROVENANCE:
Acquired by the present owner in 2011.
This work will be included in the third supplement of the catalogue

raisonn of the work of Eugne Boudin being prepared by Manuel
Schmit.
516
Deauville. La plage
signed, dated and indistinctly inscribed E. Boudin 93. ... (lower right)
oil on canvas
19 x 29 in. (50.6 x 74.8 cm.)
Painted in 1893
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
Anonymous sale, Htel Drouot, Paris, 1 February 1901, lot 45.

Dr Delineau, Paris.
Arthur Tooth & Sons Ltd, London.
Private collection, United Kingdom.
Alex Reid & Lefevre Ltd, London.
Private collection, Boston.
Noortman Master Paintings, Maastricht.
Acquired from the above by the present owner on 18 March 2006.
LITERATURE:
R. Schmit, Eugne Boudin 1824-1898, vol. III, Paris, 1973, no. 3148, p. 209
(illustrated).
161
PROPERTY FROM AN ITALIAN FAMILY COLLECTION
*517
Le Havre. Le port
PROVENANCE:
signed and dated E. Boudin 69 (lower right); inscribed Le Havre (lower left)
oil on canvas
18 x 25 in. (46 x 65 cm.)
Painted in 1869
Anonymous sale, Htel Drouot, Paris, 19 February 1904, lot 103.

Galerie Urban, Paris.
Private collection, Switzerland, and thence by descent to the present owner
in 1978.
40,000-60,000
ENGRAVED:
$63,000-94,000
51,000-76,000
162
R. Schmit, Eugne Boudin, 1824-1898, vol. I, Paris, 1973, no. 470, p. 173
(illustrated).
518
Falaises de Clohars-Carnet
signed and dated Henry Moret -1910- (lower right)
oil on canvas
21 x 28 in. (54.2 x 73 cm.)
Painted in 1910
PROVENANCE:
Acquired by the present owner in 2006.

catalogue raisonn.
60,000-90,000
$95,000-140,000
76,000-110,000
163
l519
Les maisons
oil on canvas
18 x 21 in. (46.2 x 55.2 cm.)
35,000-55,000
$56,000-86,000
45,000-69,000
164
PROVENANCE:
Private collection, Bilbao, since the 1940s.

Acquired from the above by the present owner, circa 2004.

l*520
Paysage de neige
signed Vlaminck (indistinctly, lower right)
oil on canvas
28 x 36 in. (72.8 x 92.3 cm.)
30,000-40,000
$48,000-63,000
38,000-50,000
PROVENANCE:
Galerie Tamnaga, Tokyo (no. K313M).

Acquired from the above by the present owner in October 1990.
This work will be included in the forthcoming catalogue critique

of Maurice de Vlamincks paintings, drawings and ceramics being
prepared by Math Valls-Bled and Godelive de Vlaminck under the
sponsorship of the Wildenstein Institute.
165
521
GUSTAVE LOISEAU (1865-1935)
Auto-portrait la statuette
signed G Loiseau (on the reverse)
oil on board
25 x 19 in. (63.7 x 49 cm.)
Painted circa 1916
18,000-25,000
$29,000-39,000
23,000-32,000
PROVENANCE:

Didier Imbert Fine Art, Paris.
EXHIBITED:
Paris, Galerie Didier Imbert, Gustave Loiseau, November 1985 - January 1986,
no. 20 (illustrated).
Pont-Aven, Muse de Pont-Aven, Gustave Loiseau et la Bretagne, June October 2001, no. 17, p. 54 (illustrated pp. 44 & 54).
This work will be included in the forthcoming Gustave Loiseau

catalogue raisonn currently being prepared by Didier Imbert.
166
522
GUSTAVE LOISEAU (1865-1935)
Le Bateau-Lavoir sur la Seine
signed G Loiseau (lower left)
oil on canvas
18 x 25 in. (46 x 64.8 cm.)
Painted in 1929
30,000-50,000
$48,000-79,000
38,000-63,000
PROVENANCE:
Galerie Durand-Ruel, Paris, by 1929 (no. 13006).

Galerie Philippe Czanne, Paris, by 1979.
David Grob, London.
Muse de lAthene, Geneva, by 1985.
Didier Imbert Fine Art, Paris.
This work will be included in the forthcoming Gustave Loiseau

catalogue raisonn currently being prepared by Didier Imbert.
167
PROPERTY FROM A PRIVATE COLLECTION
l*523
Rue de lAbreuvoir Montmartre
signed Maurice, Utrillo, V, (lower right)
oil on canvas
15 x 18 in. (38 x 46 cm.)
Painted circa 1950
40,000-60,000
$63,000-94,000
51,000-75,000
PROVENANCE:
M. Rouan, Marseille.
M. G. Rosaz, Berne.
Anonymous sale, Paris, Htel Drouot, 9 December 1989, lot 80.
EXHIBITED:
Padova, Palazzo Zabarella, Maurice Utrillo, March - June 1997, no. 53, p.
103 (illustrated p. 81; titled Rue de lAbreuvoir); this exhibition later travelled
to Rome, Palazzo delle Esposizioni, July - September 1997, and Catania,
November 1997 - January 1998.
Payerne, Muse et Abbatiale, Utrillo et les peintres de Montmartre, April September 2000, no. 49 (illustrated).
Kobe, Daimaru Museum, Maurice Utrillo, le 120me anniversaire de la

naissance, March - April 2003, no. 57 (illustrated); this exhibition later
travelled to Kyoto, Daimaru Museum, April 2003, Hokkaido, Sapporo,
Daimaru Art Gallery, May 2003, Hokkaido, Kushiro, Art Museum, June - July
2003, and Hokkaido, Hakodate, July - September 2003.
Tokyo, Nihonbashi, Takashimaya Art Gallery, Cinquantime anniversaire
de la Mort de Maurice Utrillo, September - October 2005, no. 75, P. 149
(illustrated P. 102); this exhibition later travelled to Kanagawa, Yokohama,
Takashimaya Art Gallery, October 2005, Kyoto, Takashimaya Art Gallery,
January 2006, Osaka, Nanba, Takashimaya Art Gallery, February - March
2006, and Aichi, Nagoya, Takashimaya Art Gallery, March 2006.
Tokyo, Mitaka, Municipal Museum of Fine Arts, Maurice Utrillo le
Montmartre du rve et de la posie, April - July 2007, no. 73, pp. 133 & 147
(illustrated p. 92); this exhibition later travelled to Chiba, Prefectural Museum
of Fine Arts, July - August 2007, Hokkaido, Asahikawa, Prefectural Museum
of Fine Arts, September - October 2007, and Fukuoka, Prefectural Museum,
October - December 2007.
Kyoto, Takashimaya Art Gallery, Maurice Utrillo, 130me anniversaire de sa
naissance, April - May 2013, no. 72 (illustrated); this exhibition later travelled
to Osaka, Nanba, Takashimaya Art Gallery, May 2013, Tokyo, Nihonbashi,
Takashimaya Art Gallery, June 2013, Hokkaido, Hakodate, Art Museum,
July - September 2013, and Yokohama, Kanakawa, Takashimaya Art Gallery,
September 2013.
LITERATURE:
P. Ptrids, Loeuvre complet de Maurice Utrillo, vol. III, Paris, 1969, no. 2344,
p. 334 (illustrated p. 335).
l524
Eglise dEaubonne
signed Maurice, Utrillo, V, (lower right); inscribed Eglise dEaubonne
(Seine-et-Oise) 1937 Maurice, Utrillo, V, (on the stretcher)
oil on canvas
15 x 18 in. (38.3 x 46.5 cm.)
Painted circa 1937
40,000-60,000
$63,000-94,000
51,000-75,000
PROVENANCE:
M. Bungard, Oslo.
Kunstsalon Abels, Cologne.
Acquired from the above by the father of the present owners circa 1956.
LITERATURE:
P. Ptrids, Luvre complet de Maurice Utrillo, vol. III, Paris, 1969, no.
1788, p. 180 (illustrated p. 181).
Eglise dEaubonne, a postcard from the time inscribed by the artist
169
l*525
Le chteau
signed Maurice Utrillo. V. (lower left)
oil on canvas
23 x 32 in. (60.2 x 81 cm.)
Painted circa 1913
35,000-45,000
$56,000-71,000
45,000-57,000
170
PROVENANCE:

Galerie Nichido, Tokyo.
LITERATURE:
P. Ptrids, Luvre complet de Maurice Utrillo, Paris, 1959, no. 392, p. 456
(illustrated p. 457).
PROPERTY FROM A FRENCH FAMILY COLLECTION
l*526
LEONARD TSUGUHARU FOUJITA (1886-1968)
Cour intrieure, Paris
signed, dated and inscribed Foujita Paris 1950 (lower right)
oil on canvas
13 x 10 in. (34.7 x 27 cm.)
Painted in 1950
20,000-30,000
PROVENANCE:
Acquired by the family of the present owner in the 1950s, and

thence by descent.
To be included in the forthcoming catalogue of the works

by Tsuguharu Foujita being prepared by Sylvie Buisson.
$32,000-47,000
26,000-38,000
171
l527
Nature morte
oil and fabric collage on canvas
31 x 39 in. (81 x 100 cm.)
Painted in 1958
25,000-35,000
$40,000-55,000
32,000-44,000
172
PROVENANCE:
A gift from the artist to the present owner in the 1960s.
l528
LOUIS VALTAT (1869-1952)
Nature morte au potiron
signed L. Valtat (lower right)
oil on canvas
17 x 31 in. (45 x 80.2 cm.)
30,000-50,000
$48,000-79,000
38,000-63,000
PROVENANCE:
M. & Mme Robert Kahn Sriber.

Anonymous sale, Christies, London, 23 June 1997, lot 66.
Kunsthandel Ivo Bouwman, The Hague, by whom acquired at the above sale.
Private collection, by whom acquired from the above in 1998; sale, Sothebys,
London, 6 February 2007, lot 537.
Les Amis de Louis Valtat will include this painting in their forthcoming
Valtat catalogue raisonn.
173
IMPORTANT NOTICES AND EXPLANATION OF

CATALOGUING PRACTICE
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is
identified in the catalogue with the symbol next to
its lot number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include
guaranteeing a minimum price or making an
advance to the consignor that is secured solely by
consigned property. Where Christies holds such
financial interest on its own we identify such lots
with the symbol next to the lot number.
Where Christies has financed all or part of such
interest through a third party the lots are identified
in the catalogue with the symbol u. When a
third party agrees to finance all or part of Christies
interest in a lot, it takes on all or part of the risk of
the lot not being sold, and will be remunerated in
exchange for accepting this risk based on a fixed fee
if the third party is the successful bidder or on the
final hammer price in the event that the third party
is not the successful bidder. The third party may also
bid for the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against the
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explanation of minimum price guarantees and third
party financing arrangements.
Where Christies has an ownership or financial
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not designate each lot with a symbol, but will state
its interest in the front of the catalogue.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION
Christies catalogues include references to condition
only in descriptions of multiple works (such as
prints, books and wine). For all other property,
only alterations or replacement components are
listed. Please contact the Specialist Department for
a condition report on a particular lot. The nature
of the lots sold in our auctions is such that they will
rarely be in perfect condition, and are likely, due to
their nature and age, to show signs of wear and tear,
damage, other imperfections, restoration or repair.
Any reference to condition in a catalogue entry
will not amount to a full description of condition.
Condition reports are usually available on request,
and will supplement the catalogue description. In
describing lots, our staff assess the condition in a
manner appropriate to the estimated value of the
item and the nature of the auction in which it is
included. Any statement as to the physical nature or
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or otherwise, is given honestly and with appropriate
care. However, Christies staff are not professional
restorers or trained conservators and accordingly
any such statement will not be exhaustive. We
therefore recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to you
in advance of bidding.
174
PROPERTY INCORPORATING MATERIALS

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

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

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

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

purposes of calculating the resale royalty the Pounds Sterling/
Euro rate of exchange will be the European Central Bank
reference rate on the day of the sale.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers request and expense. Buyers should request an
estimate for any large items or property of high value that
require professional packing. A shipping form is enclosed with
each invoice, alternatively buyers can visit www.christies.com/
shipping to request a shipping estimate.
For more information please contact the Shipping Department
at + 44 (0)20 7389 2712 or via
ArtTransport_London@christies.com for both London,
King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
Christies Art Transport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
Own Shipper:
VAT will be charged on the invoice, refundable by the VAT
Department upon receipt of the appropriate official documents
sent to us by your shipper.
Hand-Carried:
VAT will be charged on the invoice.This will be refunded by
the VAT Department upon receipt of the appropriate official
document.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies Shipping Department .This document must be
stamped by UK Customs on leaving the UK.
(no symbol)
Margin Scheme Please obtain a GB Tax Free form from the
Cashiers. This document must be stamped by UK Customs on
leaving the UK.
Starred or Omega lots must be exported within 30 days of the
date of collection. All other lots not subject to import VAT
must be exported within three months of collection, and proof
of export provided in the appropriate form.
EXPORT/IMPORT PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers sole responsibility to obtain any
relevant export or import licence. The denial of any licence or
any delay in obtaining licences shall neither justify the rescission of
any sale nor any delay in making full payment for the lot.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
cannot ensure that a licence will be obtained. Local laws may
prohibit the import of some property and/or may prohibit
the resale of some property in the country of importation.
For more information, please contact Christies Shipping
Department at +44 (0)20 7389 2828 or the the Museums,
Libraries and Archives Council: Acquisitions, Export and Loans
Unit at +44 (0)20 7273 8269/8267.
20/11/13
175

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

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

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

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

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

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

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

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

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
28/10/14
176
CONDITIONS OF SALE
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out the
terms governing the legal relationship of Christies
and the seller with the buyer. You should read them
carefully before bidding.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent for
the seller. The contract for the sale of the property is
therefore made between the seller and the buyer.
2.
CATALOGUE DESCRIPTIONS AND

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

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

At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
3. AT THE SALE
(a) Refusal of admission
Christies has the right, at our complete discretion,
to refuse admission to the premises or participation
in any auction and to reject any bid.
(b) Registration before bidding
Prospective buyers who wish to bid in the saleroom
can register online in advance of the sale, or can
come to the saleroom on the day of the sale
approximately 30 minutes before the start of the
sale to register in person. Prospective buyers must
complete and sign a registration form with his
or her name and permanent address, and provide
identification before bidding. We may require the
production of bank details from which payment will
be made or other financial references.
(c) Bidding as principal
When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Christies, and that Christies will only
look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone. Bids
must be placed in the currency of the place of the
sale. Please refer to the catalogue for the Absentee
Bids Form. If we receive written bids on a particular
lot for identical amounts, and at the auction these
are the highest bids on the lot, it will be sold to
the person whose written bid was received and
accepted first. Execution of written bids is a free
service undertaken subject to other commitments
at the time of the sale and provided that we have
exercised reasonable care in the handling of written
bids, the volume of goods is such that we cannot
accept liability in any individual instance for failing
to execute a written bid or for errors and omissions
in connection with it arising from circumstances
beyond our reasonable control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them to
participate in the bidding by telephone but we do
not accept liability for failure to do so or for errors
and omissions in connection with telephone bidding
arising from circumstances beyond our reasonable
control.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of
the currency converter. Where these arise from
circumstances beyond our reasonable control we
do not accept liability to bidders who follow the
currency converter rather than the actual bidding in
the saleroom.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
next to the lot number. The auctioneer may open
the bidding on any lot below the reserve by placing
a bid on behalf of the seller. The auctioneer may
continue to bid on behalf of the seller up to the
amount of the reserve, either by placing consecutive
bids or by placing bids in response to other bidders.
(i) Auctioneers discretion
The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the bidding
in such a manner as he may decide, withdrawing or
dividing any lot, combining any two or more lots
and, in the case of error or dispute, and whether
during or after the sale, determining the successful
bidder, continuing the bidding, cancelling the sale
or reoffering and reselling the item in dispute. If
any dispute arises after the sale, then, in the absence
of any evidence to the contrary the sale record
maintained by the auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion, the
highest bidder accepted by the auctioneer will be
the buyer and the striking of his hammer marks the
acceptance of the highest bid and the conclusion of
a contract for sale between the seller and the buyer.
Risk and responsibility for the lot (including frames
or glass where relevant) passes to the buyer at the
expiration of seven calendar days from the date of
the sale or on collection by the buyer if earlier.
4. AFTER THE SALE
(a) Buyers premium
In addition to the hammer price, the buyer
agrees to pay to us the buyers premium together
with any applicable value added tax. The buyers
premium is 25% of the final bid price of each lot
up to and including 50,000, 20% of the excess of
the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the
hammer price above 1,000,000. Exceptions: Wine
and Cigars: 17.5% of the final bid price of each lot,
VAT is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply to
the lot the buyer also agrees to pay to us an amount
equal to the resale royalty provided for in those
Regulations. Lots affected are identified with the
symbol next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers premium and
any applicable taxes or resale royalty) immediately
after the sale. This applies even if the buyer wishes
to export the lot and an export licence is, or may
be, required. The buyer will not acquire title to the
lot until all amounts due to us from the buyer have
been received by us in good cleared funds even in
circumstances where we have released the lot to the
buyer.
09/08/13
177
(d) Collection of purchases

We shall be entitled to retain items sold until all
amounts due to us, or to Christies International
plc, or to any of its affiliates, subsidiaries or parent
companies worldwide, have been received in full in
good cleared funds or until the buyer has performed
any other outstanding obligations as we, in our sole
discretion, shall require, including, for the avoidance
of doubt, completing any anti-money laundering or
anti-terrorism financing checks we may require to our
satisfaction. In the event a buyer fails to complete any
anti-money laundering or anti-terrorism financing
checks to our satisfaction, Christies shall be entitled to
cancel the sale and to take any other actions that are
required or permitted under applicable law. Subject
to this, the buyer shall collect purchased lots within
two calendar days from the date of the sale unless
otherwise agreed between us and the buyer.
(e) Packing, handling and shipping
Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot and in selecting third parties for these purposes,
we are not responsible for the acts or omissions of
any such third parties. Similarly, where we suggest
other handlers, packers or carriers if so requested,
our suggestions are made on the basis of our general
experience of such parties in the past and we are not
responsible to any person to whom we have made a
recommendation for the acts or omissions of the third
party concerned.
(f) Export licence
Unless otherwise agreed by us in writing, the fact
that the buyer wishes to apply for an export licence
does not affect his or her obligation to make payment
immediately after the sale nor our right to charge
interest or storage charges on late payment. If the
buyer requests us to apply for an export licence on his
or her behalf, we shall be entitled to make a charge for
this service. We shall not be obliged to rescind a sale
nor to refund any interest or other expenses incurred
by the buyer where payment is made by the buyer in
circumstances where an export licence is required.
(g) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within 7 days after the sale, we shall
have the right to exercise a number of legal rights and
remedies. These include, but are not limited to, the
following:
(i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;
(ii) to hold the defaulting buyer liable for the total
amount due and to commence legal proceedings
for its recovery together with interest, legal fees
and costs to the fullest extent permitted under
applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid by
the defaulting buyer;
(vi) to set off against any amounts which we, or
Christies International plc, or any of its affiliates,
subsidiaries or parent companies worldwide,
may owe the buyer in any other transactions, the
outstanding amount remaining unpaid by the
buyer;
(vii) where several amounts are owed by the buyer to
us, or to Christies International plc, or to any
of its affiliates, subsidiaries or parent companies
worldwide, in respect of different transactions, to
apply any amount paid to discharge any amount
owed in respect of any particular transaction,
whether or not the buyer so directs;
178
(viii) to reject at any future auction any bids made by

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

description or saleroom notice corresponded
to the generally accepted opinion of scholars
or experts at the date of the sale or fairly
indicated that there was a conflict of opinions;
or (b) correct identification of a lot can be
demonstrated only by means of either a
scientific process not generally accepted for
use until after publication of the catalogue or
a process which at the date of publication of
the catalogue was unreasonably expensive or
impractical or likely to have caused damage to
the property.
The benefits of the warranty are not assignable
and shall apply only to the original buyer of the
lot as shown on the invoice originally issued by
Christies when the lot was sold at auction.
The original buyer must have remained the
owner of the lot without disposing of any
interest in it to any third party.
The buyers sole and exclusive remedy against
Christies and the seller, in place of any other
remedy which might be available, is the
cancellation of the sale and the refund of the
original purchase price paid for the lot. Neither
Christies nor the seller will be liable for any
special, incidental or consequential damages
including, without limitation, loss of profits
nor for interest.
The buyer must give written notice of claim
to us within five years from the date of the
auction. It is Christies general policy, and
Christies shall have the right, to require the
buyer to obtain the written opinions of two
recognised experts in the field, mutually
acceptable to Christies and the buyer, before
Christies decides whether or not to cancel the
sale under the warranty.
The buyer must return the lot to the Christies
saleroom at which it was purchased in the same
condition as at the time of the sale.
6. COPYRIGHT
The copyright in all images, illustrations and written
material produced by or for Christies relating to a
lot including the contents of this catalogue, is and
shall remain at all times the property of Christies
and shall not be used by the buyer, nor by anyone
else, without our prior written consent. Christies
and the seller make no representation or warranty
that the buyer of a property will acquire any
copyright or other reproduction rights in it.
7. SEVERABILITY
If any part of these Conditions of Sale is found by
any court to be invalid, illegal or unenforceable,
that part shall be discounted and the rest of the
conditions shall continue to be valid to the fullest
extent permitted by law.
8. LAW AND JURISDICTION
The rights and obligations of the parties with respect
to these Conditions of Sale, the conduct of the
auction and any matters connected with any of the
foregoing shall be governed and interpreted by the
laws of England. By bidding at auction, whether
present in person or by agent, by written bid,
telephone or other means, the buyer shall be deemed
to have submitted, for the benefit of Christies, to
the exclusive jurisdiction of the courts of the United
Kingdom.
05/01/10
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LOIRE VALLEY
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TOKYO
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MALAYSIA
KUALA LUMPUR
+60 3 6207 9230

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03/11/14
EMAIL
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179
RUSSIA
SWEDEN
MOSCOW
STOCKHOLM
+7 495 937 6364

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

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

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

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

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

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

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

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

Dr. Bertold Mueller
TAIWAN
TAIPEI
+886 2 2736 3356

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

LONDON,
SOUTH KENSINGTON
BOSTON
+1 617 536 6000

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

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

Thomas Scott
+1 214 599 0735

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

Mark Wrey
+1 713 802 0191

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

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

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

Jessica Katz
NEWPORT
+1 401 849 9222

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

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

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+90 (532) 558 7514

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

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

Melissa Bonn
IRELAND
+353 (0)59 86 24996

Christine Ryall
NEW YORK
+1 212 636 2000

PALM BEACH
+1 610 520 1590

Christie Lebano
SAN FRANCISCO
+1 415 982 0982

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

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

180
08/08/14
CHRISTIES SPECIALIST DEPARTMENTS AND

SERVICES
DEPARTMENTS
AMERICAN FURNITURE
NY: +1 212 636 2230

AMERICAN INDIAN ART
NY: +1 212 606 0536

AMERICAN PICTURES
NY: +1 212 636 2140

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CARPETS
KS: +44 (0)20 7389 2370

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

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

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

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

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

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

FURNITURE
KS: +44 (0)20 7389 2482

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

KS: +44 (0)20 7389 2292
AUCTION SERVICES
SK: +44 (0)20 7752 3208
KS: +44 (0)20 7752 3366
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
06/11/14
181
Impressionist & Modern Art sale

Paris 24 March 2015
Viewing
Contact
2024 March
9, avenue Matignon
Paris 8e
Tudor Davies
tdavies@christies.com
+33 (0)1 40 76 86 18
HENRI MARTIN (1860-1943)

Muse au Crpuscule
oil on canvas 33. x 50 in. (85 x 104 cm.)
Painted circa 1895
200,000-300,000
we are delighted to announce the

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

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

a personalised alternative to auction.
Please contact us for more details.
Contact Americas
Contact Europe
Adrien Meyer
ameyer@christies.com
+1 212 636 2056
Libert Nuti
lnuti@christies.com
+44 (0) 20 7389 2441
Modern Art
Amsterdam 16 June 2015
Viewing
Contact
12-15 June
Cornelis Schuytstraat 57
1071 JG Amsterdam
Odette van Ginkel

ovanginkel@christies.com
+31 (0)20 575 5284
RIK WOUTERS (1882 1916)

La femme la blouse jaune
oil on canvas 65 x 54 cm. Painted in 1911
250,000350,000
Impressionist/Modern
London, South Kensington 6 February 2015
Viewing
Contact
31 January - 6 February
85 Old Brompton Road
London SW7 3LD
Natalie Radziwill
nradziwill@christies.com
+44 (0)20 7752 3223
CAMILLE BOMBOIS (1883-1970)

Avant de paratre
signed Bombois C.lle (lower left) oil on canvas
36 x 23 in. (92.2 x 60.5 cm.)
Painted circa 1927
25,000 35,000
Art of the Surreal Evening Sale

London, King Street 4 February 2015
Viewing
Contact
30 January4 February
8 King Street
London SW1Y 6QT
Olivier Camu
ocamu@christies.com
+44 (0)20 7389 2450
PROPERTY FROM THE COLLECTION OF FRANK STANTON

ALBERTO GIACOMETTI (1901-1966)
Homme (Apollon)
signed, dated and numbered 1/6 Alberto Giacometti 1929 (on the back)
bronze with brown patina Height 15 in. (40 cm.)
Conceived in 1929 and cast in 1954
300,000 400,000
The Collection of
Robert Hatfeld Ellsworth
Christies is honoured to present the collection of this distinguished
American scholar, dealer, and collector whose groundbreaking work
transformed the study and appreciation of Asian art.
Featuring ancient bronzes, Ming furniture, fne jade, modern Chinese
paintings, and Himalayan, Indian and Southeast Asian works of
art in addition to important English furniture, fne art, silver, and
decorative arts this exceptional selection of works is recognised as
one of the worlds greatest collections of Asian art.
AUCTIONS AND ONLINE-ONLY SALES

March 2015
Christies New York and christies.com
VIEwINg
Opens 11 March
20 Rockefeller Plaza
New York, NY 10020
CONTACT
ellsworth@christies.com
+1 212 636 2000
The Art People christies.com/ellsworth
ABSENTEE BIDS FORM

CHRISTIES LONDON
DAY SALE
THURSDAY 5 FEBRUARY 2015 AT 2.00 PM
8 King Street, St. Jamess, London SW1Y 6QT
Absentee bids must be received at least 24 hours before the auction begins.
Christies will confirm all bids received by fax by return fax. If you have not received
confirmation within one business day, please contact the Bid Department.
Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870 on-line www.christies.com
CODE NAME: DON

SALE NUMBER: 10336
(Dealers billing name and address must agree with tax

exemption certificate. Invoices cannot be changed after
they have been printed.)
10336
Client Number (if applicable)
Sale Number
Billing Name (please print)
BID ONLINE FOR THIS SALE AT CHRISTIES.COM

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.
UK50 to UK1,000
UK1,000 to UK2,000
UK2,000 to UK3,000
UK3,000 to UK5,000
by UK50s
by UK100s
by UK200s
by UK200, 500, 800
(ie: UK4,200, 4,500, 4,800)
UK5,000 to UK10,000
by UK500s
UK10,000 to UK20,000 by UK1,000s
UK20,000 to UK30,000 by UK2,000s
UK30,000 to UK50,000 by UK2,000, 5,000, 8,000
(ie: UK32,000, 35,000,
38,000)
UK50,000 to UK100,000 by UK5,000s
UK100,000 to UK200,000 by UK10,000s
above UK200,000
at auctioneers discretion
The auctioneer may vary the increments during

the course of the auction at his or her own
discretion.
Auction Results: +44 (0)20 7839 9060
Address
Post Code
Daytime Telephone
Evening Telephone
Fax (Important)
Email
Please tick if you prefer not to receive information about our upcoming sales by e-mail
Signature
If you have not previously bid or consigned with Christies, please attach copies of the following documents.
Individuals: government-issued photo identification (such as a photo driving licence, national identity card,
or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or
bank statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts,
offshore companies or partnerships: please contact the Credit Department at + 44 (0)20 7839 2825 for
advice on the information you should supply. If you are registering to bid on behalf of someone who has
not previously bid or consigned with Christies, please attach identification documents for yourself as well as
the party on whose behalf you are bidding, together with a signed letter of authorisation from that party.
New clients, clients who have not made a purchase from any Christies office within the last one year, and
those wishing to spend more than on previous occasions will be asked to supply a bank reference. We may
at our option ask you for a financial reference or a deposit as a condition of allowing you to bid. We also
request that you complete the section below with your bank details:
Name of Bank(s)
Address of Banks(s)
Please also refer to the information contained in

Buying at Christies.
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 will be the sum of my
final bid plus a buyers premium of 25% of the final bid price
of each lot up to and including 50,000, 20% of the excess
of the hammer price above 50,000 and up to and including
1,000,000 and 12% of the excess of the hammer price above
1,000,000, together with any VAT chargeable on the final bid
and the buyers premium. VAT is chargeable on the purchase
price of daggered () lots, and for buyers outside the EU on ()
lots, at the standard rate. VAT is chargeable on the purchase price
of starred (*) lots at the reduced rate.
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 presale estimate.
If identical absentee bids are received for the same lot, the
written bid received first by Christies will take precedence.
Please contact the Bid Department at least 24 hours in advance of
the sale to make arrangements for telephone bidding.
All bids are subject to the terms of the Conditions of Sale and
Limited Warranty printed in each Christies catalogue.
Account Number(s)
Name of Account Officer(s)
Bank Telephone Number
PLEASE PRINT CLEARLY

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

Please quote number below:
09/08/13
189
IMPRESSIONIST AND MODERN
expert knowledge beautifully presented
Code
A194
L194
L3
N194
P194
K194
K5
C110
Subscription Title
Impressionist and Modern
Modern Art
Impressionist and Modern Art
(includes German, Austrian and Surrealist Art)
Modern British and Irish Art
Impressionist & Modern Art
Modern British and Irish 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
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191
INDEX
B
Bonnard, P., 502
Boudin, E., 515, 516, 517
Braque, G., 440, 445
Brasilier, A., 424, 425
Buffet, B., 401, 402, 403,
414, 415, 418
C
Camoin, C., 493
Cassigneul, J.-P., 422, 423,
527
Chagall, M., 405, 406, 421,
435, 459, 461
D
Dal, S., 470
Chirico, G. de, 471, 472
Derain, A., 446, 447
Dix, O., 487
Dufy, R., 404, 450, 451
E
Ernst, M., 469
F
Fantin-Latour, H., 488
Feininger, L., 481
Foujita, L. T., 526
G
Giacometti, A., 432
Giacometti, D., 427, 428,
429, 442
Gonzlez, J., 473
Gris, J., 439
H
Heckel, E., 484
Hofer, K., 483
J
Jawlensky, A. von, 419, 420
K
Kanoldt, A., 475
Kirchner, E., 477
Kisling, M., 460
Klee, P., 476
Klimt, G., 486
L
Laug, A., 512
Laurencin, M., 491
Laurens, H., 496, 497
Lebasque, H., 494, 495,
500
Lger, F., 426
Lempicka, T. de, 462, 463,
464
Liebermann, M., 485
Lipchitz, J., 416, 430
Lobo, B., 408, 498
Loiseau, G., 521, 522
Luce, M., 501
M
Maar, D., 468
Maillol, A., 407, 499
Manguin, H.-C., 507
Marc, R., 437
Marini, M., 474
Marquet, A., 510, 511, 513
Maufra, M., 506, 508
Moret, H., 503, 504, 518
Morisot, B., 492
Mnter, G., 479
O
Oppenheim, M., 467
Orloff, C., 454, 455
P
Pascin, J., 456, 457
Pechstein, H. M., 478
Picasso, P., 436, 441, 443,
444
R
Renoir, P.-A., 411, 412, 417,
505, 514
Rippl-Rnai, J., 434
Rodin, A., 410
Rouault, G., 453, 458
S
Schmidt-Rottluff, K., 480
Survage, L., 438
T
Tanning, D., 466
Toulouse-Lautrec, H. de,
489, 490
U
Utrillo, M., 452, 523, 524,
525
V
Valtat, L., 528
Van Dongen, K., 431
Vlaminck, M. de, 413, 448,
449, 509, 519, 520
W
Walde, A., 482
Z
Zadkine, O., 409
Zervos, C., 433
8 King Street St. Jamess London SW1Y 6QT
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IMPRESSIONIST / MODERN DAY SALE

LONDON, THURSDAY 5 FEBRUARY 2015

INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

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8 King Street, St. Jamess

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PROPERTY FROM A NOTABLE COLLECTION

This work is recorded in the Maurice Garnier Archives.

signed Bernard Buffet (upper left)

Galerie Maurice Garnier, Paris.

PROPERTY FROM A NOTABLE COLLECTION

Galerie Boulakia, Paris.

Y. le Pichon & M. Garnier, Bernard Buffet, vol. I, 1943-1961, Lausanne, 1986,

This work is recorded in the Maurice Garnier Archives.

PROPERTY FROM A NOTABLE COLLECTION

Galerie Tamnaga, Tokyo.

This work is recorded in the Maurice Garnier Archives.

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

The artists estate.

The Comit Marc Chagall has confrmed the

THE PROPERTY OF A HONG KONG COLLECTOR

The artists estate.

The Comit Marc Chagall has confrmed the

PROPERTY FROM A DISTINGUISHED PRIVATE ENGLISH COLLECTION

Ryuzaburo Umeghara, and thence by descent; sale, Sothebys, London, 25

Olivier Lorquin has confrmed the authenticity of this work.

Exh. cat., Lobo, Osaka, 1992, no. 15 (another cast illustrated).

The artists studio, Paris.

PROPERTY FROM A PRIVATE LONDON COLLECTION

Mme Wyss-Dunand (a student of the artist between 1935 and 1937).

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION