Impressionist/Modern & Picasso Ceramics

IMPRESSIONIST/MODERN
SOUTH KENSINGTON
FRIDAY 6 FEBRUARY 2015
INDEX
A
Andr, A., 75
H
Hch, H., 23
B
Bethy, E., 108
Bombois, C., 9-12
Bores. F., 71
Bourdelle, .-A., 83
Braque, G., 3
Brasilier, A., 15, 16, 48,
50, 51
Brianchon, M., 100
Buffet, B., 13, 14, 17
K
Klimt, G., 43, 45
Kokoschka, O., 37, 44
Kubin, A., 40, 41
Kupka, F., 24
C
Camoin, C., 22
Cariot, G., 117, 124
Cocteau, J., 73
D
dEspagnat, G., 128
Dal, S., 72, 74
Derain, A., 70, 86
Dix, O., 27-31
Domergue, J.-G., 129,
131
Domnguez, ., 69
Dufy, J., 46, 95
Dufy, R., 77, 93, 98
Dyf, M., 126
E
Ernst, M., 60, 63
Esteban, F., 65
L
Lanskoy, A., 103, 104
Laug, A., 87
Lebasque, H., 85
Lebourg, A., 89, 92
Lhote, A., 105
Liebermann, M., 35, 36
Lipchitz, L., 78
Luce, M., 133
M
Maclet, E., 120
Maillol, A., 84
Malle, C., 122, 134
Man-Katz, 80
Manguin, H., 88
Marc, R., 112
Marquet, A., 20
Masson, A., 58, 62
Mintchine, A., 81
Mir, J., 61
Montzin, P.E., 115
Morandi, G., 52-54
N
Nadal, C., 47, 94, 116
F
P
Feininger, L., 26
Palencia, B., 49, 101,
Foujita, L.T., 59, 64, 130
102
Franck, P., 38
Picabia, F., 66
G
Picasso, P., 1, 2, 5, 201Gall, F., 118, 123, 125
270
Goerg, E.J., 121
Pissarro, L-R., 119
Grosz, G., 32
Pissarro, P., 127, 132
Gurschner, H., 39, 42
Prax, V., 109
Gutfreund, O., 111
R
Rami, A., 271
Rodin, A., 82
S
Schuffenecker, C.-., 91
Schwitters, K., 33, 34
Severini, G., 67
Sidaner, H. le, 76, 90
Signac, P., 99
Smet, L. de, 55, 56
T
Terzian, G., 113, 114
Tobiasse, T., 79
Trotin, H., 7
V
Venard, C., 96, 97, 106,
107, 110
Vivin, L., 6, 8
Vlaminck, M. de, 18,
19, 21
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22/12/14
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ImpressIonIst/modern
Friday 6 February 2015
Natalie Radziwill
Head of Sale
Imogen Kerr
Junior Specialist
AUCTION
STORAGE AND COLLECTION

at 10.30 am Lots 1-134
and Picasso Ceramics at 2.00 pm
Lots 201-271
85 Old Brompton Road
London SW7 3LD
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Front cover: Lot 9
DACS 2014.
Inside front cover: Lot 87
Page two and three: Lot 43 & 42
Picasso Ceramics cover: Lot 216
Succession Picasso/DACS, London 2014.
Picasso Ceramics Inside front cover &
page one: Lots 225, 226 & 219
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l*1
PABLO PICASSO (1881-1973)
Tte dhomme
signed, dated and inscribed Pour Roland Pozzi Picasso Le 18.6.63. (within
the composition)
felt-tip pen on the title page of a book
10 x 8 in. (27.8 x 21.2 cm.)
Drawn on 18 June 1963
3,500-5,500
$5,500-8,600
4,400-6,900
PROVENANCE:
Roland Pozzi, and thence by descent to the present owner.
Maya Widmaier-Picasso has confrmed the authenticity of this work.

Claude Picasso has confrmed the authenticity of this work.
1
l2
Pour Nounours
signed, dated and inscribed Pour [...] Son ami Picasso Le 9.7.71. (within the
composition)
felt-tip pen on the frontispiece from a book
8 x 6 in. (20.9 x 15.2 cm.)
Drawn on 9 July 1971
3,000-5,000
$4,800-7,900
3,800-6,300
PROVENANCE:
Maurice Bresnu, Cte dAzur, as a gift from the artist and thence by descent;
sale, Htel Drouot, Paris, 12 February 2014, lot 80.
Acquired at the above sale by the present owner.
Maya Widmaier-Picasso has confrmed the authenticity of this work.

PROPERTY FROM THE COLLECTION OF RUDOLF AND LEONORE BLUM
l*3
GEORGES BRAQUE (1882-1963)
La tte
plaster and wax
Length: 4 in. (10.4 cm.)
Executed circa 1929-32
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
Jeanne Frank, New York.

Rudolf & Leonore Blum, Zurich.
EXHIBITED:
Basel, Galerie Beyeler, Braque, July - September 1968.
Quentin Laurens, the holder of the Droit Moral, has confrmed that this
work is registered in his archives.
4
l4
KEES VAN DONGEN (1877-1968)
l*5
AFTER PABLO PICASSO (1881-1973)
Nu debout
Femme la collerette
signed van Dongen (lower right); signed with the initials, numbered and
with Andr Mettheys monogram No.7.V.D. (on the underside)
glazed ceramic plate
Diameter: 9 in. (23.4 cm.)
Executed circa 1907, this work is unique
stitched with the signature and dated Picasso 3.7.38 (lower right) and
numbered and with the symbol 10/20 (on the reverse)
wool tapestry
82 x 72 in. (210.3 x 184 cm.)
Conceived in 1938 and executed by Marigold Enterprises in 1980 in a
numbered edition of 20 plus three hors commerce examples.
6,000-8,000
$9,500-13,000
7,600-10,000
Jacques Chalom des Cordes will include this plate in his forthcoming
van Dongen catalogue raisonn being prepared under the sponsorship
of the Wildenstein Institute.
12,000-18,000
$19,000-28,000
16,000-23,000
This tapestry was conceived after Pablo Picassos eponymous oil

painting (Zervos 173).
PROPERTY FROM THE COLLECTION OF HANS HELLMUT KIRST
6
LOUIS VIVIN (1861-1936)
Sacr-Coeur
signed L.VIVIN (lower left)
oil on canvas
19 x 27 in. (50.5 x 69.7 cm.)
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
Acquired by the father of the present owner in the 1960s and thence
by descent.
EXHIBITED:
Salzburg, Residenzgalerie, Die Welt der Naiven Malerei, July September 1964, no. 107.
Olivier Lorquin has confrmed the authenticity of this work.
l7
HECTOR TROTIN (1894-1966)
Grande Fte de la Rosire
signed h.Trotin. (lower left)
oil on panel
18 x 24 in. (46 x 61.2 cm.)
800-1,200
$1,300-1,900
1,100-1,500
PROVENANCE:
by descent.
8
LOUIS VIVIN (1861-1936)
Scne de port
signed L.VIVIN (lower left)
oil on canvas
18 x 24 in. (46.3 x 61.3 cm.)
800-1,200
$1,300-1,900
1,100-1,500
PROVENANCE:
by descent.
Olivier Lorquin has confrmed the authenticity of this work.
THE PROPERTY OF A CHICAGO COLLECTOR
l*9
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
$40,000-55,000
32,000-44,000
PROVENANCE:
Perls Galleries, New York (no. 7363).

Acquired from the above by the present owner in the
1970s.
Olivier Lorquin and Didier Jumaux have confrmed

the authenticity of this work.
Camille Bombois worked from a young age in
a variety of jobs, as a sailor and a wrestler on
fairgrounds near Paris, painting in his spare time.
The circus would later serve as the inspiration
for many of his most important works. Meeting
German critic Wilhelm Uhde, a champion of
Nave Art, in 1922 sparked fruitful support for
Bombois that would see his representation in Paris
exhibitions. The following four lots are from this
time in the 1920s, when he was becoming known
within Parisian avant-garde circles.
Bombois painted with careful sensitivity, attention
and respect for each subject. They rosey-cheeked
buxom females in Avant de paratre and Les belles
contes bleux display strength, curvaceousness
and seriousness far away from the elegance and
chic of the Parisian upper class. The vividness of
colour in their clothing, fesh and surroundings,
and simplicity of form makes a direct and bold
statement.
The artists particular attention to detail holds
an intimate quality, a personal specifcity that
alternates between the intriguing, the humorous
and the precious. Tiny caricatures can often
be found in the peripheral minutiae of each
composition; the tiny clothes on the washing
line in Promenade en banlieue, the tiny potplant
sitting on the doorstep in Les nouvelles du village,
the paintings within a painting of Avant de
paratre. These are quiet murmurs of the general
milieu of each situation and narrative which brings
a feeling of commentary, an added entertainment
and characterful humour to each work.
He paints true to life, what he sees, what he
loves spontaneously in daily life - Wilhelm Uhde
l*10
CAMILLE BOMBOIS (1883-1970)
Les beaux contes bleux
PROVENANCE:
signed Bombois C.lle (lower right)

oil on canvas
36 x 28 in. (92 x 73 cm.)
Painted circa 1925
18,000-25,000
Perls Galleries, New York.

Acquired from the above by the present owner in the 1970s.
$29,000-39,000
23,000-31,000
10
Olivier Lorquin and Didier Jumaux have confrmed the

authenticity of this work.

l*11
Les nouvelles du village
signed Bombois.C.lle (lower right)
oil on canvas
21 x 18 in. (54.8 x 46.3 cm.)
Executed circa 1926
6,000-10,000
$9,500-16,000
7,600-13,000
PROVENANCE:

1970s.
EXHIBITED:
DeKalb, Swen Parson Gallery, The Magic of Nave,

1992; this exhibition later travelled to Beloit, Wright
Museum of Art, Charleston, Tarble Arts Center, West
Lafayette, Purdue University Galleries and Elkhart,
Midwest Museum of American Art.

l*12
Promenade en banlieue
signed Bombois.C.lle (lower left)
oil on canvas
13 x 16 in. (33.2 x 41 cm.)
Painted circa 1929
5,000-8,000
$7,900-13,000
6,300-10,000
PROVENANCE:

1970s.
EXHIBITED:
DeKalb, Swen Parson Gallery, The Magic of Nave,

1992; this exhibition later travelled to Beloit, Wright
Museum of Art, Charleston, Tarble Arts Center, West
Lafayette, Purdue University Galleries and Elkhart,
Midwest Museum of American Art.

11
PROPERTY FROM A NOTABLE COLLECTION
l*13
BERNARD BUFFET (1928-1999)
Pain et ufs sur le plat
PROVENANCE:
Anonymous sale, Htel Drouot, Paris, 16 December 1980, lot 54.

Galerie Tamenaga, Tokyo (no. 186).
Acquired from the above by the present owner in March 1981.
signed and dated Bernard Buffet 55 (upper centre)

oil on canvas
15 x 68 in. (40.3 x 175 cm.)
Painted in 1955
30,000-40,000
$48,000-63,000
38,000-50,000
12
This work is sold with a photo-certifcate from Galerie

Maurice Garnier and is recoreded in their Bernard Buffet
Archives.
l*14
Bouquet de feurs dans un pot lait
signed and dated Bernard Buffet 54 (upper
centre)
oil on canvas
39 x 21 in. (99.8 x 54.7 cm.)
Painted in 1954
30,000-50,000
$48,000-79,000
38,000-63,000
PROVENANCE:
Arthur Tooth & Sons, London.

Anonymous sale, Sothebys, London, 30 June
1983, lot 400.
Galerie Tamenaga, Tokyo.
Acquired from the above by the present owner
in 1984.
This work is sold with a photo-certifcate from

Galerie Maurice Garnier and is recoreded in
their Bernard Buffet Archives.
13
l*15
ANDR BRASILIER (B. 1929)
Chantal aux tulipes
signed Andr Brasilier (lower right); signed,
dated and inscribed Chantal aux tulipes Andr
Brasilier 1972 (on the reverse)
oil on canvas
24 x 18 in. (61.2 x 46.3 cm.)
Painted in 1972
5,000-7,000
$7,900-11,000
6,300-8,800
PROVENANCE:
Private collection, Japan.
Alexis Brasilier has confrmed the authenticity

of this work and it will be included in the
forthcoming Andr Brasilier catalogue raisonn
l16
Nampteuil sous Muret, Aisne
signed Andr Brasilier (lower left); signed, dated
and inscribed Nampteuil sous Muret (Aisne)
Andr Brasilier 1966 (on the reverse)
oil on canvas
23 x 28 in. (60 x 73 cm.)
Painted in 1966
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:
Anonymous sale, Htel Drouot, Paris, 23 June

1995, lot 53.
This work is sold with a certifcate from

Alexis Brasilier and it will be included in
the forthcoming Andr Brasilier catalogue
raisonn.
l*17
Le moulin vent
PROVENANCE:

Acquired from the above by the present owner in April 1981.
signed and dated Bernard Buffet 51 (upper right)

oil on canvas
44 x 57 in. (114 x 146.8 cm.)
Painted in 1951
35,000-45,000
$55,000-71,000
This work is sold with a photo-certifcate from Galerie Maurice Garnier

and is recoreded in their Bernard Buffet Archives.
44,000-57,000
15
l*18
MAURICE DE VLAMINCK
(1876-1958)
Rue Harly
signed Vlaminck (lower left)
pen and India ink on paper
13 x 17 in. (35 x 44.3 cm.)
3,000-5,000
$4,800-7,900
3,800-6,300
PROVENANCE:
Galerie Vildrac, Paris (no. 280).

Marcel Bernheim & Cie, Paris.
Private Collection, Japan, by whom
acquired in the 1930s/1940s and thence
by descent.
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 Godelieve de Vlaminck under
the sponsorship of the Wildenstein
Institute.
PROPERTY FROM
A NOTABLE COLLECTION
l*19
MAURICE DE VLAMINCK
(1876-1958)
Le Sausseron Valmondois
signed Vlaminck (lower right)
oil on canvas
21 x 25 in. (54 x 65 cm.)
16,000-24,000
$26,000-38,000
21,000-30,000
PROVENANCE:
Ernest de Frenne, Paris.

Private collection, France, by whom
acquired from the above in 1929, and
thence by descent; sale, Christies,
London, 2 December 1986, lot 389.
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 Godelieve de Vlaminck under
the sponsorship of the Wildenstein
Institute.
PROPERTY FROM A DISTINGUISHED PRIVATE ENGLISH COLLECTION
20
ALBERT MARQUET (1875-1947)
La Frette
PROVENANCE:
signed marquet (lower right)

oil on canvas
20 x 24 in. (50.7 x 61.6 cm.)
Painted in 1939
25,000-35,000
Anonymous sale, Sothebys, London, 27 June 1990, lot 219.

$40,000-55,000
This work will be included in the critical catalogue of Albert Marquets

paintings being prepared by the Wildenstein Institute.
32,000-44,000
17
l*21
MAURICE DE VLAMINCK (1876-1958)
Le tunnel
PROVENANCE:
signed Vlaminck (lower left)

oil on canvas
18 x 21 in. (45.8 x 54.7 cm.)
Galerie Tamenaga, Tokyo (no. 268).

Acquired from the above by the present owner in
October 1990.
20,000-30,000
$32,000-47,000
26,000-38,000
18
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 Godelieve de Vlaminck under the
sponsorship of the Wildenstein Institute.
l22
CHARLES CAMOIN (1879-1965)
Le remorqueur dans le port de Saint-Tropez
20,000-30,000
PROVENANCE:
Galerie Vildrac, Paris (no. 2479).

Galerie E. Druet, Paris.
Acquired by the present owner by the 1960s.
signed Ch Camoin (lower left)

oil on canvas
21 x 32 in. (54 x 81.5 cm.)
Painted in 1928
$32,000-47,000
26,000-38,000
Anne-Marie Grammont-Camoin has confrmed the authenticity

of this work.
19
l23
HANNAH HCH (1889-1978)
Katze
signed with the initials H.H. (lower right)
watercolour and pen and India ink on paper
4 x 5 in. (12.5 x 13.6 cm.)
Probably executed before 1930
1,000-1,500
$1,600-2,400
1,300-1,900
PROVENANCE:
The artists estate (with the estate stamp on the reverse of the artists mount).
Private collection, England.
Dr. Ralf Burmeister has confrmed the authenticity of this work.

This watercolour is related to the oil Symbolic Landscape III of 1930. In
the late 1920s Hannah Hch owned a cat called Nin, who according to
Dr. Burmeister is probably portrayed here.
l24
FRANTIEK KUPKA (1871-1957)
Autour dun point (E.III)
stamped with the artists signature (lower left)
gouache and pencil on paper
8 x 9 in. (21.6 x 23 cm.)
Executed circa 1920
6,000-8,000
$9,500-13,000
7,600-10,000
PROVENANCE:
Galerie Karl Flinker, Paris.
Pierre Brull has confrmed the authenticity of this work.
l25
ERICH BUCHHOLZ (1891-1972)
Komposition
signed and dated EBuchholz 21 (lower right); signed and dated EBuchholz 21 (on the reverse)
brush and India ink on paper
13 x 10 in. (34.7 x 27.3 cm.)
Executed in 1921
1,000-1,500
$1,600-2,400
1,300-1,900
PROVENANCE:
Rose Fried Gallery, New York.

Judith Rothschield, New York.
Anonymous sale, Sothebys, New York, 22 June 2005, lot 382.
EXHIBITED:
New York, Rose Fried Gallery, circa 1956.

London, Annely Juda Fine Art, Abstraction 1910-1940, July - September 1980, no. 27.
26
LYONEL FEININGER (1871-1956)
Paris Faades IV
PROVENANCE:
signed, dated and inscribed Feininger Paris Faades IV 31.VII.53 (lower

margin)
watercolour, pen and ink and wash on paper
19 x 12 in. (48.6 x 31.3 cm.)
Executed on 31 July 1953
18,000-25,000
$29,000-39,000
23,000-31,000
Private collection, Germany, by whom acquired in the 1960s thence by

descent; sale, Christies, London, 22 June 2011, lot 128.
Achim Moeller, Managing Principal of The Lyonel Feininger Project LLC,

has confrmed the authenticity of this work. The work is registered in
the archives of The Lyonel Feininger Project LLC, New York Berlin no.
469-05-12-11.
21
PROPERTY FROM A DISTINGUISHED ITALIAN COLLECTION
l27
OTTO DIX (1891-1969)
l28
OTTO DIX (1891-1969)
Betonierter Schtzengraben
Angres
signed DIX (lower right)

gouache on paper
11 x 11 in. (28.8 x 28.5 cm.)
signed, dated and inscribed Angres DIX 16 (lower right)

charcoal on paper
11 x 11 in. (29 x 28.7 cm.)
Executed in Angres in 1916
12,000-18,000
$19,000-28,000
10,000-15,000
16,000-23,000
$16,000-24,000
13,000-19,000
PROVENANCE:
PROVENANCE:
Galerie Klihm, Munich.

Acquired from the above by the father of the present owner in 1972.

EXHIBITED:
EXHIBITED:
Freiburg, Kunstverein, Otto Dix, 1950, no. 61.

Munich, Galerie Klihm, Otto Dix, Zeichnungen und Gouachen 1911-1918,
1962, no. 19 (illustrated); exhibited here again in 1966 (no. 4) and 1971.
Stuttgart, Wrttembergischer Kunstverein, Otto Dix, Handzeichnungen,
Gouachen, Radierungen von 1911-1928, 1963, no. 58.
Nuremberg, Frnkische Galerie am Marientor, Otto Dix, 1965, no. 41.
Baden-Baden, Galerie Dr. Ernst Hauswedell, Otto Dix, 1967, no. 12.
Dusseldorf, Kunstverein, Otto Dix, 1968, no. 5.
Salzburg, Galerie Welz, Otto Dix, 1969, no. 11.
Essen, Museum Folkwang, Otto Dix, Aquarelle, Zeichnungen, Radierfolge
Der Krieg, December 1971 - January 1972, no. 16 (illustrated); this
exhibition later travelled to Frankfurt, Kunstverein, Bielefeld, Kunsthalle,
Rome, Galleria Giulia, Turin, Milan, Galleria del Levante, Bologna, Galleria
Forni and Bolzano, Galleria Goethe.
Rome, Galleria Giulia, Otto Dix, November 1972, no. 16.
Munich, Museum Villa Stuck, Otto Dix, August - October 1985, p. 35, no. 11.
Rome, Galleria Giulia, Otto Dix, 1985, no. 1 (illustrated).

Dusseldorf, Kunstmuseum, Frhe Zeichnungen von Otto Dix, 1966, no. 25.
Gttingen, Stdtisches Museum am Ritterplan, Otto Dix, Gesellschaftskritik
und Kunst, September - October 1968, no. 18.
Der Krieg, December 1971 - January 1972, no. 23; this exhibition later
travelled to Frankfurt, Kunstverein, Bielefeld, Kunsthalle, Rome, Galleria
Giulia, Turin, Milan, Galleria del Levante, Bologna, Galleria Forni and Bolzano,
Galleria Goethe.
LITERATURE:
O. Conzelmann, Der andere Dix, Sein Bild vom Menschen und vom Krieg,
Stuttgart, 1983, no. 189 (illustrated p. 122).
S. Pfffe, Otto Dix, Werkverzeichnis der Aquarelle und Gouachen, Stuttgart,
1991, no. G1917/4 (illustrated p. 267).
LITERATURE:
K. van Lil, Otto Dix und der Erste Weltkrieg, Die Natur des Menschen in der
Ausnahmesituation, Munich, 1999 (illustrated p. 143).
U. Lorenz, Otto Dix, Das Werkverzeichnis der Zeichnungen und Pastelle, vol.
1, Weimar, 2003, no. WK 5.4.49 (illustrated p. 418).
l29
OTTO DIX (1891-1969)
l30
OTTO DIX (1891-1969)
Margot
Hedwig
signed and dated 1920.DIX (lower right) and inscribed Margot

(upper centre)
pencil on paper
16 x 13 in. (42.5 x 33 cm.)
Drawn in 1920
signed and dated DIX 1921 (lower right) and inscribed Hedwig
(upper right)
black crayon on paper
19 x 13 in. (49.3 x 34.4 cm.)
Drawn in 1921
8,000-12,000
8,000-12,000
$13,000-19,000
11,000-15,000
$13,000-19,000
11,000-15,000
PROVENANCE:
PROVENANCE:

Hans Goltz, Munich.

EXHIBITED:

Munich, Galerie Klihm, Otto Dix, 1966, no. VIII.
Gttingen, Stdtisches Museum am Ritterplan, Otto Dix, Gesellschaftskritik
und Kunst, September - October 1968, no. 39.
Der Krieg, December 1971 - January 1972, no. 55; this exhibition later
travelled to Frankfurt, Kunstverein, Bielefeld, Kunsthalle, Rome, Galleria
Giulia, Turin, Milan, Galleria del Levante, Bologna, Galleria Forni and Bolzano,
Galleria Goethe.
Munich, Museum Villa Stuck, Otto Dix, August - October 1985, no. 330.
EXHIBITED:
LITERATURE:
H. Kinkel, Otto Dix, Protokolle der Hlle, Zeichnungen, Frankfurt & Hamburg,
1968 (illustrated p. 66).
B.S. Barton, Otto Dix und die Neue Sachlichkeit, Michigan, 1971, no. IV.C.55.
8, Weimar, 2003, no. EDV 5.1.18 (illustrated p. 683).
B. S. Barton, Otto Dix und die Neue Sachlichkeit, Michigan, 1971, no. III.C.19.
8, Weimar, 2003, no. EDV 5.3.2 (illustrated p. 707).
Hamburg, Kunstverein, Otto Dix, 1966, no. 134; this exhibition later travelled
to Frankfurt, Kunstverein.
Der Krieg, December 1971 - January 1972, no. 59 (illustrated); this
exhibition later travelled to Frankfurt, Kunstverein, Bielefeld, Kunsthalle,
Rome, Galleria Giulia, Turin, Milan, Galleria del Levante, Bologna, Galleria
Forni and Bolzano, Galleria Goethe.
Munich, Museum Villa Stuck, Otto Dix, August - October 1985, no. 333.
LITERATURE:
This drawing is a study for the etching Vohse (Karsch 22). According
to Ulrike Lorenz, this is one of the few nude drawings which Otto Dix
directly translated into a print.
23
l31
OTTO DIX (1891-1969)
Skizze zur Kriegsradierung Matrosen in
Antwerpen
signed DIX (lower right); signed and DIX (on the reverse)
pencil on paper
12 x 17 in. (30.7 x 43.2 cm.)
Drawn circa 1923-1924, with further sketches on the reverse
4,000-6,000
$6,300-9,400
5,100-7,500
PROVENANCE:
31

Acquired from the above by the father of the present owner in
1972.
EXHIBITED:
Essen, Museum Folkwang, Otto Dix, Aquarelle, Zeichnungen,

Radierfolge Der Krieg, December 1971 - January 1972, no.
118 (illustrated); this exhibition later travelled to Frankfurt,
Kunstverein, Bielefeld, Kunsthalle, Rome, Galleria Giulia, Turin,
Milan, Galleria del Levante, Bologna, Galleria Forni and Bolzano,
Galleria Goethe.
Rome, Galleria Giulia, Otto Dix, November 1972, no. 118.
LITERATURE:
B.S. Barton, Otto Dix und die Neue Sachlichkeit, Michigan, 1981,
no. VII.C.8.
S. Pfffe, Otto Dix, Werkverzeichnis der Aquarelle und Gouachen,
Stuttgart, 1991, p. 143 ff.
U. Lorenz, Otto Dix, Das Werkverzeichnis der Zeichnungen und
Pastelle, vol. 8, Weimar, 2003, no. EDV 12.0.17 (illustrated p. 893).
This drawing is a study for the etching Matrosen in

Antwerpen (Karsch 101) which is part of Otto Dixs famous
series Der Krieg.
32 (recto)
32
GEORGE GROSZ (1893-1959)
Waffenschieber (recto) and Sitzende Frau (verso)
signed and inscribed GROSZ 136. Studie and with the artists
date stamp 21. Feb. 23. (on the reverse)
reed pen and India ink on paper
22 x 18 in. (56.8 x 46.2 cm.)
Executed in 1923
4,000-6,000
$6,300-9,400
5,100-7,500
PROVENANCE:
The artists estate, 1959 (with the Nachlass stamp and numbered
3.68.5 on the reverse).
Richard A. Cohn, New York.
Anonymous sale, Sothebys, New York, 5 October 1992, lot 101.
Tony Subal Kunsthandel, Vienna.
Acquired from the above by the present owner.
Ralph Jentsch has confrmed the authenticity of this work.

32 (verso)
l33
KURT SCHWITTERS
(1887-1948)
Ohne Titel (Norwegische Landschaft
aus der Erinnerung)
signed with the initials and dated KS 40 (lower
right)
oil on panel
9 x 12 in. (25.2 x 31.2 cm.)
Painted in 1940
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:
The artists estate.

Edith Wantee Thomas, London, by descent from
the above, and thence by descent.
Private collection, England, as a gift from the
above.
EXHIBITED:
Kendal, Abbot Hall Art Gallery, Kurt Schwitters in

England, January - February 1982, no. 2.
Sheffeld, Mappin Art Gallery, Schwitters in
Britain, May - June 1987; this exhibition later
travelled to Kendal, Abbot Hall Art Gallery.
Newcastle upon Tyne, Baltic Centre for
Contemporary Art & Hatton Gallery, No Socks,
Kurt Schwitters and the Merzbarn, April - May
1999, no. 17.
LITERATURE:
K. Orchard & I. Schulz, Kurt Schwitters, Catalogue

Raisonn, vol. 3, 1937-1948, Hanover, 2006, no.
Kurt Schwitters painted this Norwegian landscape in 1940, when he was at one of the World
War II internment camps in England. A landscape painted from memory, full in colour with
strong hints of impasto, this work speaks of escapism, a utopian and somewhat expressionistic
vision of the great outdoors. This bears a striking contrast to the Dada collages for which he is
best known, however Schwitters enjoyed exploring both styles throughout his lifetime and subtle
commonalities are to be found between both, evidently in the recognizable colour scheme and,
where this work is concerned, in the tiny newsprint impressions evident upon close inspection
within the varnish. This piece belonged formerly to Edith Wantee Thomas whom Schwitters
would meet the year after it was painted, in December 1941, and who would remain his partner
for the rest of his life.
l34
KURT SCHWITTERS
(1887-1948)
Lake Windermere near Low Wood
signed with the initials and dated KS 46
(lower right); signed, dated and inscribed Kurt
Schwitters 1946 Lake Windermere (on the
reverse)
oil on board
10 x 14 in. (26.8 x 36.6 cm.)
Painted in 1946
7,000-9,000
$11,000-14,000
8,800-11,000
PROVENANCE:
Anonymous sale, Sothebys, London,

30 November 1967, lot 173.
Dr. Karin Orchard and Dr. Isabel Schulz have

confrmed the authenticity of this work
and it will be included in the forthcoming
supplement to the Kurt Schwitters catalogue
raisonn.
25
PROPERTY FROM THE COLLECTION OF NIKKI VAN DER ZYL
35
MAX LIEBERMANN (1847-1935)
Buchenwald bei Ksen, study for Gedchtnisfeier fr
Kaiser Friedrich III in Ksen
signed MLiebermann (lower right)
charcoal on paper
Drawn in 1911
18 x 11 in. (46.1 x 29.1 cm.)
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
Georg Less, Breslau, by 1914.

Anneliese van der Zyl-Less, Majorca, by descent from the above.
Nikki van der Zyl, London, by descent from the above.
LITERATURE:
E. Hancke, Chronik, Eine Zeichnung von Liebermann, Buchenwald bei Ksen,

in Kunst und Knstler, vol. 9, 12, 1. Sept. 1911, p. 650 (illustrated p. 608).
E. Hancke, Max Liebermann, Sein Leben und seine Werke, Berlin 1914
(illustrated p. 245, titled Buchenhalle in Ksen)
Exh. cat. Max Liebermann in seiner Zeit, Nationalgalerie Berlin, 1979/80,
mentioned under no. 234.
M. Eberle, Max Liebermann, Werkverzeichnis der Gemlde und lstudien,
vol. 1, Munich 1995, p. 338.
Drs Margreet Nouwen has confrmed the authenticity of this drawing.

According to Drs Margreet Nouwen, this drawing is a study for the oil
Gedchtnisfeier fr Kaiser Friedrich III in Ksen (Eberle 1889/2) Tate Gallery,
London, painted in 1889.
36
MAX LIEBERMANN (1847-1935)
Badekarren und Pferd am Strand von
Noordwijk
signed MLiebermann (lower left)
5 x 8 in. (13.4 x 21.4 cm.)
Drawn in 1911
1,200-1,800
$1,900-2,800
1,600-2,300
PROVENANCE:
Private collection, England.
Drs Margreet Nouwen has confrmed the

authenticity of this drawing.
This drawing is a study for the oil Grner
Badekarren (Eberle 1911/19), painted in 1911.
THE PROPERTY OF A GENTLEMAN
l37
OSKAR KOKOSCHKA
(1886-1980)
Mdchenakt
signed with the initials, dated and inscribed OK
53 Salzburg (lower right)
wax crayon on paper
11 x 15 in. (29.8 x 39.7)
Executed in Salzburg in 1953
5,000-7,000
$7,900-11,000
6,300-8,800
PROVENANCE:
Private collection, Switzerland.

Anonymous sale, Christies, London, 24 June
1991, lot 92.
EXHIBITED:
Graz, Kulturhaus der Stadt, Oskar Kokoschka,

Farbstiftakte, Zeichnungen aus den vierziger
und fnfziger Jahren, June - September 1985,
no. 16 (illustrated); this exhibition later travelled
to Salzburg, Rupertinum and Bonn, Rheinisches
Landesmuseum.
Dr. Alfred Weidinger has confrmed the

authenticity of this work and it will be
included in the forthcoming third volume of
the Oskar Kokoschka catalogue raisonn of
drawings and watercolours.
38
PHILIPP FRANCK (1860-1944)
Birken im Neuen Garten, Vorfrhling
signed and dated PHILIPP-FRANCK 1937 (lower
right)
oil on canvas
44 x 47 in. (112.3 x 120 cm.)
Painted in 1937
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Private collection, Rhodesia (Zimbabwe), and

thence by descent to the present owner.
Wolfgang Immenhausen has confrmed the

authenticity of this painting.
According to Wolfgang Immenhausen, this
painting depicts the Neuer Garten in Berlin
Potsdam in early spring with Heiliger See and
Marmorpalais in the background.
27
PROPERTY FROM A PRIVATE ENGLISH COLLECTION
l39
HERBERT GURSCHNER (1901-1975)
Tiroler Paare im Schnee
signed GURSCHNER. (lower left)
oil on panel
10 x 8 in. (27.4 x 22 cm.)
6,000-8,000
$9,500-13,000
7,600-10,000
PROVENANCE:
The artists estate and thence by descent to the present owner.
Roland Widder has confrmed the authenticity of this work.
l40
ALFRED KUBIN (1877-1959)
Jger und Wilderer
signed AKubin (lower right) and inscribed Jger und Wilderer (lower left)
watercolour and pen and India ink on cadastre paper
image: 8 x 8 in. (22 x 21 cm.)
sheet: 12 x 11 in. (32.3 x 28.8 cm.)
3,000-5,000
$4,800-7,900
3,800-6,300
PROVENANCE:
Anonymous sale, Sothebys, London, 5 December 1985, lot 529.

Dr. Annegret Hoberg, Kubin-Archiv, Stdtische Galerie im

Lenbachhaus, Munich, has confrmed the authenticity of this work.
l41
ALFRED KUBIN (1877-1959)
Abenteuer eines Kaisers
signed Kubin (lower right) and inscribed Abenteuer eines Kaisers (lower
left)
pencil on cadastre paper
10 x 14 in. (26 x 36.2 cm.)
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
Donald Thomas Bergen, Kennebunkport, Maine.

Anonymous sale, Sothebys, London, 26 June 1985, lot 338.
Dr. Annegret Hoberg, Kubin-Archiv, Stdtische Galerie im

Lenbachhaus, Munich, has confrmed the authenticity of this work.
l42
HERBERT GURSCHNER
(1901-1975)
Alkohol
signed, indistinctly dated and inscribed
H.GVRSCHNER.MVHLAV.19.TIROL.24
(lower left)
oil on burlap
38 x 25 in. (98 x 64.8 cm.)
Painted in Tirol in 1924
15,000-25,000
$24,000-39,000
19,000-31,000
PROVENANCE:
The artists estate and thence by descent to

the present owner.
Roland Widder has confrmed the

Herbert Gurschners father was a wine
dealer and for many years had a typical
Austrian wine bar. According to Roland
Widder, this is likely to have inspired the
artist to paint this picture.
Gurschners compositions from the
1920s strongly recall the expressionistic
colour and mannerism of El Greco,
revered for his inventive uniqueness
by many Modern artists. As remarked
by Desmond Chapman-Huston: In all
Gurschners crowded canvasses you will
fnd El Grecos unfailing upwardness;
if the Greek takes us out and beyond
ourselves, in doing so he never fails
to bear us heavenward as do Gothic
spires. () Gurschner has something
of this unique magic and, although he
does not at present know it he adores,
and freely uses, El Grecos soft yellowgreen half-ripe lemon; he has also the
masters love for, understanding of, and
skill in painting hands; he has much of
El Grecos living movement; he is not
static or dead. But vibrating vibrating
without glamour or noise, reposeful...
(C. & R. Widder, Herbert Gurschner, Ein
Tiroler in London, Innsbruck, 2000, pp.
42-43).
29
43
GUSTAV KLIMT (1862-1918)
Stehend nach links, study for Bildnis Hermine Gallia
pencil on paper
17 x 12 in. (45.3 x 32.2 cm.)
Drawn circa 1903-04
12,000-18,000
$19,000-28,000
16,000-23,000
PROVENANCE:
The artists estate.

Rudolf Zimpel, by whom acquired from the above.
Galleria del Levante, Milan.
EXHIBITED:
Vienna, Gustav Klimt, Eine Nachlese, 70 Bedeutende Zeichnungen,

March - May 1963, no. 15 (illustrated).
LITERATURE:
A. Strobl, Gustav Klimt, Die Zeichnungen 1878-1903, Salzburg, 1980,

no. 1034 (illustrated p. 297).
This work is a study for the oil Bildnis Hermine Gallia (Novotny-Dobai
138), today in the National Gallery, London. Gallia was an important
patron of the arts in Vienna during Gustav Klimts time and is the
subject of several important works by the artist.
l44
OSKAR KOKOSCHKA (1886-1980)
Clematis und Rosen
signed, dated and inscribed fr die liebe Doris zu Weihnachten OKokoschka
1967 (lower right)
watercolour on paper
24 x 19 in. (62.9 x 49.8 cm.)
Executed 1967
15,000-20,000
$24,000-31,000
19,000-25,000
PROVENANCE:
Private collection, England, a gift from the artist for Christmas 1967,
and thence by descent to the present owner.
Dr Alfred Weidinger has confrmed the authenticity of this work.
30
PROPERTY FROM A PRIVATE AUSTRALIAN COLLECTION
Fischer Fine Art, London.

Acquired from the above and thence by descent to the present owner.
*45
GUSTAV KLIMT (1862-1918)
EXHIBITED:
Stehender Frauenakt nach links, die Hnde an der Brust

with the Nachlass stamp (Lugt 1575; lower right; slightly faded) and inscribed
R (lower right)
17 x 12 in. (44.8 x 31.7 cm.)
Drawn circa 1898-1903
20,000-30,000
PROVENANCE:
$32,000-47,000
26,000-38,000
London, Fischer Fine Art Gallery, Gustav Klimt, Egon Schiele and artists from
the Viennese Secession, July 1985.
LITERATURE:
A. Strobl, Gustav Klimt, Die Zeichnungen, Nachtrag, Salzburg, 1989,

This drawing is related to the oils Irrlichter and Beethovenfries

(Novotny-Dobai 127), according to Alice Strobl, this is probably
indicated by the inscribed R.
31
l46
JEAN DUFY (1888-1964)
Bouquet danmones de tulipes et
de mimosa
signed Jean Dufy (lower right)
watercolour and gouache on card
21 x 16 in. (54.7 x 41 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Hammer Galleries, New York.

LITERATURE:
J. Bailly, Jean Dufy, Catalogue raisonn de

loeuvre, vol. 2, Paris, 2010, no. J.1407 (illustrated
p. 322).
l47
CARLOS NADAL (1917-1998)
Club nautique
signed and dated CNadal 82 (lower centre);
signed and inscribed CLUB NAUTIQUE
CNadal(on the reverse)
oil on paper laid down on canvas
18 x 21 in. (46.2 x 55.3 cm.)
Painted in 1982
7,000-10,000
$11,000-16,000
8,800-13,000
The Comit Nadal has confrmed the

l*48
Les peupliers dors (Vision dautomne)
EXHIBITED:
signed Andr Brasilier. (lower right); signed and inscribed Vision

dautomne. A.B. (on the reverse)
oil on canvas
57 x 38 in. (146 x 97 cm.)
Painted in 1987
15,000-20,000
$24,000-31,000
19,000-25,000
Vancouver, Buschlen Mowatt Gallery, Andr Brasilier, In Search of the

Invisible, April - May 1988 (illustrated p. 63).
LITERATURE:
Y. le Pichon, Andr Brasilier, ses transfgurations, Paris, 1989 (illustrated p.

127).
X. de Coulanges, Andr Brasilier, Catalogue Raisonn 1982-2002, vol. I,
Lausanne, 2002,
no. 1987/59 (illustrated p. 101).
PROVENANCE:
Galerie Etienne Sassi, Paris.

Private Collection, Japan.
33
PROPERTY FROM A PRIVATE COLLECTION
l*49
BENJAMN PALENCIA (1894-1980)
Serranillos
EXHIBITED:
signed B.Palencia 51 (lower left)

oil on canvas
35 x 45 in. (89 x 115.5 cm. )
Painted in 1951
Madrid, I Bienal Hispano Americana de Arte, 1951 (no. 248)

(probably) Venice, XXVIII Biennale di Venezia, 1956.
15,000-20,000
LITERATURE:
$24,000-31,000
19,000-25,000
PROVENANCE:
Biosca Galeria de Arte, Madrid (no. 15.699).

Acquired by the present owner in the 1980s.
34
L. F. Vivanco, Primera Bienal Hispano Americana de Arte, Madrid,

1952 (illustrated)
R. Faraldo, B. Palencia, Madrid, 1972 (illustrated)
Mr Ramn Palencia has confrmed the authenticity of this work.

This painting depicts the picturesque scene of the village
Serranillos which is located in the area of vila, Spain. Benjamn
Palencia moved to a small village within this area in the late
1940s.
l*50
Cavalcade au ciel ros
signed Andr Brasilier. (lower right); signed, dated and inscribed Cavalcade
au Ciel ros A.B. 2010 (on the reverse)
oil and pencil on canvas
25 x 18 in. (65 x 46 cm.)
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:
This work is sold with a certifcate from Alexis Brasilier and it will be
included in the forthcoming Andr Brasilier catalogue raisonn.
l*51
Le vase de Sicile
signed Andr Brasilier. (lower centre); signed, dated and inscribed Le Vase
de Sicile A.B. 1979. (on the reverse)
oil on canvas
39 x 28 in. (100 x 73 cm.)
Painted in 1979
12,000-18,000
$19,000-28,000
16,000-23,000
PROVENANCE:
Anonymous sale, Shinwa Art, Tokyo, 22 March 2014, lot 121.

This work is sold with a certifcate from Alexis Brasilier and it will be
included in the forthcoming Andr Brasilier catalogue raisonn.
35
l52
GIORGIO MORANDI (1890-1964)
Fiori
signed Morandi (lower centre)
pencil on paper
9 x 7 in. (24 x 20 cm.)
Drawn in 1950
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
T. Varni, Bologna.
G. Golinelli, Bologna.
Private collection, Alessandria.
Anonymous sale, Finarte, Milan, 17 May 1990, lot 212.
EXHIBITED:
Siena, Palazzo Pubblico, Morandi, I fiori, November 1990 January 1991, no. 32 (illustrated).
Piacenza, Galleria Braga, Morandi, Riflessioni sullopera,
December 1991 - March 1992, no. 19 (illustrated).
LITERATURE:
E. Tavoni, Morandi, Disegni, vol. I, Bologna, 1981, no. 124

(illustrated p. 143).
E. Tavoni, Morandi, Disegni, Catalogo generale, Milan, 1994,
no. 1950 1 (illustrated p. 108).
l53
Natura Morta
pencil on paper
3 x 4 in. (8 x 10.2 cm.)
Drawn in 1962
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Private collection, Milan.
The Centro Studi Giorgio Morandi has confrmed the

l54
Paesaggio
pencil on paper
2 x 3 in. (7.1 x 9.8 cm.)
Drawn in 1963
4,000-6,000
$6,300-9,400
5,100-7,500
PROVENANCE:
Private collection, Bologna.

The Centro Studi Giorgio Morandi has confrmed the

l55
LON DE SMET (1881-1966)
Bateaux au port
signed with the monogram LDS (lower right)
oil on board
20 x 19 in. (52.6 x 49.2 cm.)
7,000-12,000
$11,000-19,000
8,800-15,000
PROVENANCE:
Private collection, Belgium, acquired directly from

the artist, and thence by descent.
Piet Boyens has confrmed the authenticity of

this work.
l56
LON DE SMET (1881-1966)
Lever de soleil sur la rivire Lys,
Ghent
signed with the monogram and dated
1913 LDS (lower right)
oil on canvas
13 x 19 in. (33.3 x 49.5 cm.)
Painted in 1913
1,000-2,000
$1,600-3,100
1,300-2,500
PROVENANCE:
Private collection, Belgium, acquired directly from

the artist, and thence by descent to the present
owner.
Piet Boyens has confrmed the authenticity of

this work.
37
l57
JOAN MIR (1893-1983)
Les essencies de la terra
signed Mir. (lower right)
wax crayon and colour lithograph on Japan paper
19 x 14 in. (50 x 35.7 cm.)
Executed circa 1968
15,000-25,000
$24,000-39,000
19,000-31,000
ADOM (Association pour la dfense de loeuvre de Joan Mir) has confrmed the authenticity of this
work.
l58
ANDR MASSON (1896-1987)
La statue agressive
PROVENANCE:
signed Andr Masson (upper right); dated and inscribed La statue

agressive 1969 (on the reverse)
oil on canvas
28 x 36 in. (73.2 x 92.2 cm.)
Painted in 1969
18,000-24,000
$29,000-38,000
23,000-30,000
Galerie Louise Leiris, Paris (no. 014190), by whom acquired directly

from the artist.
EXHIBITED:
Paris, Galerie Louise Leiris, Andr Masson, oeuvres rcentes, October November 1970, no. 11 (illustrated p. 19).
London, Waddington Galleries, Andr Masson, Paintings, January February 1972, no. 29.
Milan, Arte 92, Andr Masson, Opere 1943-1971, October 1990 January 1991, no. 18 (illustrated p. 55).
39
l59
LONARD TSUGUHARU FOUJITA (1886-1968)
Chat en alerte
signed Foujit (lower right)
pencil on paper
12 x 9 in. (22.9 x 32.5 cm.)
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
Kimiyo Foujita, Paris, by descent from the artist; her Succession sale, Htel
Drouot, 28 October 2013, lot 57.
l60
MAX ERNST (1891-1976)
Initiale P
signed and dated max ernst 65 (lower right)
frottage and crayon on paper
10 x 8 in. (26.9 x 20.8 cm.)
Executed in 1965
2,500-3,500
$4,000-5,500
3,200-4,400
PROVENANCE:
Jean Hugues, Paris.

Anonymous sale, Kornfeld & Klipstein, Bern, 18-21 June 1980, lot 317.
Anonymous sale, Galerie Kornfeld, Bern, 21 June 1989, lot 373.
LITERATURE:
W. Spies, S. & J. Metken, Max Ernst, Oeuvre-Katalog, Werke 1964-1969, Cologne, 2007, no. 4101
l*61
AFTER JOAN MIR
(1893-1983)
La mangouste
stitched with the signature and symbol MIRO
(in the weave on the reverse)
wool tapestry
60 x 77 in. (153.3 x 197.3 cm.)
Conceived in 1935
3,000-5,000
$4,800-7,900
3,800-6,300
This motif was frst executed as a

tapestry in 1960 by Marie Cuttoli in
an unnumbered edition and was later
reissued by Lucie Weill-Seligmann, Au pont
des arts, in a limited edition of approx.
10-15 examples.
l62
ANDR MASSON (1896-1987)
Rapt
signed andr Masson (lower right)
oil on canvas
20 x 19 in. (53 x 50.2 cm.)
Painted in 1955
12,000-18,000
$19,000-28,000
16,000-23,000
PROVENANCE:
Galerie Louise Leiris, Paris (no. 06454 & 50513).

Svensk-Franska Konstgalleriet, Stockholm, by 1961.
Anonymous sale, Christies, London, 25 June 2008,
lot 539.
Acquired from the above sale by the present owner.
EXHIBITED:
Turun, Taidemuseo and Abo, Konstmuseum,

Masson - Picasso, February - March 1961, no. 3.
The Comit Masson has confrmed the

PROPERTY FROM A PRIVATE GERMAN COLLECTION
l63
MAX ERNST (1891-1976)
Jeune homme aux bras croiss
stamped with the artists signature and numbered Max Ernst 3/3
1177 1687 (underneath); stamped with the goldsmiths mark and the
French assay mark for silver (on the reverse)
silver
Height: 8 in. (20.4 cm.)
Conceived in 1967 and cast in an edition of three
15,000-20,000
$24,000-31,000
19,000-25,000
PROVENANCE:
Hans Ravenborg, Hamburg, by whom acquired circa in the 1970s and

thence by descent to the present owner.
LITERATURE:
C. Siaud & P. Hugo, Bijoux dartistes, hommage Franois Hugo

orfvre, Aix-en-Provence, 2001, no. 1687 (another cast illustrated p.
122).
W. Spies, Max Ernst, Oeuvre-Katalog, Werke 1964-1969, Cologne,
2007, no. 4599,I (another cast illustrated p. 385).
41
l64
Jeune flle et ses petits oiseaux
signed and dated Foujita 16-9-56 (lower centre)
pencil on tracing paper
11 x 7 in. (30.1 x 19.5 cm.)
Drawn on 16 September 1956
3,000-5,000
$4,800-7,900
3,800-6,300
PROVENANCE:
Kimiyo Foujita, Paris, by descent from the artist; her Succession sale, Htel
Drouot, 26 March 2013, lot 135.
l65
ESTEBAN FRANCS (1913-1976)
Fantastic masks in green
oil, gouache and gouache on card
22 x 28 in. (58.3 x 73.4 cm.)
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
Edward James, West Dean.

Duncan R. Miller Fine Arts, London.
Anonymous sale, Christies, London, 29 March 1988, lot 376.
EXHIBITED:
Worthing, Art Gallery, Paintings from the Collection of Edward James, 1963,
no. 30.
l66
FRANCIS PICABIA (1879-1953)
Caricature
signed with the initials F.P. (lower left)
pen and blue ink on paper
10 x 8 in. (26.8 x 20.8 cm.)
Drawn circa 1947-1949
3,000-5,000
$4,800-7,900
3,800-6,300
PROVENANCE:
Private collection, France, a gift from the artist.
Sold with a photo-certifcate from the Comit Picabia.
l67
GINO SEVERINI (1883-1966)
Natura morta
signed G.Severini (lower right)
pen and India ink on paper
8 x 10 in. (22 x 26.5 cm)
Drawn circa 1948
3,000-5,000
$4,800-7,900
3,800-6,300
PROVENANCE:
Private Collection, Rhode Island.

Anonymous sale, Skinner, Boston, 3 February 2012,
lot 611.
Acquired from the above sale by the present owner.
Romana Brunori Severini and Daniela Fonti have

confrmed the authenticity of this work.
l*68
MAX ERNST (1891-1976) AND
YVETTE CAUQUIL-PRINCE (1928-2005)
La ville entire
stitched with the signature max Ernst and with the Yvette CauquilPrince monogram (lower centre); with the Yvette Cauquil-Prince label and
numbered 1/1 (on the reverse)
hand-woven wool tapestry
111 in. x 169 in. (284 x 431 cm.)
Executed in 1975
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:
Acquired directly from Yvette Cauquil-Prince by the present owner in 1975.
EXHIBITED:
Le Mans, Yvette Cauquil-Prince, June September 1987 (illustrated).

Veruela, Monasterio de Veruela, Yvette Cauquil-Prince Taller de Tapices, June
- July 1993 (illustrated); this exhibition later travelled to Zaragoza, Palacio de
Sastago.
Karuizawa, Muse dart Mercian, Tapisseries de Peintres, April - July 1996,
no. 9, p. 38 (illustrated).
Lige, Muse dArt Moderne & dArt Contemporain, Tapisseries de Peintre,
March - May 1997, p. 22 (illustrated p. 23).
Wien, Kunst Haus, Meister des 20. Jahrhunderts Tapisserien, Hommage an
die Meisterweberin und Sammlung Jane Kahan, N. Y., February - May 2000
(illustrated).
Sarrebourg, Muse du Pays, Tapisseries dYvette Cauquil-Prince, May September 2005, p. 20 (illustrated).
43
l69
SCAR DOMNGUEZ (1906-1958)
Caballos alados
signed and dated Dominguez 51 (lower left)
gouache and pen and ink on board
11 x 13 in. (27.8 x 35 cm.)
Executed in 1951
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Private Collection, Palma de Mallorca.

EXHIBITED:
Barcelona, Sala Pars, scar Domguez, May 1989, no. 29.

LITERATURE:
R. de Sosa, Oscar Dominguez, Loeuvre peint, vol. I, London/Paris,

1989, no. 201 (illustrated p. 225; titled La Course de chars).
This work is sold with a photo-certifcate from Ana Vzquez

de Parga.
l70
ANDR DERAIN (1880-1954)
Tte danimal satirique
with the atelier stamp (Lugt 668a; lower right)
brush and India ink on paper
9 x 12 in. (24.8 x 32.2 cm.)
Executed circa 1940
1,500-2,500
$2,400-3,900
1,900-3,100
PROVENANCE:
Brook Street Gallery, London.

Maurice Goldman, New York.
R. J. Lloyd-Davies, London.
Anonymous sale, Christies, London, 21 April 2010, lot 56.
This work is sold with a photo-certifcate from Genevive Taillade.
l71
FRANCISCO BORS (1898-1972)
Joueurs de carte
signed and dated Bors 28 (upper right)
oil on canvas
36 x 28 in. (93 x 73 cm.)
Painted in 1928
6,000-8,000
$9,500-13,000
7,600-10,000
PROVENANCE:
Private collection, France.
This work is sold with a photo-certifcate from Carmen Bors.
l72
SALVADOR DAL (1904-1989)
Composition abstraite
signed Dal (on a sheet on the reverse)
oil, gouache and India ink on board
6 x 5 in. (16.8 x 14.8 cm.)
Executed in Cadaqus in November 1973
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Private collection, Palma de Mallorca.

EXHIBITED:
Cadaqus, Museu, Salvador Dal, antolgica sobre paper, 1916-1980, July

1996.
l73
JEAN COCTEAU (1889-1963)
Tte dhomme aux yeux poisson
signed and dated Jean Cocteau 1960 (lower right)
felt-tip pen on paper
25 x 19 in. (64 x 49.6 cm.)
Executed in 1960
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
Private collection, Belgium.

l74
SALVADOR DAL (1904-1989)
The Comit Cocteau has confrmed the authenticity of this work.
tude pour La Cne, le Christ et les aptres

ballpoint pen and gouache on paper
7 x 9 in. (19.9 x 24.2 cm.)
Executed in 1955, with further studies on the reverse
3,000-5,000
$4,800-7,900
3,800-6,300
PROVENANCE:
Perrot-Moore, Cadaqus; sale, Artcurial, Paris, 1 July 2003, lot 134.

EXHIBITED:
Vienna, Palais Auersperg, Salvador Dali, eine Austellung des Museu PerrotMoore, Cadaques, March - April 1982, no. 118 (illustrated); this exhibition
later travelled to Munich, Residenz and Perpignan, Palais des Rois de
Majorque.
This work is sold with a certifcate from Robert and Nicolas Descharnes.
This drawing is a study for Salvador Dals masterpiece La Cne (Descharnes
1098), today in the National Gallery of Art, Washington.
45
l75
ALBERT ANDR (1869-1954)
Jeune flle assise la fentre devant le jardin
signed Albert Andr (lower right)
oil on canvas
28 x 23 in. (73.4 x 60.5 cm.)
Painted circa 1928
6,000-8,000
$9,500-13,000
7,600-10,000
PROVENANCE:
Anonymous sale, Sothebys, London, 24 March 2004, lot 60.
Evelyne Yeatman has confrmed the authenticity of this work and it will
be included in the forthcoming Albert Andr catalogue raisonne.
PROPERTY FROM A PRIVATE AUSTRALIAN COLLECTION
*76
HENRI LE SIDANER (1862-1939)
Sortie du soir
signed Le Sidaner (lower right)
oil on panel
8 x 13 in. (21.8 x 35 cm.)
Painted circa 1890-1895
6,000-8,000
$9,500-13,000
7,600-10,000
PROVENANCE:
Anonymous sale, Sothebys, London, 29 March 1984, lot 507.

Acquired at the above sale and thence by descent to the present owner.
Yann Farinaux-Le Sidaner has confrmed the authenticity of this work

and it will be included in the forthcoming supplement of the catalogue
raisonn currently in preparation.
77
RAOUL DUFY (1877-1953)
Btiments, chafaudages, Rue Lepic
LITERATURE:
M. Laffaille, Raoul Dufy, catalogue raisonn de loeuvre peint, vol. 1, Geneva,

1972, no. 78bis (illustrated p. 75).
signed R Dufy (lower right)

oil on canvas
18 x 15 in. (46 x 38 cm.)
Painted in 1904
20,000-30,000
$32,000-47,000
26,000-38,000
PROVENANCE:
Private collection, France, acquired in 1972, and thence by descent to the

present owner.
With a decree dated 23 May 1863 the Napoleonic Rue de lEmpereur in

Montmartre took the name of Rue Lepic. It was famous for its two moulins
which survived the industrial revolution and were together known as Moulin
de la Galette, famously painted by Auguste Renoir in 1876, and later also by
other artists such as Vincent van Gogh and Pablo Picasso. Many intellectuals
and artists lived in Rue Lepic, among them van Gogh and his brother Theo, as
well as the art dealer Alphonse Portiere; Louis Renault built and tested his frst
car here in 1898.
47
l*78
JACQUES LIPCHITZ (1891-1973)
Exodus
signed, numbered and marked with the thumbprint J.Lipchitz 1/7 (on the
side underneath)
bronze with brown patina
Conceived in 1947 and cast in a numbered edition of 7
22,000-28,000
$35,000-44,000
28,000-35,000
PROVENANCE:

LITERATURE:
A.G. Wilkinson, The Sculpture of Jacques Lipchitz, A Catalogue Raisonn,

vol.II, The American Years 1941-1973, London, 2000, no. 414, (another cast
illustrated p. 42).
l*79
THO TOBIASSE (B. 1927)
Jai vu feurir Bethsabe au Jardin des Grenades
signed theo tobiasse (upper right), dated 82 (in the centre) and inscribed
Jai vu feurir Bethsabe au Jardin des Grenades (lower right)
oil on canvas
45 x 35 in. (116 x 89 cm.)
Painted in 1982
12,000-18,000
$19,000-28,000
16,000-23,000
PROVENANCE:
Nahan Galleries, New Orleans.

Catherine Faust-Tobiasse has confrmed the authenticity of this work

and it will be included in the forthcoming Tho Tobiasse catalogue
raisonne.
48
l80
MAN-KATZ (1894-1962)
Portrait de H.R.
signed Man-Katz (lower right)
oil on canvas
57 x 38 in. (145.5 x 96.5 cm.)
Painted in 1955
15,000-20,000
$24,000-31,000
19,000-25,000
PROVENANCE:
Bernard Hayat, France.

Herv Richard Hayat, by descent from the above.
EXHIBITED:
Paris, Grand Palais, Salon dAutomne, November December 1956, no. 883, p. 77.
This work is recorded in the archives of the

Man-Katz Museum, Haifa.
Bernard Hayat was a friend of the artist and the
father of the sitter, Herv Richard Hayat.
81
ABRAHAM MINTCHINE
(1898-1931)
Nature morte
signed A.Mintchine. (upper right)
oil on canvas
21 x 28 in. (54 x 73 cm.)
7,000-12,000
$11,000-19,000
8,800-15,000
PROVENANCE:
Private collection, England, by whom acquired in

Paris in the early 1980s.
LITERATURE:
M. di Veroli & G. Testori, Abraham Mintchine, 18981931, Milan, 1981, no. 214 (illustrated p. 141).
49
SOLD BY THE EXECUTORS OF THE LATE

LADY IVOR SPENCER-CHURCHILL
82
AUGUSTE RODIN (1840-1917)
Balzac, tude type C (buste), 1re version, petit modle
signed A.Rodin (on the left shoulder) and inscribed with the foundry mark
.Alexis.Rudier. .Fondeur.Paris. (on the right shoulder); stamped in relief
A.Rodin (on the inside)
bronze with brown and black patina
Conceived in 1892, this cast executed by Alexis Rudier between 1918 and
1927
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:
Galerie Haussmann, Paris.

Private collection, London, and thence by descent to the present owner.
LITERATURE:
A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the

Muse Rodin, Paris, 2007, no. S.1079 (other versions illustrated pp. 168-169).
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 2014-4379B.
83
MILE-ANTOINE BOURDELLE (1861-1929)
Les trois rivires
signed E. Bourdelle (lower centre)
plaster relief
6 x 11 in. (17 x 28.3 cm.)
Executed circa 1896
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
Cloptre Bourdelle, Paris.

Anonymous sale, Sothebys, London, 26 October 1994, lot 188.
Colin Lemoine, Muse Bourdelle, Paris, has confrmed the authenticity

of this work.
84
ARISTIDE MAILLOL (1861-1944)
Nu allong
pencil on paper
9 x 11 in. (23 x 28.2 cm.)
With a further sketch of a nude on the reverse.
1,800-2,500
$2,900-3,900
2,300-3,100
PROVENANCE:
Succession de Madame W., Fonds dAtelier du peintre sculpteur Maillol, Nice,

28 November 2013, lot 309-7.
*85
HENRI LEBASQUE (1865-1937)
Jeune flle aux poissons
signed HLebasque (lower left)
oil on canvas
29 x 20 in. (75 x 50.8 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
M. Behrens, Germany.
Anonymous sale, Christies, London, 3 December
1985, lot 202.
Private collection, Japan.
LITERATURE:
D. Bazetoux, Henri Lebasque, Catalogue raisonn,

vol. I, Neuilly-sur-Marne, 2008, no. 1528 (illustrated
p. 358).
Christine Lenoir and Maria de la Ville Fromoit have

confrmed the authenticity of this work.
THE PROPERTY OF A GENTLEMAN
l86
ANDR DERAIN (1880-1954)
Nu debout
signed Derain (lower right)
sanguine and pastel on paper
25 x 16 in. (63.5 x 41.5 cm.)
3,000-5,000
$4,800-7,900
3,800-6,300
PROVENANCE:
Vincent Korda, England; and thence by descent to the present owner.
The Comit Andr Derain has confrmed the authenticity of this work.
51
PROPERTY FROM A PRIVATE FRENCH COLLECTION
87
ACHILLE LAUG (1861-1944)
Verger en feurs
PROVENANCE:
signed and indistinctly dated A.Laug 19... (lower right)

oil on canvas
19 x 28 in. (50 x 73 cm.)
Painted circa 1920/1930
Private collection, Toulouse.

Anonymous sale, Chassaing Marambat, Toulouse, 8 November 2012,
lot 505.
18,000-25,000
$29,000-39,000
23,000-31,000
52
This work will be included in the Achille Laug catalogue raisonn

currently being prepared by Nicole Tamburini.
PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION
l88
HENRI MANGUIN (1874-1949)
Le Golfe de Saint-Tropez depuis lOustalet
signed Manguin (lower right)
oil on canvas
15 x 24 in. (38 x 61.4 cm.)
Painted in Summer/Autumn 1920
15,000-20,000
EXHIBITED:
(probably) Paris, Galerie Montmorency, Quarante tableaux de Manguin,

1958, no. 28 (titled Saint-Tropez, la ville blanche).
LITERATURE:
$24,000-31,000
19,000-25,000
L. & C. Manguin & M.-C. Sainsaulieu, Henri Manguin, Catalogue raisonn de

loeuvre peint, Neuchtel, 1980, no. 657 (illustrated p. 231).
PROVENANCE:
Galerie E. Druet, Paris.

Gemlde-Galerie Abels, Cologne.
Acquired from the above in 1964, and thence by descent to the present
owner.
53
89
ALBERT LEBOURG
(1849-1928)
Larrive du bateau
vapeur la Bouille
signed, dated and inscribed
aLebourg Rouen 1920 (lower right)
oil on canvas
18 x 28 in. (46.7 x 73.3 cm.)
Painted in Rouen in 1920
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:
Acquired by the present owner in

the late 1960s/early 1970s.
This work is sold with a photocertifcate from Francois

Lespinasse.
90
HENRI LE SIDANER
(1862-1939)
Le Palais, matin dt,
Hampton Court
signed Le Sidaner (lower right)
oil and colour crayon on paper
10 x 15 in. (26.5 x 38.1 cm.)
Executed circa 1908
3,000-5,000
$4,800-7,900
3,800-6,300
PROVENANCE:
Anonymous sale, Sothebys,

London, 30 November 1967, lot 55.
LITERATURE:
Y. Farinaux-le Sidaner, Le Sidaner,

loeuvre peint et grav, Paris, 1989,
This drawing is a study for the
eponymous oil (Farinaux-le Sidaner,
240) which the artist painted in the
same year.
54
91
CLAUDE-MILE
SCHUFFENECKER
(1851-1934)
Notre Dame de Paris
signed Schuffenecker (lower left;
enhanced)
oil on canvas
17 x 23 in. (43.5 x 60 cm.)
Painted in 1895
15,000-25,000
$24,000-39,000
19,000-31,000
PROVENANCE:

London, 30 November 1967, lot 46.
Acquired at the above sale by the
present owner.
EXHIBITED:
Paris, Galerie Contemporaine, 1938,

no. 3.
Paris, Galerie de Berri, Hommage
Schuffenecker, October 1954, no. 5.
Cologne, Gemlde-Galerie Abels,
1966, no. 5.
LITERATURE:
J-E. Grossvogel, Claude-Emile

Schuffenecker, Catalogue raisonn,
vol. 1, San Francisco, 2000, no. 351
92
ALBERT CHARLES
LEBOURG (1849-1928)
Remorqueur sur la Seine
en aval de Rouen
signed A.Lebourg (lower left)
oil on canvas
19 x 28 in. (48.8 x 73.1 cm.)
7,000-9,000
$11,000-14,000
8,800-11,000
PROVENANCE:

London, 29 June 1999, lot 243.
Acquired at the above sale by the
family of the present owner.
This work will be included in
the forthcoming Albert Lebourg
catalogue critique being prepared
by Rodolphe Walter under the
sponsorship of the Wildenstein
Institute.
55
*93
Les oeufs
signed and dated 29 Juin 1920 Raoul Dufy
(lower centre)
watercolour and pencil on paper
19 x 26 in. (50.4 x 66.2 cm.)
Executed on 29 June 1920
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:
Galerie R. Lrondelle, Paris.

Private Collection, Japan, by whom acquired in
the 1930s/1940s and thence by descent.
Fanny Guillon-Laffaille has confrmed the

authenticity of this work and it will be
included in her forthcoming supplement
to the Catalogue raisonn des aquarelles,
gouaches et pastels de Raoul Dufy currently in
preparation.
l*94
La plage Nice
signed cNadal (lower right); signed, inscribed
and with the atelier stamp n.15 LA PLAGE A NICE
cNadal (on the reverse)
oil on canvas
21 x 25 in. (54.2 x 65.2 cm.)
15,000-25,000
$24,000-39,000
19,000-31,000
PROVENANCE:
Anonymous sale, Bonhams, London, 7 February

2012, lot 44.
The Comit Nadal has confrmed the

56
l95
JEAN DUFY (1888-1964)
Sintra, Portugal
PROVENANCE:
signed Jean Dufy (lower right)

oil on canvas
15 x 18 in. (38.2 x 46 cm.)
20,000-30,000
Findlay Galleries, Chicago.

Private collection, United States.
Anonymous sale, Leslie Hindman, Chicago, 5 March 2006, lot 15.
$32,000-47,000
26,000-38,000
LITERATURE:
J. Bailly, Jean Dufy, catalogue raisonn de loeuvre, vol. 2, Paris, 2010, no.
B.1529 (illustrated p. 371).
57
l*96
CLAUDE VENARD (1913-1999)
Bateau sur la Seine
signed C.VENARD (lower right)
oil on canvas
35 x 45 in. (89.5 x 116 cm.)
7,000-12,000
$11,000-19,000
8,800-15,000
Renata Venard has confrmed the authenticity of this work.

This work is sold with a photo-certifcate from Alain Vercel.
l97
Pommes vertes
signed C.VENARD (lower left); inscribed pommes vertes (on the
reverse)
oil on canvas
29 x 29 in. (75 x 75 cm.)
4,000-6,000
$6,300-9,400
5,100-7,500
PROVENANCE:
Haunch of Venison, London.

Private collection, London.
Renata Venard has confrmed the authenticity of this work.

This work is sold with a photo-certifcate from Alain Vercel.
58
98
Fontaine Cannes
PROVENANCE:
signed Raoul Dufy (lower left)

watercolour and gouache on paper
19 x 25 in. (49.6 x 64.4 cm.)
Executed circa 1925
18,000-22,000
Anonymous sale, Artcurial, Paris, 27 March 2013, lot 105.
$29,000-35,000
23,000-28,000
Fanny Guillon-Laffaille has confrmed the authenticity of this work and

it will be included in her forthcoming supplement to the Catalogue
raisonn des aquarelles, gouaches et pastels de Raoul Dufy currently in
preparation.
*99
PAUL SIGNAC (1863-1935)
Toulon
signed PSignac (lower left) and dated and
inscribed Toulon 9 mai 34 (lower right)
9 x 17 in. (24.2 x 43.4 cm.)
Executed in Toulon on 9 May 1934
7,000-9,000
$11,000-14,000
8,800-11,000
PROVENANCE:
Jeffrey Archer, London; his sale, Christies,

London, 28 June 2011, lot 2.
59
THE PROPERTY OF THE LATE HAZEL WESTBURY
l100
MAURICE BRIANCHON (1899-1979)
Nature morte aux pommes de pin
EXHIBITED:
signed Brianchon (lower right)

oil on canvas
23 x 36 in. (60 x 92 cm.)
Painted in 1962
Neuchtel, Muse des Beaux-Arts, Maurice Brianchon, May - August, 1962,

Paris, Galerie Beaux-Arts, Maurice Brianchon, October - November 1962, no.
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Galerie Wildenstein, Paris.
60
LITERATURE:
P.A. Brianchon & O. Daulte, Catalogue de loeuvre peint de Maurice

Brianchon, Lausanne, 2008, no. 640 (illustrated p. 288).
l*101
BENJAMN PALENCIA
(1894-1980)
Primavera en la sierra
signed and dated B.Palencia 62 (lower right)
oil on canvas
28 x 21 in. (73 x 54 cm.)
Painted in 1962
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:

LITERATURE:
R. Faraldo, B. Palencia, Madrid, 1972 (illustrated).
Mr Ramn Palencia has confrmed the

The hill-side view is of the surrounding area of the
village Villafranca de la Sierra, where Benjamn
Palencia had his studio.
l*102
BENJAMN PALENCIA
(1894-1980)
Cerro grana (Castilla)
signed BPalencia 1973 (lower right)
oil on canvas
21 x 25 in. (54 x 65 cm.)
Painted in 1973
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:
Biosca Galeria de Arte, Madrid (no. 7.851).

EXHIBITED:
Bilbao, Galera Arteta, 1973.
Mr Ramn Palencia has confrmed the

l103
ANDR LANSKOY (1902-1976)
Paysage avec une ferme
signed Lanskoy (lower right)
oil on canvas
10 x 16 in. (27 x 41 cm.)
1,500-2,500
$2,400-3,900
1,900-3,100
PROVENANCE:
The Estate of Hana Minsky, Tel Aviv.

Gallery Raaya, Jaffa.
Andr Schoeller has confrmed the authenticity of this work.
l104
ANDR LANSKOY (1902-1976)
Portrait de femme
signed with the initials a.L. (lower right)
oil on panel
7 x 5 in. (17.8 x 13.7 cm.)
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
Galerie Kriegel, Paris; sale, Artcurial, Paris, 30 June 2008, lot 73.
Andr Schoeller has confrmed the authenticity of this work.
l105
ANDR LHOTE (1885-1962)
Paysage vallonn
signed ALhote (lower left)
13 x 20 in. (33.3 x 50.8 cm.)
Executed circa 1910s
2,500-3,500
$4,000-5,500
3,200-4,400
PROVENANCE:
Private collection, Germany.
Dominique Bermann-Martin has confrmed the authenticity

of this work and it will be included in her forthcoming Andr
Lhote catalogue raisonn de loeuvre peint.
l*106
CLAUDE VENARD
(1913-1999)
Voiture classique
oil on canvas
45 x 57 in. (114.3 x 146 cm.)
7,000-10,000
$11,000-16,000
8,800-13,000
PROVENANCE:
Galerie Felix Vercel, New York (no.

FV297).
Acquired from the above in the late
1970s.
Renata Venard has confrmed the

This work is sold with a photocertifcate from Alain Vercel.
l107
Nature morte au vase
oil on canvas
29 x 29 in. (75 x 75 cm.)
4,000-6,000
$6,300-9,400
5,100-7,500
PROVENANCE:
Haunch of Venison, London.

Renata Venard has confrmed the authenticity

of this work.
Alain Vercel.
63
l108
ETIENNE (ISTVN) BETHY
(1897-1961)
l*109
VALENTINE PRAX (1899-1981)
Adam, Eve et le serpent
signed V.Prax (lower left); signed and inscribed

V.Prax nature morte (on the reverse)
oil on canvas
31 x 39 in. (81 x 100 cm.)
signed, stamped with the foundry mark and

numbered EBeothy CLEMENTI FONDEUR EA I/IV
(on the base)
bronze with black-brown patina
Height: 33 in. (85 cm.)
Conceived in 1939 and cast in an edition of six
plus four artist proofs
5,000-8,000
$7,900-13,000
6,300-10,000
Nature morte
3,000-5,000
$4,800-7,900
3,800-6,300
PROVENANCE:
Anonymous sale, Neal, New Orleans 18 April

2009, lot 899.
PROVENANCE:
Galerie Franka Berndt, Paris.


Ayin Bethy.
Born in Algeria, Valentine Prax moved to

Paris in 1919 and rapidly became absorbed in
the creative milieu of the 1920s avant-garde
scene. Prax forged a successful exhibiting
career, participating in Salon des Artistes
Indpendants, the Salon dAutomne, and
Salon des Tuileries and exhibiting with dealers
Galerie La Licorne and Galerie Berthe Weill.
Having endured persecution by the Nazis, as
well as the departure of her partner Ossip
Zadkine for New York, Praxs postwar-period
works are full of expressive colour and
dynamic composition.
l110
CLAUDE VENARD
(1913-1999)
LAtelier du peintre
oil on canvas
44 x 56 in. (112.3 x 143.8 cm.)
Executed circa 1950s
9,000-12,000
$15,000-19,000
12,000-15,000
Renata Venard has confrmed the
This work is sold with a photocertifcate from Alain Vercel.
111
AFTER OTTO GUTFREUND
(1889-1927)
Pes
with the signature stamp Gutfreund and stamped
S.V.U. MNES SVYM GLENUM NA ROK 1928
(underneath)
terracotta
Conceived in 1927 and cast in 1928
500-1,000
$790-1,600
630-1,300
PROVENANCE:
Private collection, Czech Republic.

LITERATURE:
National Gallery, Prague, Otto Gutfreund, exh. cat.

with a catalogue raisonn of sculptures, 1995, no. 359
(another cast illustrated p. 273).
Jir etlk has confrmed the authenticity of this

work.
According to Dr Jir etlk, Otto Gutfreund originally
made this sculpture after the dog of his friend Emil
Filla. In 1928, it was produced in a limited edition of
approx. 30 by the Prague arts collective S.V.U. Manes
to commemorate Gutfreunds death and given to his
friends.
65
l112
ROBERT MARC (1943-1993)
Lou
signed ROBERT MARC (lower centre); inscribed H903 (on the reverse)
oil on canvas
36 x 28 in. (91.7 x 73 cm.)
Painted in 1990
3,000-5,000
$4,800-7,900
3,800-6,300
Annie Fromentin-Sangnier has confrmed the authenticity of this work

and it will be included in the forthcoming Robert Marc catalogue
raisonn currently in preparation.
l113
GEORGES TERZIAN (1939)
Femme la guitare
signed G.TERZIAN (lower right); signed, dated and inscribed GEORGES
TERZIAN FEMME LA GUITARE (on the reverse)
oil on canvas
51 x 31 in. (130 x 81 cm.)
4,000-6,000
$6,300-9,400
5,100-7,500
l114
GEORGES TERZIAN (B. 1939)
Composition abstraite
signed G.TERZIAN (upper right); signed G.TERZIAN (on the reverse)
oil on canvas
46 x 39 in. (117.5 x 100 cm.)
5,000-7,000
$7,900-11,000
6,300-8,800
66
l*115
PIERRE EUGNE MONTZIN
(1874-1946)
Pique-nique au bord du Loing
signed Montezin (lower left)
oil on canvas
28 x 23 in. (72.8 x 59.8 cm.)
2,000-3,000
$3,200-4,700
2,600-3,800
Cyril Klein-Montzin has confrmed the

l116
Taller
signed cNadal (lower right); signed,
inscribed and with the atelier stamp TALLER
cNadal (on the reverse)
oil on canvas
18 x 21 in. (46.2 x 55 cm.)
7,000-10,000
$11,000-16,000
8,800-13,000
PROVENANCE:
Private collection, Barcelona.
This work is sold with a certifcate from

the Comit Nadal.
67
l117
GUSTAVE CARIOT (1872-1950)
Neige Georgenborn
signed G. Cariot 1924 (lower right)
oil on canvas
21 x 28 in. (54 x 73.2 cm.)
Painted in Georgenborn in 1924
4,000-8,000
$6,300-13,000
5,100-10,000
PROVENANCE:
The artists estate and thence by descent.

l118
FRANOIS GALL (1912-1987)
Eugenie lit le journal sur une plage normande
signed F.Gall (lower right); signed and inscribed SUR LA PLAGE F.GALL (on the
reverse)
oil on canvas
16 x 13 in. (41 x 33 cm.)
3,000-5,000
$4,800-7,900
3,800-6,300
The Comit Franois Gall has confrmed the authenticity of this work and it will
be included in the forthcoming catalogue raisonn in preparation by Marie-Lise
Gall.
l119
LUDOVIC-RODO PISSARRO (1878-1952)
Kew Gardens
signed Ludovic Rodo (lower right)
oil on canvas
15 x 18 in. (38 x 46.5 cm.)
2,500-3,500
$4,000-5,500
3,200-4,400
The authenticity of this work has been confrmed by Llia

Pissarro and will be recorded in the archives of Pissarro Stern
Publications.
68
l120
ELISE MACLET (1881-1962)
Place du Tertre Montmartre
signed maclet (lower left)
oil on board
17 x 23 in. (45.5 x 60.7 cm.)
2,000-4,000
$3,200-6,300
2,600-5,000
PROVENANCE:
Jean Paul Villain has confrmed the authenticity of this work.
l*121
EDOUARD JOSEPH GOERG (1893-1969)
Les parisiennes aux champs
signed E.Goerg. (lower right); signed, titled and dated Les parisiennes aux
champs E.Goerg Juillet 59 (on the reverse)
oil on canvas
25 x 31 in. (65.2 x 81 cm.)
Painted in July 1959
3,000-5,000
$4,800-7,900
3,800-6,300
PROVENANCE:
Jean-Claude & Jacques Bellier, Paris.

Acquired from the above by the family of the present owner before 1980,
and thence by descent.
Christian Germak has confrmed the authenticity of this painting.
l122
CHARLES MALLE (B. 1935)
La Seine Notre Dame, Paris
signed C.Malle (lower left); inscribed La Seine Notre Dame Paris
(on the reverse)
oil on canvas
28 x 39 in. (73 x 100 cm.)
4,000-6,000
$6,300-9,400
5,100-7,500
l123
Jeune femme rousse, assise en bord de Seine Vernon
signed F.Gall (lower left)
oil on canvas
10 x 8 in. (27 x 22.3 cm.)
2,000-3,000
$3,200-4,700
2,600-3,800
The Comit Franois Gall has confrmed the authenticity of this work and
it will be included in the forthcoming catalogue raisonn in preparation by
Marie-Lise Gall.
l124
GUSTAVE CARIOT (1872-1950)
Les champs de bl
signed and dated G.Cariot 1948 (lower right)
oil on canvas
5 x 10 in. (14.1 x 27.2 cm.)
Painted in 1948
1,000-2,000
$1,600-3,100
1,300-2,500
PROVENANCE:
The artists estate and thence by descent.

l125
Eugnie relevant son chignon devant la coiffeuse
signed and inscribed F.Gall Paris (lower right)
oil on canvas
11 x 9 in. (28.6 x 23.5 cm.)
1,800-2,500
$2,900-3,900
2,300-3,100
The Comit Franois Gall has confrmed the authenticity of this work and
it will be included in the forthcoming catalogue raisonn in preparation by
Marie-Lise Gall.
70
l126
MARCEL DYF (1899-1985)
Claudine aux fruits
signed Dyf (lower left)
oil on canvas
28 x 23 in. (73 x 60 cm.)
Painted circa 1950s
2,500-3,500
$4,000-5,500
3,200-4,400
PROVENANCE:
Frost & Reed, London (no. 30268).

Private Collection, England.
This work has been authenticated by Claudine Dyf and is registered in

the Dyf archives under no. 5002.
l127
PAULMILE PISSARRO (1884-1972)
La Mare aux Biches, Lyons-la-Fort
signed Paulmile.Pissarro. (lower left); signed and inscribed La Mare aux
biches Lyons la fort Paulmile.Pissarro (on the reverse)
oil on canvas
21 x 18 in. (55 x 46 cm.)
2,500-3,500
$4,000-5,500
3,200-4,400
The authenticity of this work has been confrmed by Llia Pissarro and
will be recorded in the archives of Pissarro Stern Publications.
128
GEORGES DESPAGNAT (1870-1950)
Jeunes flles au jardin
signed with the initials GdE (lower right)
oil on canvas
21 x 25 in. (54.5 x 65.2 cm.)
2,500-3,500
$4,000-5,500
3,200-4,400
This work is included in Jean-Dominique Jacquemonds archives.
71
l129
JEAN-GABRIEL DOMERGUE (1889-1962)
Elgante au chapeau blanc
signed Jean Gabriel Domergue (lower right)
oil on board
9 x 7 in. (24 x 18.9 cm.)
1,800-2,500
$2,900-3,900
2,300-3,100
PROVENANCE:
Private Collection, Le Havre, acquired directly from the artist.

Anonymous sale, SVV Enchres, Le Havre, 29 May 2011, lot 29.
No Willer and Emilie Charmetant have confrmed the authenticity of

this work.
l130
La banque
signed and inscribed Foujita Italie (lower left) and dated 27-3-59 (upper left)
ballpoint pen and pencil on paper
6 x 4 in. (15.8 x 12.5 cm.)
Drawn on 27 March 1959
1,000-2,000
$1,600-3,100
1,300-2,500
PROVENANCE:
Kimiyo Foujita, Paris, by descent from the artist; her Succession sale, Htel Drouot,
28 October 2013, lot 172.
l131
JEAN-GABRIEL DOMERGUE (1889-1962)
Elgante au chapeau jaune
signed Jean-Gabriel Domergue (lower right)
oil on board
9 x 7 in. (23.9 x 19 cm.)
1,200-1,800
$1,900-2,800
1,600-2,300
No Willer and Emilie Charmetant have confrmed the authenticity of

this work.
72
l132
PAULMILE PISSARRO (1884-1972)
Proussy, Calvados
signed Paulmile.Pissarro. (lower centre); signed and inscribed
Proussy-Calvados Paulmile.Pissarro (on the reverse)
oil on canvas
18 x 21 in. (46.2 x 55 cm.)
2,500-3,500
$4,000-5,500
3,200-4,400
The authenticity of this work has been confrmed by Llia

Pissarro and will be recorded in the archives of Pissarro Stern
Publications.
PROPERTY FROM A PRIVATE GERMAN COLLECTION
133
MAXIMILIEN LUCE (1858-1941)
Le chemin Mricourt
signed Luce (lower right); signed and inscribed Mericourt
M.Luce (on the reverse)
oil on card laid down on panel
9 x 13 in. (25 x 35.2 cm.)
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
Acquired by the present owner in the late 1960s/early 1970s.

LITERATURE:
D. Bazetoux, Maximilien Luce, Catalogue raisonn de loeuvre

peint, vol. III, Paris, 1986, no. 1494 (illustrated p. 294).
l134
CHARLES MALLE (B. 1935)
Paris, Place de la Rpublique
signed C.Malle. (lower right); inscribed Paris Place de la
Rpublique (on the reverse)
oil on canvas
28 x 36 in. (73 x 92 cm.)
4,000-6,000
$6,300-9,400
5,100-7,500
135-200 No Lots
Impressionist/Modern
and Picasso Ceramics
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INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

MODERN BRITISH AND CONTEMPORARY ART AUCTIONS
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19/12/14
Shot on location at PARK LODGE, Ennismore Street.

Christies would like to thank London Capital for making this possible.
Picasso Ceramics
Natalie Radziwill
Head of Sale
Imogen Kerr
Junior Specialist
AUCTION

at 10.30 am Lots 1-134
and Picasso Ceramics at 2.00 pm
Lots 201-271
London SW7 3LD
Please refer to the important

notice page following on after the
ceramics auction lots. Please note
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are Monday to Friday 9am to 5pm,
and purchases transferred to their
warehouse are not available for
collection at weekends.
AUCTION CODE AND NUMBER
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VIEWING
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31 January
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Front cover: Lot 9
DACS 2014.
Inside front cover: Lot 87
Page two and three: Lot 43 & 42
Picasso Ceramics cover: Lot 216
Succession Picasso/DACS, London 2014.
Picasso Ceramics Inside front cover &
page one: Lots 225, 226 & 219
5.00
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l*201
Visage dhomme (A.R. 287)
stamped, marked and numbered Edition Picasso / Madoura
Plein Feu / I.121 Edition Picasso 75/350 Madoura (underneath)
partially glazed ceramic plate
Conceived in 1955 and executed in a numbered edition of
350; framed
3,000-5,000
$4,800-7,900
3,800-6,300
l202
Quatre profls enlacs (A.R. 84)
stamped Madoura Plein Feu / Empreinte Originale de Picasso
(underneath)
Conceived in 1949 and executed in an edition of 35; this work
is a variant in colour and design with decoration to the reverse
7,000-10,000
$11,000-16,000
8,800-13,000
202 (recto)
202 (verso)
l203
Visage (A.R. 288)
stamped and marked Edition Picasso / Madoura Plein Feu /
Edition Picasso (underneath)
partially glazed ceramic pitcher
Conceived in 1955 and executed in an edition of 500
3,000-5,000
$4,800-7,900
3,800-6,300
l204
Femme (A.R. 301)
Plein Feu / 20/200 / Edition Picasso (underneath)
partially glazed and engraved ceramic pitcher
Conceived in 1955 and executed in a numbered edition of 200
5,000-8,000
$7,900-13,000
6,300-10,000
l205
Pichet glace (A.R. 142)
Plein Feu / Edition Picasso / 37/100 / Madoura (underneath)
glazed and engraved ceramic pitcher
5,000-7,000
$7,900-11,000
6,300-8,800
l*206
Trois sardines (A.R. 34)
stamped, marked and numbered Madoura Plein Feu / Edition
Picasso / I113 95/200 (underneath)
glazed and engraved ceramic plate
200; framed
4,000-6,000
$6,300-9,400
5,100-7,500
l*207
Visage grav, fond grge (A.R. 29)
Plein Feu / I.110 166/200 (underneath)
Length: 15 in. (38 cm.)
200; framed
4,000-6,000
$6,300-9,400
5,100-7,500
*208
Quatre poissons polychromes (A.R. 31)
Picasso / I.111 142/200 (underneath)
200; framed
4,000-6,000
$6,300-9,400
5,100-7,500
l209
Poisson fond noir (A.R. 167)
(underneath)
4,000-6,000
$6,300-9,400
5,100-7,500
l210
Poisson fond roux (A.R. 169)
(underneath)
4,000-6,000
$6,300-9,400
5,100-7,500
l*211
Mains au poisson (A.R. 214)
stamped and numbered Madoura Plein Feu / Empreinte
Originale de Picasso / 101/250 (underneath)
partially glazed ceramic bowl
250; framed
3,000-5,000
$4,800-7,900
3,800-6,300
l*212
Nature morte la cuiller (A.R. 165)
dated 22.12.52. (in reverse; lower right); stamped, marked
and numbered Madoura Plein Feu / Empreinte Originale de
Picasso / E.101 / 148/200 (underneath)
Diameter: 15 in. (38 cm.)
Conceived on 22 December 1952 and executed in a numbered
edition of 200; framed
3,000-5,000
$4,800-7,900
3,800-6,300
10
l*213
Visage aux yeux rieurs (A.R. 608)
stamped, marked and numbered Madoura Plein Feu /
Edition Picasso / R137 / Edition Picasso / 287/350 / Madoura
(underneath)
partially glazed and engraved ceramic pitcher
Conceived on 9 January 1969 and executed in a numbered
edition of 350
15,000-20,000
$24,000-31,000
19,000-25,000
l214
Oiseaux et Poissons (A.R. 291)
stamped, marked and numbered Empreinte Originale de
Picasso / Madoura Plein Feu / 5 (underneath); numbered and
inscribed 8/25 II (inside)
unglazed painted white earthenware vase
40,000-60,000
$63,000-94,000
51,000-75,000
(alternate view)
12
l*215
Plat espagnol au toros (A.R. 403)
stamped and marked Madoura Plein Feu / Edition Picasso /
Edition Picasso 93/100 Madoura (underneath)
partially glazed and engraved ceramic plate
100; framed
4,000-6,000
$6,300-9,400
5,100-7,500
14
l216
Visage et hibou (A.R. 407)
Plein Feu / Edition Picasso / 30/200 (underneath)
partially glazed and engraved ceramic vase
7,000-10,000
$11,000-16,000
8,800-13,000
l217
Chouette femme (A.R. 119)
partially glazed ceramic vase
3,000-5,000
$4,800-7,900
3,800-6,300
16
l218
Chouette (A.R. 607)
Plein Feu / Edition Picasso / 59/500 / Madoura / R.147
(underneath)
partially glazed and engraved ceramic vase
4,000-6,000
$6,300-9,400
5,100-7,500
17
l219
Hibou (A.R. 224)
stamped and numbered Madoura Plein Feu / Edition Picasso /
14 (underneath)
painted and engraved ceramic sculpture
40,000-60,000
$63,000-94,000
51,000-75,000
18
19
l220
Joueur de diaule (A.R. 1)
Picasso / I108 / 36/200 (underneath)
partially glazed and engraved ceramic plate
3,000-5,000
$4,800-7,900
3,800-6,300
20
PROPERTY FORMERLY IN THE COLLECTION OF LOUIS ARAGON
l221
PROVENANCE:
Colombe de la paix
dated and inscribed Vallauris le 22.1.54. and stamped Madoura Plein Feu
(underneath)
Executed in Vallauris on 22 January 1954; this work is unique
20,000-30,000
$32,000-47,000
26,000-38,000
Louis Aragon, Paris.

A gift from the above by 1978 and thence by descent to the present owner.

The text on the plate reads Je reclame le droit de faire comme si La guerre
tait un chien assis aux pieds parfaits de notre France. This is a passage from
Louis Aragons poem Les yeux et la mmoire, published in 1954, the same
year this plate was executed.
l222
Service visage noir (A.R. 47)
stamped and marked Madoura Plein Feu / daprs Picasso /
Madoura L (underneath)
2,000-3,000
$3,200-4,700
2,600-3,800
l223
Service visage noir (A.R. 42)
stamped and marked Madoura Plein Feu / daprs Picasso /
Madoura G (underneath)
Diameter 9 in. (23.7 cm.)
2,000-3,000
$3,200-4,700
2,600-3,800
22
l*224
Vase au dcor pastel (A.R. 190)
terracotta vase with pastel
Conceived on 4 June 1953 and executed in a numbered
edition of 200
3,000-5,000
$4,800-7,900
3,800-6,300
l225
Grande tte de femme au chapeau orn (A.R. 518)
stamped and numbered Madoura Plein Feu / Empreinte Originale de
Picasso / 22/50 (on the reverse)
unglazed terracotta plaque
23 x 19 in. (60.7 x 50.2 cm.)
30,000-50,000
$48,000-79,000
38,000-63,000
Grande tte de femme au chapeau orn is one of a series of seven terracotta

plaques that Picasso produced with the Ramis at Madoura in 1963. Each
was produced from a plaster cast of an earlier worked linoleum block. In
addition to his collaboration with the Ramis in Vallauris since 1947, Picasso
had also started an equally fruitful and creative working relationship with
the local printmaker Hidalgo Arnra in 1954, where Picasso created this
series of seven linocuts. The ceramics produced at Atelier Madoura and the
linocuts produced at Imprimerie Arnra highlight the breadth of collaboration
between Picasso and these two studios at this time, with each renowned for
their mastery of their respective craft.
The original linocut subject from which this ceramic plaque was created bears
a resemblance to the many portraits of Jacqueline Roque, however, on this
occasion Brigitte Baer stops short of including the muses name in the title.
Picasso had met Jacqueline in 1954 when they were both working at the
Madoura pottery, and he would go on to marry her in 1961, two years before
the production of this series of plaques. Five of the series of seven plaques
feature Jacqueline, but this plaque is by far the most successful portrait
because of the complexity of the composition and its sheer pictorial scale.
Picasso would paint Jacqueline almost exclusively from 1954 until the year of
his death.
It is evident that the series were specifcally planned; this is due to the
fact that many of the blocks belong to reductive prints. The nature of the
reductive process, which was invented by Picasso in collaboration with
Arnra, is to cut each colour away from a single piece of linoleum, building
colours from lightest to darkest. As a process, one could say this is ruinous, as
it is not possible to go back, undo, or amend what the artist had cut. For this
reason, it was essential for the ceramicists to have a plaster cast of the desired
image that Picasso wanted to have cast in clay.
24
In the example of Grande tte de femme au chapeau orn Picasso cut only
a single state for the linoblock. The plaster cast of the linoleum block has
preserved for posterity the fne carvings and grooves of the relief in the
negative areas. These are the areas which would not receive ink and which
would only be apparent printed in the linoleum print when the heaviest
of pressure is applied during the print run. In this way we can view the
plaster cast, and the resulting surface of the terracotta plaque, as a means
of understanding the skill and shallow depths to which Picasso carved his
linoblocks no linoleum block was deeper than 5 mm.
The linocut, Grande tte de femme au chapeau orn, was experimental in its
nature; playing with texture and pushing the material to its limits. The same
can be said for the resultant terracotta plaque. The variation in the surface,
in order to be a true refection of the plaster cast, had to absolutely perfect. If
not, the application of the black glaze would not create the required effect.
Structurally, it was extremely demanding to create a terracotta plaque of
this size in the early 1960s - at almost 60 cm. high and 50 cm. wide. One
imagines many failed efforts rejected by Picasso and the Ramis. That there
are no fring cracks in a terracotta tile of this size, as in this example from the
edition, is remarkable.
By exploring the linoleum block in plaster and pursuing the creation of the
terracotta plaques, we can see how the necessary process of carving the lino
must have struck a chord with Picasso; as the plaques elevate the necessary
action within printmaking, to a standalone object in relief an artwork in its
own right.
We would like to thank Stephen Gallagher, Associate Print Specialist, for his
assistance with this catalogue note.
l226
l227
Petit buste de femme (A.R. 523)
Tte dhomme aux cheveux longs (A.R. 598)

Originale de Picasso / 76/100 (on the reverse)
engraved terracotta plaque
12 x 10 in. (32.8 x 25.4 cm.)
stamped and marked Madoura Plein Feu / Empreinte Originale

de Picasso / J210 / Exemplaire Editeur (on the reverse)
engraved terracotta plaque
12 x 12 in. (31.1 x 31.1 cm.)
Conceived in December 1968 to January 1969 and executed in
a numbered edition of 200
8,000-12,000
$13,000-19,000
11,000-15,000
2,000-3,000
$3,200-4,700
2,600-3,800
l228
Visage en gros relief (A.R. 506)
Empreinte Originale de Picasso / 12/100 / T106 (underneath)
terracotta plate
Conceived on 15 July 1963 and executed in a numbered
edition of 100
1,000-1,500
$1,600-2,400
1,300-1,900
l229
Visage (A.R. 500)
Empreinte Originale de Picasso / 7/100 / T102 (underneath)
terracotta plate
Conceived on 12 July 1963 and executed in a numbered
edition of 100
1,000-1,500
$1,600-2,400
1,300-1,900
l230
Homme aux petits bras (A.R. 99)
stamped Madoura Empreinte Originale de Picasso (on the
reverse)
terracotta medallion
500-1,000
$790-1,600
630-1,300
27
l231
Joueur, danseur et buveur and Ttes dhommes
dated 9.3.57. (upper right)
10 x 12 in. (25.6 x 30.8 cm.)
partially glazed and painted ceramic plaque
Executed on 9 March 1957; this work is unique
30,000-50,000
$48,000-79,000
38,000-63,000
230 (recto)
In March 1957, Pablo Picasso produced a series approx. seven

plaques inspired by Classical Greek imagery, all painted on
both sides. On the glazed front of the plaque three male
fgures are engaged in a lively bacchanal scene: a kneeling
man playing a double-fute, a dancer and a reclining winedrinker. Full of this dionysian enthusiasm of music, dance
and wine, one turns the plaque and fnds a sequence of nine
caricatures, painted within individual cells on the reverse: the
self reveals its multiple other identities.
230 (verso)
l*232
Tte dhomme aux cheveux longs (A.R. 597)
Empreinte Originale de Picasso / J 110A 17/50 (on the reverse)
partially glazed terracotta plaque
12 x 12 in. (30.5 x 30.5 cm.)
Conceived in December 1968 to January 1969 and executed in
a numbered edition of 50; framed
5,000-8,000
$7,900-13,000
6,300-10,000
l233
Centaure (A.R. 338)
stamped and marked Madoura Plein Feu / Empreinte
Originale de Picasso / C 112 (underneath)
painted terracotta plate
3,000-5,000
$4,800-7,900
3,800-6,300
29
234
Visage no. 0 (A.R. 458)
marked and numbered Edition Picasso/31/500/Madoura
(underneath)
2,500-3,500
$4,000-5,500
3,200-4,400
l*235
Visage no. 202 (A.R. 495)
marked and numbered No202 Edition Picasso 315/500
Madoura (underneath)
500; framed
3,000-5,000
$4,800-7,900
3,800-6,300
l236
Petit visage no. 65 (A.R. 471)
marked and numbered N.65 / Edition Picasso / 121/150 /
2,000-3,000
$3,200-4,700
2,600-3,800
30
l237
Horloge la langue (P.H. 1427)
stamped with the artists signature and numbered Picasso
18/20 and stamped with the silversmiths mark, the French
assay mark for silver and numbered 2389/1427 (underneath)
silver repouss plate
Diameter: 16 (42 cm.)
Conceived in 1956 and executed in silver in a numbered
edition of 20 plus two preuves dartiste and two preuves
dauteur
20,000-30,000
$32,000-47,000
26,000-38,000
31
l*238
Faune cavalier (P.H. 1406)
2/20 180/77 1409 (on the reverse); stamped with the
goldsmiths and a French mark (on the suspensory loop on the
reverse)
gold medallion
Conceived in 1956 and executed in gold in a numbered
edition of 20 plus two exemplaire dartiste and two exemplaire
dauteur; with wooden the case
7,000-10,000
$11,000-16,000
8,800-13,000
l*239
Taureau (P.H. 1413)
2/20 1413 (on the reverse); stamped with the goldsmiths
mark and a French mark (on the suspensory loop on the
reverse)
gold medallion
dauteur; with the wooden case
6,000-8,000
$9,500-13,000
7,600-10,000
l*240
Visage en forme dhorloge (P.H. 1425)
2/20 1425 (on the reverse); stamped with the goldsmiths
mark and a French mark (on the suspensory loop on the
reverse)
gold medallion
dauteur; with the wooden case
7,000-10,000
$11,000-16,000
8,800-13,000
32
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
l*241
l*242
Visage aux taches (P.H. 1440)
Visage larv (A.R. 347 & 348)
stamped with the artists signature and numbered

Picasso 15/20 and stamped with the silversmiths mark, the
French assay mark for silver and numbered 2047 / 1440
(on the reverse)
silver repouss plate
Conceived in 1956 and executed in silver in a numbered
dauteur
stamped, marked and numbered Madoura Plein Feu

/ Empreinte Originale de Picasso / C.101Bis / 7/100
(underneath)
unglazed white earthenware plate (partially glazed verso)
12,000-18,000
$19,000-28,000
16,000-23,000
5,000-8,000
$7,900-13,000
6,300-10,000
l243
Colombe brillante (A.R. 218)
stamped Madoura Plein Feu / Edition Picasso (underneath)
5,000-8,000
$7,900-13,000
6,300-10,000
34
l*244
Masque (A.R. 311)
marked and numbered Edition Picasso 36/250 Madoura (on
the reverse)
partially glazed ceramic plaque
7 x 7 in. (20 x 20 cm.)
edition of 250, framed
1,500-2,000
$2,400-3,100
1,900-2,500
l*245
Masque (A.R. 310)
marked and numbered K.121 Edition Picasso 69/300 Madoura
(on the reverse)
7 x 7 in. (20 x 20 cm.)
edition of 300, framed
1,500-2,000
$2,400-3,100
1,900-2,500
l246
Bouquet la pomme (A.R. 305)
dated 22.1.56. (in reverse; lower centre); stamped Madoura
Plein Feu / Empreinte Originale de Picasso (underneath)
Conceived on 22 January 1956 and executed in an edition of 400
2,000-3,000
$3,200-4,700
2,600-3,800
35
PROPERTY FROM A PRIVATE PARISIAN COLLECTION
l247
Service poisson (A. R. 3-28)
each stamped and marked Madoura Plein Feu/Edition
Picasso/GR (underneath); and with the corresponding letters
A-X (underneath the bowls and plates); and numbered 35
(underneath the bowls, plates dish and tureen, except for
plate U)
glazed ceramic dinner service
26 pieces consisting of one dish, 12 bowls, 12 small plates,
and one tureen with lid
Dish diameter: 16 in. (40.5 cm.)
Bowl diameter: 7 in. (18.5 cm.)
Plate diameter: 8 in. (21.8 cm.)
Tureen diameter: 15 in. (29.7 cm.)
30,000-50,000
$48,000-79,000
38,000-63,000
36
l248
Danseurs et joueur de diaule (A.R. 341)
Empreinte Originale de Picasso / R=D101 24/100
unglazed white earthenware plate
Conceived in 1956 executed in a numbered edition of 100
2,500-3,500
$4,000-5,500
3,200-4,400
l249
Toros (A.R. 161)
Edition Picasso/Madoura (underneath)
Conceived on 29 July 1952 and executed in an edition of 500
2,000-3,000
$3,200-4,700
2,600-3,800
l250
Visage de faune tourment (A.R. 319)
Originale de Picasso / 86/100 (underneath)
4,000-6,000
$6,300-9,400
5,100-7,500
38
l251
Cavalier et cheval (A.R. 138)
Plein Feu / Edition Picasso / 273/300 / Madoura (underneath)
glazed and engraved ceramic pitcher
3,000-5,000
$4,800-7,900
3,800-6,300
l252
Tte de chvre de profl (A.R. 106)
(underneath)
Conceived in 1950 and executed in an edition of 50; this work
is a variant in design with four leaves in place of three
2,000-3,000
$3,200-4,700
2,600-3,800
lD253
(underneath)
800-1,200
$1,300-1,900
1,100-1,500
l254
(underneath)
2,000-3,000
$3,200-4,700
2,600-3,800
40
l255
l*256
Sujet poisson (A.R. 139)
Yan visage (A.R. 512)

Edition Picasso / Madoura (underneath)
terracotta pitcher

terracotta pitcher
Conceived on 30 August 1963 and executed in a numbered
edition of 300
2,000-3,000
$3,200-4,700
2,600-3,800
1,500-2,500
$2,400-3,900
1,900-3,100
l*257
Profl de taureau (A.R. 317)
dated XXII II 56 (in reverse; lower right); stamped Madoura
Plein Feu / Empreinte Originale de Picasso (on the reverse)
Conceived on 22 February 1956 and executed in an edition of
450; framed
1,500-2,000
$2,400-3,100
1,900-2,500
l258
Picador (A.R. 211)
stamped and numbered Edition Picasso / Madoura Plein Feu /
261/500 (underneath)
1,000-2,000
$1,600-3,100
1,300-2,500
lD259
Picador et taureau (A.R. 195)
stamped Madoura Plein Feu/Empreinte Originale de Picasso
(underneath)
Conceived on 25 September 1953 and executed in a small
edition
1,800-2,200
$2,900-3,500
2,300-2,800
42
l260
l261
Scne de tauromachie (A.R. 238)
Scne de tauromachie (A.R. 393)
Picador (A.R. 162)
dated 25.11.53. (in reverse; upper right);

stamped Madoura Empreinte Originale de
Picasso (underneath)
Conceived in November 1954 and executed in an
edition of 100
stamped, marked and numbered Edition Picasso

/ Madoura Plein Feu / Edition Picasso / 17/500 /
engraved terracotta plate
Conceived on 22 January 1957 and executed in a
numbered edition of 500
marked Edition Picasso Madoura (underneath)

partially glazed terracotta pitcher
Conceived on 5 August 1952 and executed in an
edition of 500
1,000-2,000
$1,600-3,100
1,300-2,500
1,000-1,500
$1,600-2,400
1,300-1,900
l262
1,500-2,000
$2,400-3,100
1,900-2,500
l263
Danseurs (A.R. 387)
(on the reverse)
1,500-2,000
$2,400-3,100
1,900-2,500
l264
Danseurs (A.R. 388)
(on the reverse)
1,200-1,800
$1,900-2,800
1,600-2,300
l265
Ttes (A.R. 368)
1,500-2,500
$2,400-3,900
1,900-3,100
44
l266
Picador (A.R. 160)
1,000-2,000
$1,600-3,100
1,300-2,500
l267
Oiseau au ver (A.R. 172)
partially glazed ceramic ashtray
Diameter. 6 in. (15.8 cm.)
1,000-2,000
$1,600-3,100
1,300-2,500
l268
Oiseau au soleil (A.R. 174)
1,000-1,500
$1,600-2,400
1,300-1,900
45
l269
Ttes (A.R. 367)
Edition Picasso Madoura (underneath)
1,500-2,500
$2,400-3,900
1,900-3,100
l270
Picador (A.R. 176)
1,000-1,500
$1,600-2,400
1,300-1,900
271
ALAIN RAMI
Picasso, Catalogue of the edited ceramic
works 1947-1971
the complete catalogue raisonn of Picassos ceramic editions,
in English, published in Paris, 1988
500-800
$790-1,300
630-1,000
46
47
Important Notices and Explanation of

Cataloguing Practice
IMPORTANT NOTICES
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is
identified in the catalogue with the symbol next to
its lot number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include
guaranteeing a minimum price or making an
advance to the consignor that is secured solely by
consigned property. Where Christies holds such
financial interest on its own we identify such lots
with the symbol next to the lot number.
Where Christies has financed all or part of such
interest through a third party the lots are identified
in the catalogue with the symbol u. When a
third party agrees to finance all or part of Christies
interest in a lot, it takes on all or part of the risk of
the lot not being sold, and will be remunerated in
exchange for accepting this risk based on a fixed fee
if the third party is the successful bidder or on the
final hammer price in the event that the third party
is not the successful bidder. The third party may also
bid for the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against the
final purchase price. If the lot is not sold, the third
party may incur a loss. Please see http://www.
christies.com/financial-interest/ for a more detailed
explanation of minimum price guarantees and third
party financing arrangements.
Where Christies has an ownership or financial
interest in every lot in the catalogue, Christies will
not designate each lot with a symbol, but will state
its interest in the front of the catalogue.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION
Christies catalogues include references to condition
only in descriptions of multiple works (such as
prints, books and wine). For all other property,
only alterations or replacement components are
listed. Please contact the Specialist Department
for a condition report on a particular lot. The
nature of the lots sold in our auctions is such that
they will rarely be in perfect condition, and are
likely, due to their nature and age, to show signs
of wear and tear, damage, other imperfections,
restoration or repair. Any reference to condition
in a catalogue entry will not amount to a full
description of condition. Condition reports are
usually available on request, and will supplement
the catalogue description. In describing lots, our
staff assess the condition in a manner appropriate to
the estimated value of the item and the nature of
the auction in which it is included. Any statement
as to the physical nature or condition of a lot, in a
catalogue, condition report or otherwise, is given
honestly and with appropriate care. However,
Christies staff are not professional restorers or
trained conservators and accordingly any such
statement will not be exhaustive. We therefore
recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to
you in advance of bidding.
30/09/14
48
PROPERTY INCORPORATING MATERIALS

FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. Such material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whale bone and certain species of
coral, together with Brazilian rosewood. Prospective
purchasers are advised that several countries prohibit
altogether the importation of property containing
such materials, and that other countries require a
permit (e.g., a CITES permit) from the relevant
regulatory agencies in the countries of exportation
as well as importation. Accordingly, clients should
familiarise themselves with the relevant customs laws
and regulations prior to bidding on any property
with wildlife material if they intend to import the
property into another country. Please note that it is
the clients responsibility to determine and satisfy the
requirements of any applicable laws or regulations
applying to the export or import of property
containing endangered and other protected wildlife
material. The inability of a client to export or import
property containing endangered and other protected
wildlife material is not a basis for cancellation or
rescission of the sale. Please note also that lots
containing potentially regulated wildlife material are
marked as a convenience to our clients, but Christies
does not accept liability for errors or for failing to
mark lots containing protected or regulated species.
RECENT CHANGES TO IMPORTS OF
ELEPHANT IVORY AND OTHER WILDLIFE
MATERIAL INTO THE USA
The USA has recently changed its policy on the
import of property made of or containing elephant
ivory. Only Asian Elephant ivory may be imported
into the USA, and imports must be accompanied by
DNA analysis and confirmation the object is more
than 100 years old. We have not obtained a DNA
analysis on any lot prior to sale and cannot indicate
whether the elephant ivory in a particular lot is
African or Asian elephant. Buyers purchase these
lots at their own risk and will be responsible for the
costs of obtaining any DNA analysis or other report
required in connection with their proposed import of
such property into the USA.
The USA is also currently requiring all imports of
property made of or containing wildlife material to
be accompanied by a scientific confirmation of species and in some cases an additional confirmation of
age. We have not obtained such confirmations prior
to sale (unless specifically indicated) and buyers will
be responsible for the costs of any such additional
confirmations or opinions required for their proposed import into the USA.
A buyers inability to export or import any lot
containing elephant ivory or other wildlife material
is not a basis for cancelling the purchase.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works
of art. These items may not comply with the
provisions of the Furniture and Furnishings (Fire)
(Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations). Accordingly, these items
should not be used as furniture in your home in
their current condition. If you do intend to use such
items for this purpose, you must first ensure that
they are reupholstered, restuffed and/or recovered
(as appropriate) in order that they comply with the
provisions of the Regulations.
ELECTRICAL GOODS
All electrical goods offered in this catalogue have
either been tested and certified by an appropriately
qualified electrician or have been operationally disabled. We would strongly advise that any intended
re-commissioning is undertaken by an appropriately
qualified electrician.
EXPLANATION OF
CATALOGUING PRACTICE
Terms referred to in paragraph 2 are as follows:A work catalogued with the name(s) or recognised
designation of an artist, without any qualification, is,
in our opinion, a work by the artist.
In other cases, the following expressions, with the
following meanings are used:
By . . .
in our opinion a work by the artist.
Cast from a model by . . .
in our opinion a work from the artists model,
originating in his circle and cast during his lifetime
or shortly thereafter.
Attributed to . . .
in our opinion probably a work by the artist in
whole or in part.
In the style of . . .
in our opinion a work of the period of the artist and
closely related to his style.
Manner of . . .
in our opinion a work executed in the artists style
but of a later date.
After . . .
in our opinion a copy (of any date) of a work of
the artist.
Signed . . .
Dated . . ..
Inscribed . . .
Stamped . . .
in our opinion the signature/date/inscription/stamp
is by the artist or manufacturer.
Bearing the signature. . .
Bearing the date . . .
Bearing the inscription . . .
Bearing the stamp . . .
in our opinion the signature/date/inscription/stamp
is not by the artist or manufacturer.
Measurements are taken where possible from the
platemark (P), otherwise they record the size
of the sheet (S) or the borderline of the subject
(L). All measurements are in centimetres to the
nearest centimetre and are approximate.
Buying at Christies
CONDITIONS OF SALE
Christies Conditions of Sale and Limited Warranty are set out
later in this catalogue. Bidders are strongly encouraged to read
these as they set out the terms on which property is bought
at auction.
ESTIMATES
Estimates are based upon prices recently paid at auction for
comparable property, condition, rarity, quality and provenance.
Estimates are subject to revision. Buyers should not rely upon
estimates as a representation or prediction of actual selling
prices. Estimates do not include the buyers premium or VAT.
Where Estimate on Request appears, please contact the
Specialist Department for further information.
RESERVES
The reserve is the confidential minimum price the consignor
will accept and will not exceed the low pre-sale estimate. Lots
that are not subject to a reserve are identified by the symbol
next to the lot number.
BUYERS PREMIUM
Christies charges a premium to the buyer on the final bid
price of each lot sold at the following rates: 25% of the final
bid price of each lot up to and including 50,000, 20% of
the excess of the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and Cigars: 17.5%
of the final bid price of each lot. VAT is payable on the
premium at the applicable rate.
PRE-AUCTION VIEWING
Pre-auction viewings are open to the public free of charge.
Christies specialists are available to give advice and condition
reports at viewings or by appointment.
BIDDER REGISTRATION
Prospective buyers who have not previously bid or consigned
with Christies should bring:
Individuals: government-issued photo identification (such as
a photo driving licence, national identity card, or passport) and,
if not shown on the ID document, proof of current address, for
example a utility bill or bank statement.
Corporate clients: a certificate of incorporation.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at + 44 (0)20 7839 2825 for advice on the
information you should supply.
A financial reference in the form of a recent bank statement
or a reference from your bank in line with your expected
purchase level. Christies can supply a form of wording for the
bank reference if necessary.
Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies should bring
identification documents not only for themselves but also for
the party on whose behalf they are bidding, together with a
signed letter of authorisation from that party.
To allow sufficient time to process the information, new clients
are encouraged to register at least 48 hours in advance of a sale.
Prospective buyers should register for a numbered bidding
paddle at least 30 minutes before the auction. Clients who have
not made a purchase from any Christies office within the last
one year and those wishing to spend more than on previous
occasions, will be asked to supply a new bank reference.
For assistance with references, please contact Christies Credit
Department at +44 (0)20 7389 2862 (London, King Street)
or at +44 (0)20 7752 3137 (London, South Kensington). We
may at our option ask you for a financial reference or a
deposit as a condition of allowing you to bid.
REGISTERING TO BID ON SOMEONE ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to act
on the clients behalf. Please note that Christies does not
accept payments from third parties. Christies can only accept
payment from the client, and not from the person bidding
on their behalf.
BIDDING
The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or by absentee written bids left
with Christies in advance of the auction. The auctioneer may
also execute bids on behalf of the seller up to the amount of
the reserve. The auctioneer will not specifically identify bids
placed on behalf of the seller. Under no circumstances will the
auctioneer place any bid on behalf of the seller at or above the
reserve. Bid steps are shown on the Absentee Bid Form at the
back of this catalogue.
ABSENTEE BIDS
Absentee bids are written instructions from prospective buyers
directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies staff will attempt to
execute an absentee bid at the lowest possible price, taking
into account the reserve price. Absentee bids submitted on no
reserve lots will, in the absence of a higher bid, be executed
at approximately 50% of the low pre sale estimate or at the
amount of the bid if it is less than 50% of the low pre-sale
estimate.The auctioneer may execute absentee bids directly
from the rostrum, clearly identifying these as absentee bids,
book bids, order bids or commission bids. Absentee
Bids Forms are available in this catalogue, at any Christies
location, or online at christies.com.
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated below
2,000. Arrangements must be confirmed with the Bid
Department at least 24 hours prior to the auction at +44 (0)20
7389 2658 (London, King Street) or +44 (0)20 7752 3225
(London, South Kensington). Arrangements to bid in languages
other than English must be made well in advance of the sale
date. Telephone bids may be recorded. By bidding on the
telephone, prospective purchasers consent to the recording of
their conversation.
SUCCESSFUL BIDS
While Invoices are sent out by mail after the auction we do not
accept responsibility for notifying you of the result of your bid.
Buyers are requested to contact us by telephone or in person as
soon as possible after the sale to obtain details of the outcome
of their bids to avoid incurring unnecessary storage charges.
Successful bidders will pay the price of the final bid plus
premium plus any applicable VAT.
PAYMENT
Buyers are expected to make payment for purchases
immediately after the auction. To avoid delivery delays,
prospective buyers are encouraged to supply bank or other
suitable references before the auction. Please note that Christies
will not accept payments for purchased Lots from any party
other than the registered buyer.
Lots purchased in London may be paid for in the following
ways: wire transfer, credit card: Visa and MasterCard & American
Express only (up to 25,000), and cash (up to 5,000 (subject
to conditions)), bankers draft (subject to conditions) or cheque
(must be drawn in GBP on a UK bank; clearance will take 5 to
10 business days).
Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217
72 Lombard Street, London
EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for
international transfers, SWIFT LOYDGB2LCTY. For banks
asking for an IBAN: GB81 LOYD 3000 0200 1727 10.
Credit Card: Visa and MasterCard & American Express only. A
limit of 25,000 for credit card payments will apply. This limit
is inclusive of the buyers premium and any applicable taxes.
Credit card payments at London sale sites will only be accepted
for London sales. Christies will not accept credit card payments
for purchases made in any other sale site. The fax number to
send completed CNP (Card Member not Present) authorisation
forms to is +44 (0) 20 7389 2821. The number to call to make
a CNP payment over the phone is +44 (0) 20 7752 3388.
Alternatively, clients can mail the authorisation form to the
address below.
Cash is limited to 5,000 (subject to conditions).
Bankers Draft should be made payable to Christies (subject to
conditions).
Cheques should be made payable to Christies (must be
drawn in GBP on a UK bank, clearance will take 5 to 10
business days).
In order to process your payment efficiently, please quote
sale number, invoice number and client number with all
transactions.
All mailed payments should be sent to:
Christies, Cashiers Department,
8 King Street, St Jamess, London, SW1Y 6QT
Please direct all inquiries to King Street
Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863
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.
BuyersfromwithintheEU:
VAT payable at 20% on just the buyers premium (NOT the
hammer price).
BuyersfromoutsidetheEU:
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.
WineAuctions
This wine is in bond. You can choose to take the wine
in bond or duty paid. See the additional conditions of sale
relating to wine for further details.
VATRefunds
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:
ChristiesArtTransport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
ChristiesVATauthorisedShipper:
If you use a Christies VAT authorised shipper you will not be
required to pay the VAT at the time of settlement.
OwnShipper:
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 lots Please obtain 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 Museums, Libraries
and Archives Council: Acquisitions, Export and Loans Unit at
+44 (0)20 7273 8269/8267.
20/11/13
49
Storage and Collection

STORAGE & COLLECTION CHARGES
Specified lots, marked with a filled square ( ) not
cleared from Christies by 5.00 pm on the day of
the sale and all sold and unsold lots not cleared from
Christies by 5.00 pm on the fifth Friday following
the sale will be removed to the warehouse of:
Cadogan Tate Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
Lots will be available for collection on the frst full
business week after transfer to Cadogan Tate Ltd and
every business weekday from 9.00 am to 5.00 pm.
Property, once paid, can be released to Christies
Fine Art Storage Services (CFASS) in London,
New York or Singapore FreePort at any time for
environmentally controlled long term storage, per
client request. CFASS is a separate subsidiary of
Christies and clients enjoy complete confidentiality.
Visit www.cfass.com, or contact london@cfass.com.
Telephone: +44 (0)20 7622 0609 for details.
TRANSFER, STORAGE & RELATED
CHARGES (PER LOT)
CHARGES
Furniture/
Large Objects
Transfer/Admin
Storage per day
Extended
Liability Charge:
42.00
21.00
5.25
2.65
The lower amount of 0.6% of
Hammer Price or 100% of the
above charges
Pictures/
Small Objects
All charges are subject to VAT. Very large or heavy

items may be subject to a surcharge.
COLLECTION & PAYMENT OF ANY

CHARGES DUE
Lots will be available for collection from
Cadogan Tate Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
on every business day after the day of transfer,
from 9.00 am until 5.00 pm.
Lots may only be released by Cadogan Tate upon
a) production of the Collection Order
obtained from the cashiers office at
Christies, 85 Old Brompton Road, London SW7
or Christies, 8 King Street, London SW1
b) payment of any charges that may be due to
Cadogan Tate Ltd
To assist Cadogan Tate to provide a swift release
please telephone on the business day prior to
collection to ensure that Lots are available and to
ascertain any charges due. If sending a carrier please
ensure that they are provided with all necessary
information, your written authority to collect, the
Collection Order and the means to settle any charges.
COLLECTION FROM CADOGAN TATE
Please note that Cadogan Tate Ltds opening hours
are Monday to Friday 9.00 am to 5.00 pm, and
purchases transferred to their warehouse are not
available for collection at weekends.
EXTENDED LIABILITY CHARGES

All services provided by Cadogan Tate Ltd
(Cadogan Tate) will be subject to their standard
Conditions of Business, copies of which are
available at Christies South Kensington.
Please note in particular that Cadogan Tate
does not accept any liability for damage or loss,
due to its negligence or otherwise, exceeding the
Hammer Price of a Lot plus associated Buyers
Premium, or, at its sole option, the cost of repairing
or replacing the damaged or missing Lot and
it reserves a lien over all goods in its possession
for payment of storage and all other charges due
to it and
it automatically arranges on behalf of the Lots
owner and at the owners cost, insurance of the
Lot for the sum of the Hammer price plus Buyers
Premium. The Extended Liability Charge covers
the Lot from the time of collection from the
saleroom until release of the Lot to the owner or
the owners agent. The Extended Liability Charge
payable by the owner of the Lot is 0.6% of the
sum of the Hammer Price and Buyers Premium or
100% of the transfer and storage charges, whichever
is the smaller. This Extended Liability will not be
arranged and no charge will be payable only on
receipt by Cadogan Tate of advance written notice
from the owner of the lot together with formal
waiver of subrogation from the owners insurers.
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.
Please note that there will be no charge to

purchasers who collect their lots within two
weeks of this sale.
Cadogan TaTe LTds Warehouse

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
28/10/14
50
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.
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.
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.
(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.
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.
(c) Bidding as principal

When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Christies, and that Christies will only
look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone. Bids
must be placed in the currency of the place of the
sale. Please refer to the catalogue for the Absentee
Bids Form. If we receive written bids on a particular
lot for identical amounts, and at the auction these
are the highest bids on the lot, it will be sold to
the person whose written bid was received and
accepted first. Execution of written bids is a free
service undertaken subject to other commitments
at the time of the sale and provided that we have
exercised reasonable care in the handling of written
bids, the volume of goods is such that we cannot
accept liability in any individual instance for failing
to execute a written bid or for errors and omissions
in connection with it arising from circumstances
beyond our reasonable control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them to
participate in the bidding by telephone but we do
not accept liability for failure to do so or for errors
and omissions in connection with telephone bidding
arising from circumstances beyond our reasonable
control.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of
the currency converter. Where these arise from
circumstances beyond our reasonable control we
do not accept liability to bidders who follow the
currency converter rather than the actual bidding in
the saleroom.
(g) Video or digital images
At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
next to the lot number. The auctioneer may open
the bidding on any lot below the reserve by placing
a bid on behalf of the seller. The auctioneer may
continue to bid on behalf of the seller up to the
amount of the reserve, either by placing consecutive
bids or by placing bids in response to other bidders.
(i) Auctioneers discretion
The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the bidding
in such a manner as he may decide, withdrawing or
dividing any lot, combining any two or more lots
and, in the case of error or dispute, and whether
during or after the sale, determining the successful
bidder, continuing the bidding, cancelling the sale
or reoffering and reselling the item in dispute. If
any dispute arises after the sale, then, in the absence
of any evidence to the contrary the sale record
maintained by the auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion, the
highest bidder accepted by the auctioneer will be
the buyer and the striking of his hammer marks the
acceptance of the highest bid and the conclusion of
a contract for sale between the seller and the buyer.
Risk and responsibility for the lot (including frames
or glass where relevant) passes to the buyer at the
expiration of seven calendar days from the date of
the sale or on collection by the buyer if earlier.
4. AFTER THE SALE
(a) Buyers premium
In addition to the hammer price, the buyer agrees
to pay to us the buyers premium together with any
applicable value added tax. The buyers premium
is 25% of the final bid price of each lot up to and
including 50,000, 20% of the excess of the hammer
price above 50,000 and up to and including
1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and
Cigars: 17.5% of the final bid price of each lot, VAT
is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply to
the lot the buyer also agrees to pay to us an amount
equal to the resale royalty provided for in those
Regulations. Lots affected are identified with the
symbol next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers premium
and any applicable taxes or resale royalty)
immediately after the sale. This applies even if
the buyer wishes to export the lot and an export
licence is, or may be, required. The buyer will not
acquire title to the lot until all amounts due to us
from the buyer have been received by us in good
cleared funds even in circumstances where we have
released the lot to the buyer.
09/08/13
51
(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, at 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.
transactions, to apply any amount paid to

discharge any amount owed in respect of any
particular transaction, whether or not the buyer
so directs;
(viii) to reject at any future auction any bids made by
or on behalf of the buyer or to obtain a deposit
from the buyer before accepting any bids;
(ix) to exercise all the rights and remedies of a
person holding security over any property in our
possession owned by the buyer, whether by way
of pledge, security interest or in any other way,
to the fullest extent permitted by the law of the
place where such property is located. The buyer
will be deemed to have granted such security to
us and we may retain such property as collateral
security for such buyers obligations to us;
(x) to take such other action as we deem necessary
or appropriate.
(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.
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.
(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
(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
52
Worldwide Salerooms and European Offices
AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
+43 (0)1 533 8812

Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

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

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

Carmen Schjaer
+44 (0)20 7752 3004

Thomas Scott
+972 (0)3 695 0695

Roni Gilat-Baharaff
MADRID
SOUTH
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
+44 (0)1730 814 300

Mark Wrey
EAST
SWEDEN
STOCKHOLM
+44 (0)20 7752 3004

Thomas Scott
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)
NORTHWEST AND
WALES
+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
PARIS
ITALY
MILAN
+39 02 303 2831

ROME
+39 06 686 3333

Marina Cicogna
Business Development
Director
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+33 (0)1 40 76 85 85
+31 (0)20 57 55 255
GERMANY
DSSELDORF
PEOPLES REPUBLIC
OF CHINA
BEIJING
+49 (0)21 14 91 59 30
Arno Verkade
+86 (0)10 8572 7900
FRANKFURT
HONG KONG
+49 (0)61 74 20 94 85
Anja Schaller
SHANGHAI
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
+852 2760 1766

+86 86 (0)21 6355 1766
Jinqing Cai
PORTUGAL
LISBON
SWITZERLAND
GENEVA
+41 (0)22 319 1766

Eveline de Proyart
ZURICH
+44 (0)20 7839 9060
+44 (0)20 7930 6074
+44 (0)20 7752 3004

Jane Blood
SCOTLAND
+44 (0)131 225 4756

Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN
+44 (0)20 7389 2032
+41 (0)44 268 1010

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

Melissa Bonn
+90 (532) 558 7514

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

Christine Ryall
UNITED ARAB EMIRATES

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

Mafalda Pereira
Coutinho
(Independent
Consultant)
E NQ U I RI ES Call the Saleroom or Office

For a complete salerooms & offices listing go to christies.com
E MA I L info@christies.com
03/11/14
53
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
Tel: +44 (0)20 7389 2548

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

Fax: +44 (0)20 7389 2204
HERITAGE AND
TAXATION
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06/11/14
54
CARL MOOS (1878-1959)

St. Moritz
Lithograph in colours
18,00022,000
The Ski Sale

London, South Kensington 22 January 2015
Viewing
Contact
1721 January 2015

London SW7 3LD
Nicolette Tomkinson
ntomkinson@christies.com
+44 (0)20 7752 3301
christies.com
Impressionist/Modern Day Sale

London, King Street 5 February 2015
Viewing
Contact
30 January4 February
8 King Street
London SW1Y 6QT
Keith Gill
kgill@christies.com
+44 (0)20 7389 2175
PABLO PICASSO (18811973)

Trois poissons
partially glazed and engraved terracotta plate 17 in. (43.3 cm.)
Executed on 13 April 1957; this work is unique
40,00060,000
Impressionist/Modern Works on Paper

London, King Street 5 February 2015
Viewing
Contact
30 January4 February
8 King Street
London SW1Y 6QT
Cornelia Svedman
csvedman@christies.com
+44 (0)20 7389 2561
PROPERTY FROM AN IMPORTANT SWISS COLLECTION

PABLO PICASSO (18811973)
Nu couch
dated and numbered 20.1.64VI (upper left)
pencil and charcoal on paper
5 x 8 in. (13.5 x 21 cm.)
Drawn on 20 January 1964
60,000 80,000
Impressionist/Modern
and Picasso Ceramics
Absentee Bids Form

Christies South Kensington
FRIDAY 6 FEBRUARY 2015 AT 10.30 AM

AND 2.00 PM
85 Old Brompton Road, London SW7 3LD

CODE NAME: MARTA
SALE NUMBER: 10393
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38,000)
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PICASSO CERAMICS
SOUTH KENSINGTON
FRIDAY 6 FEBRUARY 2015

Impressionist/Modern &amp; Picasso Ceramics

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IMPRESSIONIST/MODERN

INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

STORAGE AND COLLECTION

Friday 6 February 2015

Please refer to the important notice

AUCTION CODE AND NUMBER

In sending absentee bids or making

Florence Woodfeld Morais

First initial followed by last name @

Benthe Tupker and Tom Best

Tel: +44 (0)20 7752 3225

Tel: +44 (0)20 7839 9060

Tel: +44 (0)20 7752 3225

Tel: +44 (0)20 7839 9060

Tel: +44 (0)20 7839 9060

Tel: +44 (0)20 7389 2915

Tel: +44 (0)20 7389 2712

Tel: +44 (0)20 7839 9060

This auction is subject to

For an overview of the process, see the

These auctions feature

View catalogues and leave bids online

Roland Pozzi, and thence by descent to the present owner.

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

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

PROPERTY FROM THE COLLECTION OF RUDOLF AND LEONORE BLUM

Jeanne Frank, New York.

Basel, Galerie Beyeler, Braque, July - September 1968.

This tapestry was conceived after Pablo Picassos eponymous oil

PROPERTY FROM THE COLLECTION OF HANS HELLMUT KIRST

Olivier Lorquin has confrmed the authenticity of this work.

PROPERTY FROM THE COLLECTION OF HANS HELLMUT KIRST

PROPERTY FROM THE COLLECTION OF HANS HELLMUT KIRST

Olivier Lorquin has confrmed the authenticity of this work.

THE PROPERTY OF A CHICAGO COLLECTOR

Perls Galleries, New York (no. 7363).

Olivier Lorquin and Didier Jumaux have confrmed

THE PROPERTY OF A CHICAGO COLLECTOR

signed Bombois C.lle (lower right)

Perls Galleries, New York.

Olivier Lorquin and Didier Jumaux have confrmed the

THE PROPERTY OF A CHICAGO COLLECTOR

Perls Galleries, New York.

DeKalb, Swen Parson Gallery, The Magic of Nave,

Olivier Lorquin and Didier Jumaux have confrmed

Perls Galleries, New York.

DeKalb, Swen Parson Gallery, The Magic of Nave,

Olivier Lorquin and Didier Jumaux have confrmed

PROPERTY FROM A NOTABLE COLLECTION

Anonymous sale, Htel Drouot, Paris, 16 December 1980, lot 54.

signed and dated Bernard Buffet 55 (upper centre)

This work is sold with a photo-certifcate from Galerie

PROPERTY FROM A NOTABLE COLLECTION

Arthur Tooth & Sons, London.

This work is sold with a photo-certifcate from

Private collection, Japan.

Alexis Brasilier has confrmed the authenticity

Anonymous sale, Htel Drouot, Paris, 23 June

This work is sold with a certifcate from

PROPERTY FROM A NOTABLE COLLECTION

Galerie Tamenaga, Tokyo.

signed and dated Bernard Buffet 51 (upper right)

This work is sold with a photo-certifcate from Galerie Maurice Garnier

Galerie Vildrac, Paris (no. 280).

Impressionist/Modern & Picasso Ceramics

Impressionist/Modern & Picasso Ceramics