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SHIPPING
CONTENTS
Calendar of Auctions
Auction Information
103
Index
108
111
112
113
114
116
121
122
Catalogue Subscriptions
front cover:
Lot 66
Lot 117
Lot 102
opposite:
Lot 115
o p p o s i t e p a g e 121:
Lot 123
Lot 35
christies.com
1
ALBRECHT DRER (1471-1528)
The Prodigal Son
engraving, 1496, on laid paper, watermark Bishops Crest (M. 39, circa 1540-50), a
good, strong Meder f impression, still printing with good contrast, a paper loss in
the roof at upper left, skilfully made up with pen and ink, another smaller made
up paper loss at the left sheet edge above the piglet, the upper and lower left
and lower right sheet corners made up, a horizontal central fold, partially broken
through and skilfully repaired, mostly visible verso
P., S. 246 x 190 mm.
5,000-7,000
$7,700-11,000
6,800-9,400
LITERATURE:
2
ALBRECHT DRER
Saint Eustace
engraving, circa 1501, on laid paper, watermark High Crown (M. 20), a fine Meder
b impression, trimmed just inside the subject on three sides, to or just outside
the borderline below, with the usual horizontal central fold, partially broken
through and repaired at left, a short tear at the lower sheet edge, pale scattered
foxing, some other, minor defects mainly at the sheet edges, framed
S. 349 x 259 mm.
15,000-25,000
$23,000-38,000
21,000-34,000
PROVENANCE:
*3
ALBRECHT DRER
Nemesis
engraving, circa 1501, on laid paper, watermark High Crown (M. 20), a fine Meder
IIa impression, with burr in the wings and subtle platetone in the clouds at left,
the landscape printing very clearly and with good contrasts, with small margins,
a short tear in the left margin, generally in very good condition
P. 329 x 229 mm., S. 336 x 238 mm.
70,000-100,000
$110,000-150,000
95,000-130,000
PROVENANCE:
Richard H. Zinser (circa 1883-1983), Forest Hills, New York (not in Lugt).
LITERATURE:
Nemesis, the Greek goddess of retribution, with wings and standing on a ball,
glides majestically over an alpine landscape, which - depicted in tiny detail - lies far
underneath. In her hands she holds a bridle and a cup, her instruments to punish
and restrain the proud and reward the just. As Panofskys iconological studies have
demonstrated, these attributes can only have been derived from the poem Manto
by the Tuscan poet Angelo Poliziano (1454-1494), and it may have been through
Willibald Pirckheimer that Drer, who did not read Latin himself, knew this particular
literary source.
The engraving of Nemesis has been described as a humanist, secular version of
the Apocalypse. Indeed, in true Renaissance spirit, Drer found similar images for
two seemingly opposing concepts, for Christian revelation and Greek mythology.
In both instances, in the Apocalypse as well as in the present engraving, the image
is divided into two spheres: an earthly realm, and a celestial one, where angels and
demons fight and goddesses rule.
That to Drer the goddess of fate was not just a literary figure can be seen from his
own writings. In the journal he kept in the Netherlands in 1520-21, Drer referred to
unforeseeable events as the workings of Fortuna. It is a remarkably secular, modern
notion to think of the course of events being determined not by God, but by such an
unaccountable agent.
The mountain landscape has been identified as a view of the village of Klausen in
the Eisack valley, one of the few unambiguously identifiable locations in Drers
printed oeuvre.
4
GIOVANNI BATTISTA DE
CAVALIERI (1525-1601)
The Massacre of the Innocents
engraving, 1561, printed on two joined sheets,
without watermark, a fine impression of this large
print, the extremely rare first state (of three), with
wide margins at left and right and small margins
above and below, a few flattened folds mostly
visible verso, some pale staining, generally in good
condition
P. 470 x 590 mm., S. 490 x 670 mm.
7,000-10,000
$11,000-15,000
9,500-13,000
LITERATURE:
Le Blanc 7
This depiction of the Massacre of the Innocents
has traditionally also been associated with Baccio
Bandinelli. In 1999, after the emergence of an
impression of the present, very rare first state in the
Bibliothque National, Suzanne Boorsch interpreted
the inscription Jo Baptista de Cavalle / ris Lagerinus
incideb. / in AEdibus Salvianis. / .M.D.LXI. / ROMAE. as
referring to the Florentine painter Francesco Salviati
(Print Quarterly, 1999, vol. XVI, no. 3, p. 266f.). In the
discussion following the discovery of this previously
undescribed state however Michael Bury argued that
the inscription related to the printer and publisher
Ippolito Salviani, in whose workshop the engraving
was presumably printed; a view then also shared by
Boorsch (Print Quarterly, 2000, vol. XVII, no. 2, p.190).
The question of the attribution of the composition
hence remains uncertain.
5
PETER PAUL RUBENS (1577-1640)
Saint Catherine
etching with engraving, circa 1620-30, without
watermark, a fine, strong impression of this rare
print, third, final state, printing with very little wear,
with narrow margins, two tiny holes in the clouds
below, with a horizontal central fold, the sheet
toned, with some foxing and staining
P. 293 x 198 mm., S. 298 x 203 mm.
5,000-7,000
$7,700-11,000
6,800-9,400
PROVENANCE:
Hollstein 1
6
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
Self-Portrait in a Cap and Scarf with Face dark: Bust
etching, 1633, on laid paper, a fine impression of New Hollsteins second state (of
five), laid down onto a support sheet, with thread margins, partially remargined,
a short tear with an associated tiny paper loss at upper right, a short tear at the
lower left sheet corner, a few other small, very skilfully repaired defects, the
subject in very good condition
P., S. 142 x 111 mm.
4,000-6,000
$6,100-9,100
5,400-8,100
LITERATURE:
*7
REMBRANDT HARMENSZ. VAN RIJN
The Flight into Egypt: A Night Piece
etching with drypoint and engraving, 1651, apparently without watermark, a very
good impression of New Hollsteins sixth state (of ten), before the extensive
rework by another hand, printing clearly and with good contrasts, with small
margins, in very good condition, framed
P. 126 x 110 mm., S. 131 x 114 mm.
5,000-7,000
$7,700-11,000
6,800-9,400
PROVENANCE:
K. E. von Liphart (1808-1891), Dorpat, Bonn and Florence (L. 1687); his sale,
C. G. Boerner, Leipzig, 5 December 1876 (and following days), lot 1353
(30 M to Wigand).
M. Wigand (1846-1891), Leipzig (L. 2623); acquired at the above sale; sold
C. G. Boerner, Leipzig, 12 November 1891, lot 397 (32 M).
With Colnaghis, London (their stocknumber C. 22565 in pencil verso).
LITERATURE:
8
REMBRANDT HARMENSZ. VAN RIJN
Christ at Emmaus: The smaller Plate
etching with drypoint, 1634, without watermark, a good impression of this
scarce print, New Hollsteins only state, beginning to show some wear in places,
trimmed to or on the platemark, generally in very good condition
P., S. 104 x 75 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
LITERATURE:
*9
REMBRANDT HARMENSZ. VAN RIJN
Peter and John healing the Cripple at the Gate of the
Temple
etching with drypoint and engraving, 1659, on laid paper, without
watermark, a good impression of New Hollsteins fifth state (of six),
still printing with depth and very clearly in the background, with
small margins, in very good condition, framed
P. 177 x 211 mm., S. 183 x 216 mm.
4,000-6,000
$6,100-9,100
5,400-8,100
PROVENANCE:
The Art Institute of Chicago, their stamp on the reverse (L. 32b)
An unidentified collectors mark verso.
LITERATURE:
*10
REMBRANDT HARMENSZ. VAN RIJN
The Return of the Prodigal Son
etching, 1636, with an indistinct watermark, a good impression
of New Hollsteins first state (of three), with Christs left eye just
beginning to wear, the landscape still quite distinct, with small
margins, in very good condition, framed
P. 155 x 136 mm., S. 158 x 140 mm.
7,000-10,000
$11,000-15,000
9,500-13,000
PROVENANCE:
11
REMBRANDT HARMENSZ. VAN RIJN
Reclining female Nude (La Negresse couch)
etching and drypoint, 1658, countermark DG (Hinterding a), a good
impression of New Hollsteins fourth state (of six), with margins, in
very good condition
P. 81 x 160 mm., S. 87 x 166 mm.
4,000-6,000
LITERATURE:
10
$6,100-9,100
5,400-8,100
(actual size)
*12
REMBRANDT HARMENSZ. VAN RIJN
Cottage with a white Paling
etching with drypoint, 1648, watermark Foolscap with five-pointed Collar (Hinterding K-b-a; not in Laurentius),
a good impression of the third, final state, still printing with touches of burr on the ducks head and in the
foreground, printing with a light plate tone, with small margins, a short, thinly backed tear at upper sheet
edge, otherwise in very good condition, framed
P. 130 x 160 mm., S. 136 x 166 mm.
20,000-30,000
$31,000-46,000
27,000-40,000
PROVENANCE:
11
*13
REMBRANDT HARMENSZ. VAN RIJN
Jan Lutma, Goldsmith
etching with drypoint and engraving, 1656, watermark Foolscap with five-pointed Collar (Hinterding N.a.b,;
not in Laurentius), a fine, early impression of Hollsteins second state (of three), with considerable burr
throughout, with rich inky plate edges and a thin vale of tone in the darker areas, on warm-toned paper, with
narrow margins, some pale scattered foxing, two tiny paper losses at the left sheet edge, otherwise in very
good condition
P. 197 x 149 mm., S. 201 x 151 mm.
50,000-70,000
$77,000-110,000
68,000-94,000
LITERATURE:
The etched portraits of the late 1650s are arguably Rembrandts greatest and most elaborate. During this period
he depicted a number of fellow artists, collectors, publishers and craftsmen men whom he respected and was
friendly with. While his family portraits are mostly quick, spontaneous sketches, these more formal portraits are
complex investigations into the character of his sitters. The present portrait of the goldsmith Jan Lutma is perhaps
one of the most captivating portraits of all.
Jan Lutma (c.1584-1669) was one of the leading goldsmiths and jewellers in Amsterdam at the time, and a great
collector of prints his son Jan Lutma the Younger was an etcher. There is a gentle pride in the way the aging
craftsman presents himself, seated in a large armchair, surrounded by the accoutrements and products of his
profession: a hammer and punches are placed on the table next to him; there is a chased silver bowl; and in his
right hand he holds a figurine or candlestick.
The states of this print have been re-assessed in New Hollstein. As before, the niche, window, signature and the
inscription identifying the sitter constitute the second state. According to New Hollstein however, the inscription
in the lower right F. Lutma Ex., the address of Jan Lutmas son Franois, has been added later, constituting
a previously undescribed third state. The authors of New Hollstein themselves had some doubt as to this
assessment, stating that Craddock & Barnard, Mnz and Bjrklund assumed the inscription was by the same hand
as the engraved inscription in the previous state and was added at the same time. Whether this is indeed correct,
cannot be established with certainty. (New Hollstein, p. 262) In conversation with Eric Hinterding, one of the
authors, he expressed the view that probably all inscriptions were added at the same time and that the inscription
F. Lutma Ex. only becomes visible as the densely worked area at the lower right begins to wear.
12
(actual size)
13
VARIOUS PROPERTIES
14
ANTONIO VISENTINI (1688-1782) AFTER ANTONIO CANAL,
CALLED IL CANALETTO (1697-1768)
Prospectus Magni Canalis Venetiarum
the complete set of 38 engravings with etching, 1735, on smooth wove paper, watermarked MA, with the frontispiece
with portraits of Canaletto and Visentini and title page, lacking the three letter-press title pages for each series,
good impressions, the first series second state (of four), the two other series first state (of two), presumably the fifth
edition, published circa 1800-1820 by Teodoro Viero, Venice, probably the full sheets, some foxing, generally in good
condition, bound in marbled paper-covered boards (album)
343 x 485 mm. (overall)
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
Succi 3-42
Visentinis set of engravings Prospectus Magni Canalis Venetiarum was commissioned by Canalettos great patron and
agent, the English Consul Joseph Smith, to reproduce 38 paintings of views of Venice by Canaletto from his own collection.
Visentini began the work in 1728 and in 1735 he published a first edition comprising 14 views only. It was not until 1742 that
Visentini published the first complete edition with all 38 engravings. The commercial success of these views of Venice was
such that the album continued to be published until the late 19th century.
14
*15
FRANCISCO DE GOYA Y LUCIENTES (1746-1828)
The four additional Plates for: Los Proverbios
four etchings with aquatint and drypoint, before 1824, on laid paper, without
watermark, fine impressions, from the First Edition of the additional plates
published in LArt, Paris, 1877, probably the full sheets, some very pale,
unobtrusive discolouration at the sheet edges, generally in very good condition
P. 245 x 350 mm., S. 295 x 428 mm.
(4)
5,000-7,000
$7,700-11,000
6,800-9,400
LITERATURE:
16
FRANCISCO DE GOYA Y LUCIENTES
Los Desastres de La Guerra
LITERATURE:
10,000-15,000
Harris describes the Fourth Edition as excellently printed and superior in quality to
the Third Edition.
$16,000-23,000
14,000-20,000
15
17
18
etching and drypoint, 1879, on cream laid paper, watermark Arms of Amsterdam,
signed with the butterfly and inscribed imp in pencil in the lower margin,
Glasgows fourth or fifth state (of eight), a good impression printing with a rich
plate tone, the full sheet, a deckle edge below, generally in very good condition
P. 188 x 276 mm., S. 250 x 379 mm.
etching and drypoint, 1886, on laid paper without watermark, signed in pencil
with the butterfly and inscribed imp on the tab, a very good impression
of Glasgows first state (of two), printing with plate tone and wiping marks,
especially at lower left, trimmed to or on the platemark (as issued), an
unobtrusive paper split at the lower sheet edge at centre, generally in very good
condition
P., S. 140 x 217 mm.
8,000-12,000
$13,000-18,000
11,000-16,000
7,000-10,000
LITERATURE:
$11,000-15,000
9,500-13,000
16
19
PAUL CESAR HELLEU (1859-1927)
Le Chapeau Vert
drypoint in colours, on heavy wove paper, signed in pencil, a good impression
of this rare print, with wide margins, a repaired tear in the lower margin, repaired
tears at the sheet edges, a paper loss at the lower left sheet corner, other
defects, framed
P. 548 x 340 mm., S. 720 x 545 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
EXHIBITED:
Forgotten Printmakers of the 19th Century, Kovler Gallery, Chicago, December 1967 January 1968, No. 491 (according to a pencil inscription on the reverse).
20
JAMES JACQUES JOSEPH TISSOT (1836-1906)
Promenade dans la Neige
etching and drypoint, 1880, on Van Gelder laid paper, a good impression of the
second state (of three), with the artists red monogram stamp (Lugt 1545), from
the edition of about one hundred (presumably of the first and second states),
with margins, time staining, the sheet slightly toned, otherwise in good condition
P. 565 x 265 mm., S. 613 x 360 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
LITERATURE:
Wentworth 48
21
JAMES JACQUES JOSEPH TISSOT
Le Journal
etching with drypoint, 1883, on laid paper, a good impression, with the artists red
monogram stamp (L. 1545), from the edition of unknown size, inscribed in pencil
at lower left D... tat dfinitif, with wide margins, presumably the full sheet, pale
time staining at the sheet edges, a couple of minor nicks and tears at the left
sheet edge, otherwise in good condition
P. 380 x 295 mm., S. 560 x 375 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
LITERATURE:
Wentworth 73
17
*22
PIERRE-AUGUSTE RENOIR (1841-1919)
La Danse la Campagne, 2eme Planche
etching, circa 1880, on wove paper, with the artists stamp signature (Lugt 2137a),
from the edition of unknown size, the full sheet, pale light-staining, backboard
staining, otherwise in good condition, framed
P. 220 x 136 mm., S. 327 x 254 mm.
5,000-8,000
$7,700-12,000
6,800-11,000
LITERATURE:
Delteil 2
*23
PAUL SIGNAC (1863-1935)
Le Dimanche Parisien
lithograph, 1887, on wove paper, a very good impression from the deluxe edition
of circa 75 (there were also a few trial proofs before the edition), made for the
Revue Indpendante , published by Edition des Fondateurs-Patrons, Paris,
printed to the edges of the sheet on three sides, a small margin at left (as issued),
generally in very good condition, framed
L., S. 173 x 127 mm.
6,000-8,000
LITERATURE:
18
$9,200-12,000
8,100-11,000
24
ODILON REDON (1840-1916)
Tentation de Saint Antoine Texte de Gustave Flaubert
the complete set of ten lithographs, 1888, on chine appliqu paper, fine, rich impressions, from
the edition of sixty, printed by Becquet, published by Deman, Brussels, the full sheets, within the
original paper folder with the lithographic frontispiece and title (some repaired tears and creases,
the back of folder replaced), generally in good condition
L. 291 x 208 mm. (and smaller), S. 450 x 310 mm. (and similar), 451 x 317 mm. (overall)
(10)
20,000-30,000
$31,000-46,000
27,000-40,000
LITERATURE:
Mellerio 83-93
19
*25
HENRI DE TOULOUSE-LAUTREC (1864-1901)
La Clownesse assise (Mademoiselle CHA-U-KA-O)
lithograph in colours, 1896, on wove paper, watermark G. PELLET/ T. LAUTREC, a good, rich impression,
presumably from the edition published by Gustave Pellet, Paris, 1896, in the Elles series, indistinctly inscribed
with a paraphe or number and with Pellets stamp (L. 1190) at lower right, the colours very fresh and bright,
printed to the edges of the full sheet (as published), with deckle edges at right and above, in very good
condition, framed
S. 552 x 400 mm.
180,000-200,000
$280,000-300,000
250,000-270,000
LITERATURE:
Toulouse-Lautrecs portfolio Elles is one of the most celebrated and sought-after series in the history of
printmaking. As a regular visitor and at times long-term guest of the maisons closes or brothels of Paris, ToulouseLautrec was well-acquainted with the women who lived and worked there. He was particularly interested in
depicting them in their daily routines, at the wash table or dozing in bed. Unlike the other lithographs in the
series, the most famous of them however shows a woman in a public place rather than a private environment: La
Clownesse assise is shown in her costume in a cabaret. It is a private moment nonetheless, as she sits resting on a
bench at a corner, visibly tired and a bit despondent.
A dancer at the Nouveau Cirque and the Moulin Rouge, Mademoiselle CHA-U-KA-O claimed to be Japanese, yet
her name is in fact a phonetic transcription of the French words chahut (an acrobatic dance derived from the
cancan) and the chaos she caused whenever she came on stage. CHA-U-KA-O began her performing life as a lithe
and supple gymnast, as evident in a photograph taken by Toulouse-Lautrecs close companion Maurice Guibert,
for whom she would pose. By 1895 however, the agile, slender dancer had metamorphosed into that of the
ageing, slightly overweight clownesse. The arc of CHA-U-KA-O s life, ending in physical ruin, was bound to attract
Lautrec. His interest in human decrepitude was no doubt reinforced by his reading of Oscar Wildes The Picture of
Dorian Gray, first published in 1891 and subsequently translated into French. Lautrec became acquainted with the
author, and painted portraits of both Wilde and CHA-U-KA-O in the same year. Fascinated as he was by decadence
and decline, it is his ability to empathise with his subjects and his willingness to show them in all their human frailty
and vulnerability - of-stage rather than in the spotlight - that sets him apart from most of his contemporaries.
20
26
HENRI DE TOULOUSE-LAUTREC
Partie de Campagne
lithograph in colours, 1897, on wove paper, with the artists red signature stamp, numbered in pencil no.34, from
the edition of one hundred impressions, published by A. Vollard in the second LAlbum des estampes originales de
la Galerie Vollard, Paris, the full sheet, the colours fresh and bright, pale mount and time staining towards the sheet
edges, otherwise in good condition, framed
S. 395 x 515 mm.
40,000-60,000
PROVENANCE:
22
$61,000-91,000
54,000-81,000
27
28
3,000-5,000
LITERATURE:
$4,600-7,600
4,100-6,700
6,000-8,000
Delteil 6
$9,200-12,000
8,100-11,000
LITERATURE:
23
MODERN PRINTS
l29
MAX BECKMANN (1884-1950)
Apokalypse
the complete book including 27 lithographs with handcolouring, 1943, on laid
paper, 16 hors-text and 11 en-texte, with title, text and justification, copy number
19, numbered and dedicated Fr Erich Madsack in black ink (not by the artists
hand), from the edition of 24 (a further 17 unnumbered copies are known, of
which seven are handcoloured), published by Bauersche Gieerei, Frankfurt am
Main, 1943, the colours very fresh, the full sheets, in very good condition, bound
(as issued), within the original textured buff paper-covered boards, with the title
on the cover, in a black cloth-covered protective box with a red morocco title
piece on the front (book)
400 x 310 mm.
25,000-35,000
$39,000-53,000
34,000-47,000
PROVENANCE:
Hofmaier 330-356
Max Beckmann - Apokalypse der wiederaufgefundene handkolorierte Zyklus, exh.
cat., Museum Wiesbaden et al. (eds.), Wiesbaden, 2004.
In April 1933 Max Beckmann was dismissed from his post as a teacher at the Stdel
art academy in Frankfurt am Main. Bereft of a permanent income and increasingly
unable to exhibit and sell his work, now considered degenerate, he decided to
emigrate to Amsterdam in 1937 and left Germany on 19 July of that year, a day after
the opening of the exhibition Entartete Kunst in Munich.
Some of his friends and patrons in Germany however remained faithful to him and
in 1941 Amsterdam is by then occupied by German troops and the artist lives and
works in hiding - he received a secret commission from Frankfurt. It is the initiative
24
of Ernst Holzinger, former director of the Stdel Museum, and of Georg Hartmann,
owner of the type-casting company Bauersche Giesserei, to publish a small edition
of the Apocalypse of Saint John with illustrations by Beckmann, in order to support
the artist living in exile. Hartmann was naturally, through his company, involved
in book production and had in the past published some illustrated books for
bibliophiles. He was also a collector, in particular of late medieval sculpture and
painting, an interest he shared with Beckmann. The choice of a biblical subject was
hence sympathetic to both the artist and the patron, and the Apocalypse certainly
seemed a suitable text for a book created in the midst of war. As the colophon of
the book states: In the fourth year of the second world war, as the visions of the
apocalyptic seer became gruesome reality, this print was made.
In the correspondence leading up to the creation and publication, Beckmann is
never named. The whole project was pursued in secret. The proofs and later some
handcoloured copies were clandestinely sent back and forth between Frankfurt
and Amsterdam. The numbered edition was limited to 24 copies in order to avoid
censorship; private publications in editions of 25 copies or more had to be submitted
to the ministry of propaganda for approval.
Nearly all of the 24 copies were intended and presumably given to patrons
and friends of the artist and of Georg Hartmann, including the present copy for
Erich Madsack, the publisher of the daily newspaper Hannoversche Anzeiger,
undoubtedly a client of Hartmanns type-casting company. According to the
publishers list of copies (preserved in facsimile in the Staatsbibliothek, Munich), this
copy was handcoloured on 2 March 1943. The publication of Madsacks newspaper
was discontinued by the Nazi regime in 1943.
The hand-colouring of the Apokalypse has been subject to much debate. Apart from
a few copies clearly inscribed as being coloured by Beckmann himself (including
copy numbers 1, 7 9 and 15 and a set of coloured working proofs) ,the majority were
probably hand-coloured by an anonymous artist in Frankfurt, presumably because
the shipping of copies from Germany to Amsterdam and back proved too dificult
and dangerous.
Created while the allied bombers flew over Amsterdam and any kind of cultural
engagement could be seen as un-German activity and treason, the Apokalyse by
Max Beckmann is an extraordinary document of defiance, both on the part of the
artist and of the publisher, in the face of war and state terror.
According to the publishers list of copies preserved in the Staatsbibliothek, Munich,
the present copy was handcoloured on 2 March 1943.
l30
MAX BECKMANN
Die Familie, from: Hlle
lithograph, 1919, on simili Japan paper, signed and titled in pencil, numbered
31/75, published by I. B. Neumann, Berlin, the full sheet, the upper left sheet
corner torn and re-attached, a few small brown stains in the upper right margin,
two very short tears at the upper sheet edge, some minor creases in the
margins, generally in good condition
L. 745 x 440 mm., S. 870 x 613 mm.
10,000-15,000
$16,000-23,000
14,000-20,000
LITERATURE:
Hofmaier 149
VARIOUS PROPERTIES
l31
OTTO DIX (1891-1969)
Der Selbstmrder (Erhngter)
etching and drypoint, 1922, on wove paper, signed and inscribed
Probedruck in pencil, a trial proof of the third, final state ( the first and
second states exist in unique trial proofs only), aside from the edition
of fifty, a very good, rich and tonal impression, printing with much burr,
probably the full sheet, light-staining and some foxing in the margins,
otherwise in good condition, framed
P. 350 x 275 mm., S. 499 x 434 mm.
7,000-10,000
$11,000-15,000
9,500-13,000
LITERATURE:
Karsch 43
25
l32
ERICH HECKEL (1883-1970)
Weisse Pferde
woodcut printed from two blocks in black and green, pale lilac and dark blue, 1912, on soft, absorbent laid paper,
signed and dated 12 in pencil, titled and inscribed Aquarell Handdruck, a fine, early impression printed by the artist,
with loosely and transparently applied colours, Dubes second state (of four), before the unnumbered edition of
approximately eighty impressions (of the fourth, final state), the full sheet, with deckle edges, pale light-staining and
some foxing mainly in the margins, generally in good condition, framed
B. 305 x 385 mm., S. 337 x 580 mm.
25,000-35,000
$39,000-53,000
34,000-47,000
LITERATURE:
Dube H 242
The present early impression of Dubes second state reveals that the block - before it was cut down in the third state - was
in fact much wider than recorded by Dube. It shows a faint black tone and the right edge of the block well outside the
second borderline. The loose, monotype-like printing of the colours is characteristic for Heckels early, experimental proof
impressions. As indicated by Heckels inscription Aquarell Handdruck, he printed the present impression by hand and the
colours are watercolours, applied quite thinly - presumably with a brush - to the second block.
Depictions of animals are rare in Heckels printed oeuvre and unlike most depictions of landscapes and nature by the
Brcke artists, there is an sense of impending drama in this highly concentrated composition. This feeling of unease is
further heightened by the uneven shape of the block. This image of figures leading two white horses in a sudden gale is one
of the most memorable woodcuts of German Expressionist printmaking and a classic work of the period.
26
VARIOUS PROPERTIES
l33
ERICH HECKEL
Der Mann
woodcut, 1913, on oatmeal wove paper, signed and dated in pencil, titled
(possibly by another hand), a very good impression of this rare print, with wide
margins, possibly the full sheet, some scattered foxing at the sheet edges,
otherwise in good condition, framed
B. 431 x 216 mm., S. 637 x 481 mm.
8,000-12,000
$13,000-18,000
11,000-16,000
LITERATURE:
Dube H 262
l34
KARL SCHMIDT-ROTTLUFF (1884-1976)
Christus
woodcut, 1918, on Van Gelder laid paper, signed in pencil, a good impression,
presumably from the edition of 75 published in the portfolio 9 Holzschnitte by
Kurt Wolff Verlag, Munich, 1918, with margins, some minor staining and a few
tiny foxmarks, generally in good condition
B. 502 x 391 mm., S. 588 x 460 mm.
2,000-3,000
$3,100-4,600
2,700-4,000
LITERATURE:
Schapire H 208
27
35
PORTFOLIO
Bauhaus-Drucke. Neue Europische Graphik. Erste Mappe
the complete portfolio of 14 prints, 1920-21, in various techniques and on
various papers, some in colours, with title page and table of contents, with the
justification on the inside back of the folder, numbered on the justification in
black ink, copy number 53 from the total edition of 110 (the first ten were on
Japan paper), all signed in pencil, some dated, the full sheets, each within the
original paper mounts, the colours exceptionally fresh and bright, all in excellent
condition; within the original half-parchment folder, the boards with a woodcut
design in black by Lyonel Feininger, with the title in black on the spine, the folder
in very good condition
(portfolio)
575 x 460 mm. (overall)
150,000-250,000
$230,000-380,000
210,000-340,000
LITERATURE:
When in October 1921, two years after the founding of the Bauhaus in Weimar as
a modern academy for applied arts, its director Walter Gropius wrote to a number
of leading European artists to donate a previously unpublished graphic work to
the school, it was the beginning of one of the most ambitious print publishing
endeavours of the 20thcentury. The idea was for the school to print, produce and
distribute a series of five portfolios, each dedicated to diferent nationalities, thereby
giving an overview of the graphic production of the European avant-garde. The
motivation for the project was three-fold: 1) to raise additional funding for Bauhaus
- the portfolios were to be sold either individually or in subscription for the whole
series; 2) to raise public awareness of the Bauhaus and promote its principles; 3) to
represent the school in unison with a wider and not just German! modern art
movement. The title Neue Europische Graphik was programmatic and reflected
the scope and aim of the project.
Georg Muche, Radierung (Hand-Herz) (Schiller 13), etching, 1921, on thin cream
card, signed in pencil.
In the event, only four of the portfolios were produced - the second one, intended
for French artists, remained a fragment of four prints and was never issued; the
four others included prints by German, Italian and Russian artists. The present first
portfolio was dedicated to works by the so-called Meister of the Bauhaus, who were
teaching various subjects in a very practical, hands-on way in the workshops of the
school. These were: Feininger, Head of the printing workshop; Itten, who taught the
introductory course; Klee, Head of the bookbinding workshop; Marcks, in charge
of the ceramics studio; Muche, who taught textile design and weaving; Schlemmer,
general teacher and Head of the wall-painting course; and Schreyer, who taught
stage design. The portfolio is thus a reflection of the artistic personalities working
and teaching at the Bauhaus during the first years of its existence, and of the allencompassing spirit and structure of the school, based on the idea of the Bauhtte,
the building workshops of the medieval cathedrals of Europe.
The present example is the finest we have seen on the market, with the prints,
papers and colours perfectly preserved.
Paul Klee, Hofmanneske Scene (Kornfeld 82), lithograph in colours, 1921, on thin
cream card, signed in pencil, dated and inscribed with his work number 123.
Gerhard Marcks, Die Katzen (Lammek H 27), woodcut, 1921, on oatmeal wove
paper, signed and dated in pencil.
Gerhard Marcks, Die Eule (Lammek H 28), woodcut, 1921, on oatmeal wove
paper, signed and dated in pencil.
Georg Muche, Tierkopf (Schiller 12), etching, 1921, on thin cream card, signed in
pencil.
28
l36
WASSILY KANDINSKY (1866-1944)
Kleine Welten VIII
woodcut, 1922, on wove paper, signed in pencil, from the edition of
two hundred (there was also an edition of thirty on Japan paper),
published by Propylen Verlag, Berlin, the full sheet, with light,
mount and backboard staining, framed
B. 273 x 233 mm., S. 365 x 305 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
LITERATURE:
37
LYONEL FEININGER (1871-1956)
Vollersroda
woodcut, 1919, on thin laid Japan paper, signed in pencil, a good
impression, with wide margins, possibly the full sheet, some
scattered foxmarks, some offsetting of coloured crayon (?) verso,
faintly visible recto, otherwise in good condition
B. 254 x 301 mm., S. 374 x 518 mm.
7,000-12,000
LITERATURE:
Prasse W 188
$11,000-18,000
9,500-16,000
l38
MARC CHAGALL (1887-1985)
Nicolai Gogol: Les Ames Mortes
the complete set of 96 etchings and 11 etched vignettes, 1948, on Arches wove paper watermarked Les Ames mortes,
the etchings hors-texte, with title page, text in French and justification, signed in black ink and numbered H.C. XXIX
on the justification, one of 33 hors commerce copies, aside from the edition of 335, published by Triade, Paris, the full
sheets, the etchings with some mount and backboard staining, otherwise in good condition, loose (as issued), within
paper wrappers with title printed in black on front, two volumes, within the original cream paper-covered boards
and slipcase, with title on spine, the paper wrappers with foxing, the slipcase showing some wear, stains and foxing
(portfolio)
400 x 300 mm. (overall)
15,000-20,000
$23,000-30,000
21,000-27,000
LITERATURE:
Cramer Books 17
31
l39
MARC CHAGALL
The Bible
the complete set of 105 etchings, 1956, hors-texte, on Montval paper, with text in French,
title page and justification, with an original crayon drawing on the title page of the first
volume, signed and dated 1966 in black ink and dedicated Pour Charles et Pierrette Sorlier
en souvenir, also signed on the justification, copy number 24, from the edition of 275 (there
were also twenty hors commerce copies numbered in Roman numerals), the full sheets,
pale mount-staining at the sheet edges, otherwise in good condition, loose (as issued),
within the original paper cover printed with lithographic text, grey paper-covered boards
with title in gilt on the spine and matching slipcase, some minor skinning to the grey paper
boards, otherwise in good condition (portfolio)
480 x 360 x 140 (overall)
40,000-60,000
$61,000-91,000
54,000-81,000
PROVENANCE:
Cramer Books 29
Charles Sorlier was Marc Chagalls printer at Mourlots printing workshop in Paris.
32
l40
MARC CHAGALL
The Flute Player
lithograph in colours, 1957, on Arches wove
paper, signed in pencil and inscribed HC, an hors
commerce impression aside from the edition of
ninety, published by Maeght, Paris, the full sheet,
with deckle edges at left and right, the colours still
strong, with time and light-staining, pale pinpoint
foxing
L. 365 x 435 mm., S. 385 x 570 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
LITERATURE:
Mourlot 197
l41
MARC CHAGALL
Self-Portrait
lithograph in colours, 1960, on Arches wove paper,
signed in pencil, numbered 35/40, published by
Andr Seurat, Paris, the full sheet, the colours fresh,
some pale light-staining, generally in good condition
L. 315 x 250 mm., S. 475 x 320 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
LITERATURE:
Mourlot 282
33
l42
MARC CHAGALL
La Grand Bouquet
lithograph in colours, 1963, on BFK Rives wove paper, signed in pencil,
numbered 38/50 (there were also a few artists proofs), the full sheet, a
deckle edge below, time and mount staining, the colours still strong, framed
L. 670 x 505 mm., S. 817 x 590 mm.
7,000-10,000
$11,000-15,000
9,500-13,000
LITERATURE:
Mourlot 384
VARIOUS PROPERTIES
l43
MARC CHAGALL
Paravent
lithograph in colours, 1963, on two sheets of smooth wove paper, a proof
before the signed and numbered edition of one hundred (issued as a fourpanel screen), published by G. Cramer, Geneva, with wide margins, with
registration marks, the colours fresh, time staining, occasional soft creasing,
short tears at the upper sheet edges, otherwise in good condition
S. 1595 x 1187 mm. (left sheet)
S. 1595 x 1189 mm. (right sheet)
12,000-18,000
LITERATURE:
34
$19,000-27,000
17,000-24,000
l*44
MARC CHAGALL
Paysan au Violon
lithograph in colours, 1968, on Arches wove paper, signed in pencil, inscribed
preuve dartiste III/XXV, an artists proof aside from the edition of fifty, the full
sheet, a deckle edge below, pale light-staining, otherwise in good condition
L. 295 x 225 mm., S. 574 x 420 mm.
4,000-6,000
$6,100-9,100
5,400-8,100
LITERATURE:
Mourlot 551
l45
AFTER MARC CHAGALL
BY CHARLES SORLIER (1921-1990)
La Flte Enchante
lithograph in colours, 1967, on Arches wove paper, signed in pencil, numbered
15/200, the full sheet, a deckle edge below, the colours bright and fresh,
generally in very good condition, framed
L. 1004 x 654 mm., S. 1015 x 670 mm.
12,000-18,000
$19,000-27,000
17,000-24,000
LITERATURE:
Charles Sorlier 38
35
l46
GEORGES BRAQUE (1882-1963)
Oiseau noir sur fond bleu (Oiseau VIII)
etching in colours, 1955, on wove paper, signed in pencil,
numbered 46/75, published by Maeght, Paris, the full sheet, a
deckle edge at right, pale adhesive staining at the upper and
lower sheet edges, otherwise in good condition
P. 147 x 221 mm., S. 280 x 380 mm.
2,500-3,500
$3,900-5,300
3,400-4,700
LITERATURE:
Vallier 100
l47
GEORGES BRAQUE
Les deux Oiseaux (Oiseaux X)
etching and aquatint in colours, 1956, on BFK Rives wove paper,
signed in pencil, numbered 12/50, published by Maeght, Paris,
the full sheet, a deckle edge below, generally in good condition
P. 165 x 276 mm., S. 325 x 432 mm.
2,500-3,500
$3,900-5,300
3,400-4,700
LITERATURE:
Vallier 107
l48
GEORGES BRAQUE
Au Couchant (Oiseau XVI)
lithograph in colours, 1958, on Arches wove paper, signed in
pencil, inscribed H.C., an hors commerce impression aside from
the edition of 75, published by Maeght, Paris, the full sheet, a
deckle edge at right, the colours fresh and bright, a short tear at
the centre left sheet edge, generally in good condition, framed
L., S. 485 x 655 mm.
3,000-5,000
LITERATURE:
Vallier 126
36
$4,600-7,600
4,100-6,700
VARIOUS PROPERTIES
l49
KEES VAN DONGEN (1877-1968)
Anatole France: La Rvolte des Anges
the set of 58 lithographs in colours, 1951, en-texte, on Lana wove paper, with an
additional suite printed in colours and another in black only, hors-texte, with
title, text by Anatole France in French, and justification, copy number XV, one
of 15 deluxe copies numbered in Roman numerals reserved for the founding
members of the publisher (the standard edition was 210), published by Scripta
et Picta, Paris, the full sheets, some time staining, otherwise in good condition,
loose (as issued), in paper wrappers with the title in gold, within the original
green cloth-covered folder and matching slipcase, some wear to the slipcase
(portfolio)
380 x 290 mm. (overall)
7,000-10,000
$11,000-15,000
9,500-13,000
LITERATURE:
Jufermans Books 16
l50
AFTER SONIA DELAUNAY (1885-1979)
Jacques Damase: Rythmes-Couleurs
the complete set of 11 pochoirs in colours, 1966, on handmade Moulin
Richard de Bas paper, with title, text and justification, signed in ballpoint pen
by the artist and author on the justification, copy numbered 26 from the
edition of ninety (there was also an edition of twenty with each print signed
and numbered, and ten numbered hors commerce copies), published by
ditions de la Galerie Motte, Paris, the full sheets, loose (as issued), in the
original blue linen-covered portfolio, with title on spine, generally in very
good condition (portfolio)
535x385 mm. (overall)
4,000-6,000
$6,100-9,100
5,400-8,100
VARIOUS PROPERTIES
l51
SALVADOR DAL (1904-1989)
Dix Recettes dImmortalit
the complete set of 11 etchings with drypoint and heliogravure and multiples,
1973, the prints on Auvergne Richard de Bas wove paper, some in colour or gilt,
the multiples in card, metal and plastic, with title, text in French (with English
translation) and justification, signed by the artist, the publisher and the editor in
pencil on the justification, with the notarys stamp and signature, copy number
85 from the edition of 210, published by Audouin-Descharnes, Paris, the prints all
signed in pencil and numbered 85/210, also with the notarys stamp, signature
and numbering verso, the full sheets, generally in very good condition, all
contained in nine individual paper folders with text, within the original paper
wrapper with title in gilt, the original perspex case with cast metal phone handle,
locks and keys, brown cloth-covered slipcase, generally in very good condition
(portfolio)
655 x 490 x 130 mm. (overall)
6,000-8,000
$9,200-12,000
8,100-11,000
LITERATURE:
37
l52
FERNAND LGER (1881-1955)
Cirque
the complete portfolio comprising 34 lithographs in colours and 29 in black, 1950, on Arches paper, with title, text in
French and justification, signed in blue ink on the justification, copy number 89 of 280 (there were also twenty hors
commerce copies), published by Les ditions Verve, Paris, the full sheets, the colours very fresh and bright, some pale
time staining and occasional foxing, generally in very good condition, loose (as issued), in the original paper wrappers
with a lithograph printed in black and yellow on the front and in black on the reverse, within the original boards and
slipcase (portfolio)
445 x 350 mm. (overall)
12,000-18,000
LITERATURE:
Saphire 44-106
38
$19,000-27,000
17,000-24,000
l53
HENRI MATISSE (1869-1954)
La Robe jaune au Ruban noir
lithograph, 1922, on China paper, signed in black
ink, numbered 48/50 (there were also ten artists
proofs), with wide margins, the sheet slightly
reduced above, a deckle edge at right, two tiny
paper flaws at lower right, generally in good
condition
L. 395 x 288 mm., S. 530 x 358 mm.
6,000-8,000
$9,200-12,000
8,100-11,000
LITERATURE:
Duthuit-Matisse 424
l54
HENRI MATISSE
Jeune Fille la Chaise-longue dans un
Sous-Bois
lithograph, 1922, on China paper, signed in black
ink, numbered 46/50 (there were also ten artists
proofs), with margins, the sheet slightly reduced at
left and right, a couple of short printers creases with
an associated short tear at the upper right corner,
some pale staining at the left sheet edge
L. 410 x 515 mm., S. 460 x 585 mm.
4,000-6,000
$6,100-9,100
5,400-8,100
PROVENANCE:
Duthuit-Matisse 425
39
l*55
HENRI MATISSE
Petite Aurore
lithograph, 1923, on China paper, signed in pencil, inscribed and numbered
epr. dartiste 7/10, an artists proof aside from the edition of fifty, the full sheet, a
deckle edge at left, generally in very good condition, framed
L. 130 x 201 mm., S. 287 x 377 mm.
8,000-12,000
$13,000-18,000
11,000-16,000
LITERATURE:
Duthuit-Matisse 436
l56
HENRI MATISSE
Danseuse debout, acoude, from: Dix Danseuses
lithograph, 1925-26, on Arches wove paper, signed in pencil, numbered 83/130
(there were also 15 impressions on Japan paper and five on China paper),
published by the Galerie dArt Contemporain, Paris, 1927, the full sheet, a deckle
edge at right, generally in very good condition, framed
L. 460 x 280 mm., S. 505 x 330 mm.
3,000-5,000
LITERATURE:
Duthuit-Matisse 482
40
$4,600-7,600
4,100-6,700
l57
HENRI MATISSE
Danseuse au Divan plie en deux, from: Dix Danseuses
lithograph, 1925-26, on Arches wove paper, signed in pencil, numbered 78/130
(there were also 15 impressions on Japan paper and five on China paper),
published by the Galerie dArt Contemporain, Paris, the full sheet, a deckle edge
below, in very good condition
L. 280 x 460 mm., S. 325 x 504 mm.
7,000-10,000
$11,000-15,000
9,500-13,000
LITERATURE:
Duthuit-Matisse 489
l58
HENRI MATISSE
Danseuse assise, from: Dix Danseuses
lithograph, 1927, on Arches wove paper, signed in pencil, numbered 81/130 (there
were also 15 impressions on Japan paper and five on China paper), published
by the Galerie dArt Contemporain, Paris, the full sheet, a deckle edge at right, in
very good condition
L. 440 x 280 mm., S. 502 x 326 mm.
7,000-10,000
$11,000-15,000
9,500-13,000
LITERATURE:
Duthuit-Matisse 480
41
l*59
HENRI MATISSE
Torse lAiguire
lithograph, 1927, on China paper, signed in pencil, numbered 21/50 (there were
also ten artists proofs), the full sheet, very pale light staining, otherwise in very
good condition
L. 364 x 263 mm., S. 498 x 359 mm.
8,000-12,000
$13,000-18,000
11,000-16,000
LITERATURE:
Duthuit-Matisse 494
l60
HENRI MATISSE
Haitienne
lithograph, 1945, on BFK Rives wove paper, signed in pencil and numbered
187/200, the full sheet, a deckle edge below, some handling creases and minor
time staining, otherwise in good condition
S. 400 x 300 mm.
4,000-6,000
PROVENANCE:
Duthuit-Matisse 567
42
$6,100-9,100
5,400-8,100
l61
JOAN MIR (1893-1983)
Femme et Chien devant la Lune
pochoir in colours, 1935, on wove paper, signed and
dated in pencil, numbered 5/60, published by Adlan,
Barcelona, with their stamp verso, the full sheet, a
few pale foxmarks in the margins, the tips of the
upper and lower left sheet corners slightly creased,
otherwise in very good condition
L. 512 x 455 mm., S. 655 x 500 mm.
8,000-10,000
$13,000-15,000
11,000-13,000
PROVENANCE:
Dupin 18
l62
JOAN MIR
Centenaire Mourlot
lithograph in colours, 1953, on Arches wove paper,
signed and inscribed Ea. in black ink, an artists
proof aside from the edition of 75, with deckle
edges at left and right, in very good condition
S. 507 x 660 mm.
15,000-20,000
$23,000-30,000
21,000-27,000
LITERATURE:
Mourlot 190
43
l63
JOAN MIR
Suites pour Ubu Roi
the complete set of 39 lithographs, including 26 in colours, 1966, on Arches paper, hors-texte, with title page and table of
contents, 13 signed, 13 initialled and 13 unsigned (as issued), all numbered 45/75, published by Triade Editeur, Paris, the full
sheets, all with a deckle edge below, the colours very fresh and vibrant, in very good condition, loose (as issued), within the
original green cloth-covered box with gilt lettering on the spine (portfolio)
570 x 785 mm. (overall)
40,000-60,000
$61,000-91,000
54,000-81,000
LITERATURE:
44
l*64
JOAN MIR
LAdorateur du Soleil
etching, aquatint, and carborundum in colours, 1969, on Arches wove paper,
signed in pencil, inscribed HC (an hors commerce impression aside from the
edition of 75), published by Maeght Editeur, Paris, authenticated in pencil on the
reverse by Rosa Maria Malet, Fondaci Mir, Barcelona, dated 27 November
2014, the full sheet, a deckle edge above, a pale area of foxing at upper left,
otherwise in very good condition
S. 1064 x 679 mm.
8,000-12,000
$13,000-18,000
11,000-16,000
LITERATURE:
Dupin 483
l65
JOAN MIR
Dfil de Mannequins en Laponie
lithograph in colours, 1969, on Arches wove paper, signed in pencil, numbered
70/75, published by Maeght, Paris, the full sheet, mount staining at the sheet
edges, some minor soft creasing, generally in good condition, framed
L., S. 1260 x 865 mm.
8,000-12,000
$13,000-18,000
11,000-16,000
LITERATURE:
Mourlot 633
45
l66
JOAN MIR
Llibre dels sis Sentits
the complete set of six etchings and aquatints in colours, 1980, on Guarro wove paper, watermarked Sala Gaspar, each
signed, dated 25.X.80 and inscribed Bat. in pencil, the bon tirer impressions before the edition of fifty (there were also
14 hors commerce sets), the full sheets, published by Sala Gaspar, Barcelona, 1981, some soft handling creases and very
minor staining in the margins, otherwise in good condition
P. 720 x 545 mm., S. 905 x 700 mm. (each)
18,000-25,000
$28,000-38,000
25,000-34,000
LITERATURE:
Dupin 1165-1170
These are the bon tirer impressions, the final proofs which served as templates for the printing of the edition. As such they
were used in the studio and show some handling marks, including minor soft creases and traces of coloured inks in the
margins, which should not be considered as defects.
46
l67
JOAN MIR
Sculptures
lithograph in colours, 1971, on Arches wove paper, signed in pencil, numbered
124/150, before the unsigned edition with text, published by the Walker Art
Centre, Minneapolis, the full sheet; with Two Plates, from: Cartones, two
lithographs in colours, 1965, on Arches wove paper, both signed in pencil and
numbered 25/75, published by P. Matisse, New York, the full sheets; all generally
in very good condition (3)
M. 755: L. 855 x 727 mm., S. 858 x 730 mm.
M. 452: L. 305 x 425 mm., S. 420 x 548 mm.
M. 453: L. 505 x 635 mm., S. 545 x 707 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
LITERATURE:
l68
PORTFOLIO
San Lazzaro et ses Amis
the complete portfolio including the suite of 8 lithographs in colours by
various artists, 1975, on Arches wove paper, with text in French, title page and
justification, copy number 36, from the edition of 75 (there were also 55 copies
for the artists and collaborators), published by XXe Sicle, Paris, each signed by
the artist, numbered 36/75, in very good condition, the full sheets, loose within
the paper wrappers, with the original presentation case (portfolio)
380 x 290 mm. (overall)
3,000-5,000
LITERATURE:
$4,600-7,600
4,100-6,700
47
l69
MASSIMO CAMPIGLI (1895-1971)
Ritratto di Donna
monotype in colours, 1950, on Fabriano wove paper, probably a unique
impression, signed and dated in brown ink, the full sheet, in good condition,
framed
S. 538 x 423 mm.
10,000-15,000
$16,000-23,000
14,000-20,000
70
LOUIS MARCOUSSIS (1883-1941)
La Table
etching in colours, 1930, on Japan paper, signed in pencil, numbered 3/20
(there was also an edition of 120 on Arches), published by Jeanne Bucher,
Paris, with wide margins, presumably the whole sheet, some soft creases at
the corners, otherwise in very good condition
P. 245 x 180 mm., S. 500 x 379 mm.
3,000-5,000
LITERATURE:
Milet 52
48
$4,600-7,600
4,100-6,700
l71
GIORGIO MORANDI (1890-1964)
Natura morta con il Lume bianco a sinistra
etching, 1928, on Chine coll on an album sheet with an architectural
engraving verso, signed and inscribed P.d.S. (prova di stampa), a printers
proof aside from the edition of fifty, the full sheet, some minor time
staining and creasing, in good condition
P. 220 x 270 mm., S. 388 x 542 mm.
15,000-20,000
$23,000-30,000
21,000-27,000
PROVENANCE:
l72
GIORGIO MORANDI
Natura morta con due Oggetti e un Drappo su un Tavolo
etching, 1929, on wove paper, signed and dated in pencil, numbered
25/40, the full sheet, adhesive staining along the upper sheet edge,
otherwise in good condition
P. 235 x 195 mm., S. 347 x 330 m.
7,000-10,000
$11,000-15,000
9,500-13,000
LITERATURE:
l73
GIORGIO MORANDI
Natura morta a Tratti sottilissimi
etching, 1933, on Chine coll on Van Gelder Zonen laid paper, signed in
pencil, numbered 9/27, pale mount staining, in good condition
P. 255 x 235 mm., S. 443 x 327 mm.
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
49
Picassos La Suite Vollard is the most important series of etchings in his long and fertile printmaking career.The series is named after Ambroise Vollard (1867-1939), the dealer
and publisher who had given Picasso his first exhibition in Paris in 1901, thereby launching the most extraordinary career in the history of modern art. Rather paradoxically
for a series that cover the years 1930 to 1937, La Suite Vollard was conceived as a suite only in 1934, when Picasso asked to buy a Renoir and a Czanne from Vollards private
collection. Vollard ofered instead to swap the paintings for a group of printing plates, with the rights to publish them. The deal was agreed, and in 1936 Picasso handed over
97 plates which he had chosen for Vollard. The term suite is therefore something of a misnomer, as it is more of a rsum, a selection made by the artist from his graphic
output of seven years. Stylistically, the majority of the images reflect the neo-classical phase of Picassos work that made its first appearance in 1918, following a journey to
Rome the year earlier and subsequent trips to Florence, Naples and Pompeii. Technically, the Suite includes examples of all the etching techniques Picasso had explored and
mastered up to this point, ranging from straight etching and drypoint to the highly innovative sugar-lift aquatint, while thematically, the prints ofer a fascinating insight into
Picassos inspiration and obsessions as he approached late middle age. Four main motifs are played out in ever-changing variations throughout the series: the Battle of Love,
the Sculptors Studio, Rembrandt, and The Minotaur. The last plates are three portraits of Ambroise Vollard, which Picasso had etched in a single day in early 1937 ofered
here at beginning of a great selection of prints from La Suite Vollard on the following pages, including examples from all three editions: 260 on laid paper, 50 on laid paper
with wider margins, and the extremely limited edition of three impressions only, printed on vellum and signed in red ink.
l74
PABLO PICASSO (1881-1973)
Portrait de Vollard II, from: La Suite Vollard
aquatint, 1937, on vellum, signed in red ink, numbered 3/3 (there was also an edition of fifty
on Montval laid paper with wider margins and of 260 with narrower margins), published by
A. Vollard, Paris, 1939, the full sheet, in very good condition
P. 338 x 245 mm., S. 520 x 395 mm.
12,000-18,000
LITERATURE:
50
$19,000-27,000
17,000-24,000
l75
PABLO PICASSO
Portrait de Vollard I, II, III, from: La Suite Vollard
two aquatints and one etching, 1937, on Montval laid paper, B. 231 watermark
Montgolfier, each signed in pencil, from the edition of fifty with wider margins
(there was also an edition of 260 with narrower margins), published by A.
Vollard, Paris, 1939, the full sheets, each in good condition
P. 348 x 248 mm., S. 499 x 386 mm. (and similar)
(3)
8,000-12,000
$13,000-18,000
11,000-16,000
LITERATURE:
51
l76
l77
PABLO PICASSO
PABLO PICASSO
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
etching, 1933, on vellum, signed in red crayon, numbered 3/3 (there were also
fifty on laid paper with wide margins and 260 with narrower margins), published
by A. Vollard, Paris, 1939, with wide margins, pale mount staining, slight rippling
towards the sheet edges (as is usual with vellum), binding holes at the sheet
edges, a couple of minor nicks at the upper left corner, a repaired tear at the
lower left sheet edge, otherwise in good condition, framed
P. 187 x 255 mm., S. 404 x 535 mm.
18,000-25,000
With Henri Petiet, Paris (with his number 210 in pencil at lower left recto).
LITERATURE:
52
LITERATURE:
$28,000-38,000
25,000-34,000
l*78
PABLO PICASSO
Sculpteur, Modle, et Buste sculpt, from: La Suite Vollard
etching, 1933, on Montval laid paper, watermark Montgolfier, signed in pencil,
from the edition of fifty with wider margins (there was also an edition of 260
with narrower margins), published by A. Vollard, Paris, 1939, the full sheet, pale
light- and mount staining, otherwise in good condition, framed
P. 267 x 192 mm., S. 505 x 385 mm.
6,000-8,000
$9,200-12,000
8,100-11,000
LITERATURE:
l79
PABLO PICASSO
Le Repos du Sculpteur devant un Nu la Draperie, from: La
Suite Vollard
etching, 1933, on Montval paper, watermark Vollard, signed in pencil, from the
edition of 260 (there was also an edition of fifty with wider margins), published
by A. Vollard, Paris, 1939, the full sheet, a deckle edge below, pale light-staining,
otherwise in good condition
P. 267 x 194 mm., S. 445 x 337 mm.
7,000-10,000
$11,000-15,000
9,500-13,000
LITERATURE:
l80
PABLO PICASSO
Le Repos du Sculpteur II, from: La Suite Vollard
etching, 1933, on Montval laid paper, watermark Vollard, signed in pencil,
from the edition of 260 (there was also an edition of fifty with wider margins),
published by A. Vollard, Paris, 1939, the full sheet, a deckle edge at right, pale
light-staining, otherwise in very good condition, framed
P. 194 x 268 mm., S. 340 x 445 mm.
8,000-10,000
$13,000-15,000
11,000-13,000
LITERATURE:
53
l81
PABLO PICASSO
Trois Femmes nues prs dune Fentre, from: La Suite Vollard
etching, 1933, on Montval laid paper, watermark Vollard, signed in pencil,
from the edition of 260 (there was also an edition of fifty with wider margins),
published by A. Vollard, Paris, 1939, the full sheet, a deckle edge below, pale time
staining, otherwise in good condition
P. 365 x 299 mm., S. 445 x 340 mm.
7,000-10,000
$11,000-15,000
9,500-13,000
PROVENANCE:
With Henri Petiet, Paris (with his number 328 in pencil at lower left recto).
LITERATURE:
l*82
PABLO PICASSO
Sculpteur et Modle agenouill, from: La Suite Vollard
etching, 1933, on Montval paper, watermark Picasso, signed in pencil, from the
edition of 260 (there was also an edition of fifty with wider margins), published
by A. Vollard, Paris, 1939, the full sheet, some very minor surface dirt in the lower
right margin, otherwise in good condition, framed
P. 365 x 295 mm., S. 445 x 337 mm.
8,000-12,000
LITERATURE:
54
$13,000-18,000
11,000-16,000
l83
PABLO PICASSO
Le Viol V, from: La Suite Vollard
drypoint, 1933, on Montval laid paper, watermark
Montgolfier, signed in pencil, from the edition of
fifty with wider margins (there was also an edition
of 260 with narrower margins), published by A.
Vollard, Paris, 1939, in very good condition, framed
P. 296 x 365 mm., S. 384 x 500 mm.
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
l84
PABLO PICASSO
Modle nu et Sculptures, from:
La Suite Vollard
etching, 1933, on Montval laid paper, watermark
Picasso, signed in pencil, from the edition of
260 (there was also an edition of fifty with wider
margins), published by A. Vollard, Paris, 1939, the
full sheet, the upper left corner skilfully made up,
otherwise in good condition
P. 380 x 296 mm., S. 445 x 340 mm.
7,000-10,000
$11,000-15,000
9,500-13,000
PROVENANCE:
55
l85
PABLO PICASSO
Autoportrait sous trois Formes: Peintre
couronn, Sculpteur en Buste et
Minotaure amoureux, from:
La Suite Vollard
etching, 1933, on Montval paper, watermark
Montgolfier, signed in pencil, from the edition of
fifty with wider margins (there was also an edition
of 260 with narrower margins), published by A.
Vollard, Paris, 1939, the full sheet, in very good
condition, framed
P. 299 x 367 mm., S. 385 x 500 mm.
15,000-25,000
$23,000-38,000
21,000-34,000
PROVENANCE:
l86
PABLO PICASSO
Modle et grande Sculpture de Dos,
from: La Suite Vollard
etching, 1933, on Montval paper, watermark Picasso,
signed in pencil, from the edition of 260 (there
was also an edition of fifty with wider margins),
published by A. Vollard, Paris, 1939, the full sheet,
pale light-staining, otherwise in very good condition
P. 267 x 192 mm., S. 445 x 335 mm.
7,000-10,000
LITERATURE:
56
$11,000-15,000
9,500-13,000
l87
PABLO PICASSO
Quatre Femmes nues et Tte sculpte,
from: La Suite Vollard
etching and engraving, 1934, on Montval laid paper,
watermark Vollard, signed in pencil, from the edition
of 260 (there was also an edition of fifty with wider
margins), published by A. Vollard, Paris, 1939, the full
sheet, a deckle edge at left, in very good condition
P. 223 x 316 mm., S. 340 x 450 mm.
20,000-30,000
$31,000-46,000
27,000-40,000
PROVENANCE:
l88
PABLO PICASSO
Minotaure aveugle guid par une Fillette
II, from: La Suite Vollard
etching, 1934, on Montval laid paper, watermark
Montgolfier, signed in pencil, from the edition of
fifty with wider margins (there was also an edition
of 260 with narrower margins), published by A.
Vollard, Paris, 1939, the full sheet, in very good
condition, framed
P. 240 x 295 mm., S. 383 x 504 mm.
15,000-25,000
$23,000-38,000
21,000-34,000
PROVENANCE:
57
l89
PABLO PICASSO
Sueo y Mentira de Franco
the pair of etchings with aquatint, 1937, on Chine coll paper, both signed in pencil and numbered 147/150
(there were also thirty signed artists proofs numbered in Roman numerals and a stamp-signed edition of
850 on Montval), published by the artist, Paris, 1937, the full sheets, in good condition, framed
P. 315 x 422 mm., S. 382 x 575 mm. (each)
(2)
12,000-18,000
$19,000-27,000
17,000-24,000
LITERATURE:
l90
PABLO PICASSO
Tte dHomme de Profil gauche
aquatint and drypoint, 1937, on Richard de Bas laid paper, with the stamped
signature, numbered 38/50 (there were also 18 artists proofs), published by
Galerie L. Leiris, Paris, 1980, the full sheet, with deckle edges on all sides, in very
good condition, framed
P. 345 x 245 mm., S. 510 x 402 mm.
4,000-6,000
LITERATURE:
58
$6,100-9,100
5,400-8,100
These two colour aquatints of Dora Maar, from a series of six executed in 1939, provide an unusual insight into Picassos character and working methods. Picasso found
colour printing challenging and frustrating in equal measure, and for three straight months the technicians at Lacourire were monopolised in producing these complex
portraits. Whilst the proofs were being pulled, Picasso hit upon the idea of producing a book containing reproductions of his notebooks. The Dora Maar portraits would serve
as the hors-texte illustrations. Ambroise Vollard, Picassos publisher, was enthusiastic about the project and negotiations about the paper and design of the binding were at
an advanced stage when Picasso suddenly abandoned the whole enterprise. Whilst he still liked the concept, the process seemed too laborious to him. The plates remained
in the atelier, which was virtually shut down as the war closed around Paris. When Picasso met Lacourire again in 1942, and saw that he was living in extremely straitened
circumstances, he decided to help his friend by allowing him to print some of his old plates. It is generally thought that the colour portraits were amongst these plates, and 104
impressions of Tete de Femme no. 2 and 105 impressions of Tete de Femme no. 5 were printed. But with the project for the book abandoned, Vollard dead, and Dora Maar
no longer his mistress and muse, Picasso refused to have them published. This was in spite of the entreaties of Madame Lacourire, who believed quite rightly that only by
publishing them would any money be made to recompense her husband and his numerous assistants for all their hard work three years before. Picasso, however, could not
be persuaded. The prints were packed up and stored in his studio for the next thirty years, where they were re-discovered after his death. The edition was subsequently divided
amongst Picassos heirs, and very few have subsequently appeared on the market.
l91
l92
PABLO PICASSO
PABLO PICASSO
aquatint and drypoint in colours, 1939, on Montval laid paper, watermark Vollard,
from the unsigned edition of 104 printed by Lacourire between 1939 and 1942
(there were also 21 artists proofs, of which only one was signed, according to
Baer), the full sheet, with deckle edges above and below, in very good condition
P. 299 x 237mm., S. 450 x 340mm.
aquatint and drypoint in colours, 1939, on Montval laid paper, watermark Picasso,
from the unsigned edition of 105 printed by Lacourire between 1939 and 1942
(there were also 11 artists proofs, of which only two were signed, according to
Baer), the full sheet, with deckle edges above and below, in very good condition
P. 299 x 237mm., S. 450 x 338mm.
20,000-30,000
30,000-50,000
$31,000-46,000
27,000-40,000
LITERATURE:
LITERATURE:
$46,000-76,000
41,000-67,000
59
l93
l94
PABLO PICASSO
PABLO PICASSO
Fumeur III
15,000-20,000
12,000-18,000
$23,000-30,000
21,000-27,000
LITERATURE:
LITERATURE:
60
$19,000-27,000
17,000-24,000
l95
PABLO PICASSO
Tte de Femme, from: Picasso Dessins
lithograph, 1925, on Japanese Imperial paper, signed in pencil, from the edition
of one hundred, published by Daniel Henry Kahnweiler, Paris, the full sheet,
generally in very good condition
L. 127 x 115 mm., S. 262 x 209 mm.
6,000-8,000
$9,200-12,000
8,100-11,000
LITERATURE:
l96
PABLO PICASSO
Franoise
lithograph, 1946, on Arches wove paper, signed in pencil, numbered 27/50,
probably the full sheet, generally in good condition, framed
S. 650 x 505 mm.
25,000-35,000
$39,000-53,000
34,000-47,000
LITERATURE:
61
l97
PABLO PICASSO
La Femme la Rsille (Femme aux Cheveux verts)
lithograph in colours, 1956, on Arches wove paper, signed in red crayon, numbered 40/50 (there were also five or six
proofs for the artist and printer), the full sheet, a deckle edge above and below, in very good condition, framed
S. 657 x 501 mm.
50,000-70,000
LITERATURE:
62
$77,000-110,000
68,000-94,000
l98
PABLO PICASSO
Femme accroupie au bras lev
lithograph, 1956, on Arches wove paper, signed in pencil, numbered 47/50
(there were also six proofs for the artist and printer), the full sheet, a deckle
edge at left and right, pale time staining, generally in good condition,
framed
L. 430 x 605 mm., S. 505 x 663 mm.
10,000-15,000
$16,000-23,000
14,000-20,000
l*99
AFTER PABLO PICASSO
Maternit
offset lithograph in colours, 1963, on Arches wove paper, signed in pencil,
numbered 117/200, published by Editions Combat de la Paix, Paris,
probably the full sheet, pale light-staining, generally in very good condition
L. 800 x 600 mm., S. 893 x 633 mm.
6,000-8,000
$9,200-12,000
8,100-11,000
l*100
PABLO PICASSO
Colombe volant ( lArc-en-Ciel)
lithograph in colours, 1952, on Arches wove paper, signed in pencil and
numbered 50/200, probably the full sheet, with time and light-staining, the
colours slightly attenuated, handling creases in the margins, tape stains
along the upper sheet edge verso
L. 500 x 650 mm., S. 545 x 765 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
LITERATURE:
63
l101
PABLO PICASSO
Buste de Femme au Chapeau
linocut in colours, 1962, on Arches wove paper, signed in pencil, numbered 1/50 (there were also
approximately twenty artists proofs), published by Galerie L. Leiris, Paris, 1963, the full sheet, the colours
exceptionally fresh and strong, some very pale mount staining in the margins, in very good condition,
framed
B. 630 x 530 mm., S. 753 x 620 mm.
200,000-300,000
$310,000-460,000
270,000-400,000
PROVENANCE:
Although linocuts form a relatively small part of Picassos oeuvre as a printmaker, he produced some of his most
outstanding compositions by this method in a short burst of activity between 1958 to 1963. It was a combination
of geographic necessity and artistic curiosity which led him, at the age of 78, to turn away from etching and
lithography hitherto his favourite means of graphic expression and take up the linocut technique. Picasso had
left Paris with Jacqueline Roque in 1958, dividing his time between Villa La Californie at Cannes, and the newly
acquired Chteau de Vauvenargues, near Aix-en-Provence. A major practical drawback of this move was the delay
in communicating with the printing studios in Paris. There plates could be proofed and returned within hours; now
it took days, robbing Picasso the immediate contact with his printers.
His first involvement with linocut printing had been rather casual. In 1952 he had produced a series of simple
posters for the potters of Vallauris, a village in the hills above Cannes. It was only six years later that he engaged
with the technique more intensely. Working with the young printer Hidalgo Arnra, he re-imagined Lucas
Cranachs sober Portrait of a Young Girl. The resulting print is astonishing, but he found the process too labourintensive and complicated, as it had required the cutting and registering of six diferent colour blocks, to be
printed precisely on top of one another.
When Picasso returned to linocut a few years later, he had come up with an extraordinary solution to his technical
problem: rather than use separate blocks for each colour, he printed the whole image from just one block
in the so-called reduction method. The block was printed in the lightest colour, then cut further and printed
successively from the lighter to the darker colours. While making the task of registration much simpler, it required
a tremendous power of imagination to foresee how each change in the block would afect the composition as
a whole. It was precisely the kind of artistic experiment which Picasso enjoyed and he embraced the challenge
wholeheartedly and playfully. His masterpiece of the period, Buste de femme aux chapeau, is one of his greatest
portraits of Jacqueline and a prime example of this technical tour-de-force - a creative liberation which resulted in
some of the most luminous and joyful images in Picassos entire oeuvre.
64
l102
PABLO PICASSO
Nature morte au Verre sous la Lampe
linocut in colours, 1962, on Arches wove paper, signed in pencil, numbered 38/50 (there were also
approximately twenty artists proofs), published by Galerie L. Leiris, Paris, 1963, the full sheet, the colours very
bright and fresh, pale mount staining in the margins, a short tear at the lower sheet edge, otherwise in very
good condition, framed
B. 530 x 638 mm., S. 622 x 754 mm.
100,000-150,000
$160,000-230,000
140,000-200,000
LITERATURE:
Picasso had a voracious visual appetite and sought and found inspiration anywhere, from the Ancient Greeks,
Romans and Egyptians to Tribal and Folk Art and the Old Masters of Europe, such as Rembrandt, El Greco or
Velazquez. He unashamedly quoted the styles and compositions of the art of the past, thereby often radically
modernizing them and making them his own. It was in this spirit that in 1963, having just explored, reinvented
and finally mastered the technique of colour linocut printing, that he turned to a genre, which at the time - after
impressionism and his own cubist experiments - must have felt rather stale and old-fashioned: the still-life.
In its composition and selection of elements a ledge or table, some apples, a glass Nature morte au verre
sous la lampe is in its sparseness and simplicity very much in the Spanish, rather than in the more opulent and
ostentatious Netherlandish tradition. Yet by introducing another element, a ceiling lamp with a modern light bulb,
Picasso transforms the subject into something altogether diferent and entirely contemporary. No longer is this
a quiet, melancholic still-life, exploring the subtleties of natural shapes and hues. It is a celebration of saturated
colours, bold shapes and artificial light. Picasso thus breathes life into an old and tired genre and resuscitates it
for generations to come. Created when the artist was past his eightieth year, Nature morte au verre sous la lampe
would not look dated, or any less radical, next to the screenprints of Roy Lichtenstein and Andy Warhol, who in
1963 were just stepping onto the stage.
66
67
l104
VARIOUS PROPERTIES
l103
PABLO PICASSO
PABLO PICASSO
La Pique casse
linocut in colours, 1959, on Arches wove paper, signed in pencil in the upper and
lower margin, numbered 34/50 (there were also approximately twenty artists
proofs), published by L. Leiris, 1960, the full sheet, pale mount staining, three
short backed tears at the upper sheet edge, otherwise in good condition, framed
L. 534 x 640 mm., S. 622 x 755 mm.
15,000-20,000
LITERATURE:
68
$23,000-30,000
21,000-27,000
linocut, 1961, on Arches wove paper, signed in pencil, numbered 48/50 (there
were also approximately twenty artists proofs), published by Galerie L. Leiris,
Paris, 1963, the full sheet, light staining, pale foxing in the margins, the tip of the
upper left sheet corner torn and re-attached, other minor defects, the subject
generally in good condition
B. 530 x 640 mm., S. 620 x 752 mm.
8,000-12,000
LITERATURE:
$13,000-18,000
11,000-16,000
l105
PABLO PICASSO
Femme au Chapeau Fleurs
linocut in colours, 1962, on Arches wove paper, signed in pencil, inscribed Epreuve dartiste, one of approximately
twenty artists proofs aside from the edition of fifty, published by Galerie L. Leiris, Paris, 1963, the full sheet, a deckle
edge below, the colours fresh and strong, in very good condition
B. 348 x 268 mm., S. 625 x 442 mm.
30,000-50,000
$46,000-76,000
41,000-67,000
LITERATURE:
69
l106
PABLO PICASSO
LEspagnole
linocut in colours, 1962, on Arches wove paper, signed in pencil,
numbered 15/50 (there were also twenty artists proofs), published by
Galerie L. Leiris, Paris, 1963, with wide margins, the sheet slightly reduced,
very pale light and mount staining, otherwise in good condition, framed
B. 350 x 270 mm., S. 560 x 442 mm.
18,000-25,000
$28,000-38,000
25,000-34,000
LITERATURE:
l107
PABLO PICASSO
Tte de Femme au Chapeau
linocut printed in red and brown, 1962, on Arches wove paper, a rare
impression of this unpublished print, third, final state, the full sheet, in
very good condition
B. 640 x 530 mm., S. 752 x 622 mm.
25,000-35,000
$39,000-53,000
34,000-47,000
Baer cites 96 impressions of this state printed by Arnra, however this print
is very scarce and rarely comes to market. It is very likely that the actual print
run was much smaller than planned; in fact Baer states that the edition was
not completed and the project abandoned.
70
l108
PABLO PICASSO
Toros Vallauris
linocut in colours, 1958, on Arches wove paper, signed in blue crayon,
numbered 144/195 in pencil (there were also 22 artists proofs), published
by the Association des Potiers de Vallauris, the full sheet, the black surface
slightly scuffed and rubbed in places, generally in good condition
B. 650 x 530 mm., S. 790 x 610 mm.
4,000-6,000
$6,100-9,100
5,400-8,100
LITERATURE:
l109
ZAO WOU-KI (1920-2013)
Bouquet de Fleurs
lithograph in colours, 1953, on BFK Rives wove paper, signed in pencil,
numbered 43/55 (there were also ten artists proofs), published by La
Hune, Paris, printed by E. and J. Desjobert, Paris, the full sheet, pale time
staining, otherwise in very good condition
L. 550 x 460 mm., S. 647 x 500 mm.
4,000-6,000
$6,100-9,100
5,400-8,100
LITERATURE:
gerup 78
71
l110
l111
ALBERTO BURRI
Combustione 1-6
Cretti
the complete set of six etchings and aquatints, 1965-68, on Fabriano Rosaspina
paper, each signed in pencil, inscribed buono di stampa, the bon tirer
impressions before the edition of ninety (there were also 15 artists proofs),
printed and published by Stamperia 2RC, Rome, with their blindstamp, the full
sheets, in generally good condition
P. 380 x 310 mm., S. 640 x 485 mm. (and similar)
(6)
12,000-15,000
PROVENANCE:
72
$19,000-23,000
17,000-20,000
5,000-7,000
$7,700-11,000
6,800-9,400
112
113
three lithographs, 1973, on Roll Rives wove paper, each signed and dated in
pencil, all numbered 27/50 (there were also ten artists proofs each), published
by Cirrus Editions, Los Angeles, with their blindstamp, the full sheets, pale light
and time staining, minor creases, Perfect Odor with a few small stains, all framed
S. 812 x 660 mm. (each)
(3)
12,000-18,000
5,000-7,000
$19,000-27,000
17,000-24,000
LITERATURE:
LITERATURE:
Anselmino 15
Cordes 23-25
$7,700-11,000
6,800-9,400
73
74
114
CY TWOMBLY (1928-2011)
Natural History, Part II: Some Trees of Italy
the complete set of eight lithographs, granolithographs and collotypes, 1975-6, on Fabriano Btten paper, plate I with
the transparent paper overlay, each initialled in pencil, numbered 46/98 (there were also 17 artists proofs), published by
Propylen Verlag, Berlin, printed by Matthieu Studio, Zrich-Dielsdorf, with their blindstamp, the full sheets, with deckle
edges at left and right, in very good condition, lacking the original paper-covered portfolio case, all framed (8)
I., S. 760 x 565 mm.
(8)
40,000-60,000
$61,000-91,000
54,000-81,000
LITERATURE:
Bastian 52-59
75
l115
RICHARD HAMILTON (1922-2011)
Picassos Meninas
etching with aquatint, roulette and drypoint, 1973, on wove paper, signed and titled in pencil, numbered 76/90 (there were
also 15 artists proofs), published by Propylen Verlag, Berlin, and Pantheon Presse, Rome, in the portfolio Hommage
Picasso, the full sheet, deckle edges at left and right, in very good condition, framed
P. 572 x 490 mm., S. 756 x 570 mm
18,000-25,000
LITERATURE:
Lullin 91
76
$28,000-38,000
25,000-34,000
l116
RICHARD HAMILTON
The Solomon R Guggenheim
unique 3D vacuum-formed multiple in white and black, 1970, signed, dated 1965/76 and annotated Mirra in black felt-tip pen
on the reverse (there were also three editions of 106 multiples in black, 117 in white and 48 in chrome), in good condition
590 x 590 mm. (overall)
30,000-50,000
$46,000-76,000
41,000-67,000
PROVENANCE:
Lullin p. 250
77
117
ROY LICHTENSTEIN (1923-1997)
On
etching, 1962, on BFK Rives wove paper, signed and dated
in pencil, numbered 6/60 (there were also 15 artist proofs),
printing with a light plate tone, published by Galleria Schwarz,
Milan, the full sheet, light and time staining, framed
P. 150 x 112 mm., S. 253 x 190 mm.
10,000-15,000
$16,000-23,000
14,000-20,000
LITERATURE:
Corlett 32
VARIOUS PROPERTIES
118
ROY LICHTENSTEIN
Still Life with red Jar
screenprint in colours, 1994, on Lanaquarelle watercolour
paper, signed and dated in pencil, numbered 60/250 (there
were also fifty artists proofs), co-published by the artist
and Gemini G.E.L., Los Angeles, with their blindstamps and
inkstamp on the reverse, the full sheet, a deckle edge below, in
very good condition, framed
I. 381 x 333 mm., S. 544 x 491 mm.
5,000-7,000
LITERATURE:
Corlett 291
78
$7,700-11,000
6,800-9,400
*119
ROY LICHTENSTEIN
Shipboard Girl
offset lithograph in colours, 1965, on thin wove paper, signed in
pencil, from the edition of unknown size, published by Leo Castelli
Gallery, New York, the full sheet, the colours slightly attenuated, pale
light-staining, otherwise in good condition, framed
L. 663 x 488 mm., S. 690 x 515 mm.
10,000-15,000
$16,000-23,000
14,000-20,000
LITERATURE:
Corlett II.6
120
ROY LICHTENSTEIN
Crak!
offset lithograph in colours, 1963-64, on thin wove paper, signed in
pencil, from the edition of unknown size, published by Leo Castelli
Gallery, New York, with their address, the full sheet, the colours
bright and strong, a tiny nick and a scuff at the lower right sheet
edge, pale light-staining, otherwise in good condition
L. 473 x 685 mm., S. 505 x 718 mm.
5,000-7,000
$7,700-11,000
6,800-9,400
LITERATURE:
Corlett II.2
79
VARIOUS PROPERTIES
121
ANDY WARHOL (1928-1987)
Marilyn
screenprint in colours, 1967, on wove paper, signed with initials and dated in pencil verso, stamp numbered
55/250 (there were also 26 artists proofs lettered A-Z), published by Factory Additions, New York, the sheet
fractionally reduced, re-touched printing defects in the glossy black ink at right, the signature and stamp
numbering reinforced with grey wash, framed
S. 910-13 x 910 mm.
50,000-70,000
LITERATURE:
80
$77,000-110,000
68,000-94,000
122
ANDY WARHOL
Mick Jagger
screenprint in colours, 1975, on Arches Aquarelle wove paper, signed in pencil by the artist and in red ink by
the sitter, dedicated by the artist to Franca with love, numbered A.P. 6/50, an artists proof aside from the
edition of 250, published by Seabird Editions, London, with their copyright stamp on the reverse, printed to
or close to the edges of the full sheet, some minor cracks in the ink surface (as usual with this print), minor
time and light-staining, otherwise in good condition, framed
S. 1110 x 735 mm.
15,000-25,000
$23,000-38,000
21,000-34,000
PROVENANCE:
81
82
123
ANDY WARHOL
$ (4)
the portfolio of two unique screenprints in colours, 1982, on Lenox Museum Board, each signed in pencil, numbered 14/35, from
the edition of unique colour variants (there were also ten artists proofs), published by the artist, New York, with his copyright
stamp verso, printed by Rupert Jasen Smith, New York, with his blindstamp, the full sheets, in very good condition
S. 1016 x 814 mm. (each)
100,000-150,000
$160,000-230,000
140,000-200,000
LITERATURE:
83
124
ANDY WARHOL
Hammer and Sickle
the complete set of four screenrprints in colours, 1977, on Strathmore Bristol paper, all signed, inscribed and numbered
A.P. 3/10 in pencil, artists proofs aside from the edition of fifty, published by Andy Warhol Enterprises Inc., New York,
the full sheets, F. & S. 163 with pale mottled foxing at upper sheet edge, otherwise in good condition (4)
S. 765 x 1017 mm.
(4)
30,000-40,000
$46,000-61,000
41,000-54,000
LITERATURE:
84
125
ANDY WARHOL
The Marx Brothers, from: Ten Portraits of Jews of the
Twentieth Century
screenprint in colours, 1980, on Lenox Museum Board, signed in pencil,
numbered AP 10/30, an artists proof aside from the edition of two hundred,
co-published by Ronald Feldman Fine Arts, Inc., New York and Jonathan A
Editions, Tel Aviv, printed by Rupert Jasen Smith, New York, with his blindstamp,
with the artists copyright stamp on the reverse, the full sheet, in very good
condition, framed
S. 1016 x 814 mm.
12,000-18,000
$19,000-27,000
17,000-24,000
LITERATURE:
126
ANDY WARHOL
Speed Skater
screenprint in colours, 1983, on Arches Aquarelle cold-pressed paper, signed
in pencil, numbered 34/50 (there was also an edition of 150 and ten artists
proofs on Arches 88 paper), from the deluxe edition published by Visconti Art
Spectrum, Vienna, the full sheet, the signature slightly smudged, otherwise in
good condition, framed
I., S. 848 x 613 mm.
6,000-8,000
$9,200-12,000
8,100-11,000
LITERATURE:
85
127
ANDY WARHOL
One plate, from: Ladies and Gentlemen
screenprint in colours, 1975, on Arches wove paper,
signed and dated in pencil verso, numbered 21/125 (there
were also 25 artists proofs), published by L. Anselmino,
Milan, the full sheet, in good condition, framed
I. 851 x 673 mm., S. 1093 x 721 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
LITERATURE:
128
ANDY WARHOL
After the Party
screenprint in colors, 1979, on Arches 88 paper,
signed in pencil, numbered 172/1000 (there were
also thirty artists proofs), published by Grosset
and Dunlap, Inc., New York, printed by Rupert
Jasen Smith, New York, with his blindstamp, the full
sheet, a deckle edge below, in very good condition,
framed
S. 546 x 775 mm.
7,000-10,000
LITERATURE:
86
$11,000-15,000
9,500-13,000
VARIOUS PROPERTIES
129
ANDY WARHOL
Love
the complete set of three screenprints in colours, 1983, on BFK Rives wove paper, each signed in pencil, numbered
59/100 (there were also ten artists proofs), published by Form K. K., Tokyo, with the artists copyright stamp verso, the
full sheets, in very good condition, all framed (3)
S. 662 x 500 mm. (each)
(3)
15,000-25,000
$23,000-38,000
21,000-34,000
LITERATURE:
87
130
SAM FRANCIS (1923-1994)
Untitled
monotype in colours, circa 1980, on wove paper, signed in pencil, a unique
impression, the full sheet, a short repaired tear at lower left, generally in good
condtion
S. 960 x 745 mm.
6,000-8,000
$9,200-12,000
8,100-11,000
131
SAM FRANCIS
Untitled
screenprint in colours, 1986, on wove paper, signed in pencil, inscribed
CTP 3, one of ten colour trial proofs, presumably each a unique variant,
aside from the edition of 56, published by Gemini G.E.L., Los Angeles, with
their blindstamps, in very good condition
I., S. 2134 x 1503 mm.
6,000-8,000
LITERATURE:
Lembark S 18
Sam Francis Archive Number: SFS-291
88
$9,200-12,000
8,100-11,000
132
SAM FRANCIS
King Corpse
screenprint in colours, 1986, on Arches paper, signed in pencil, numbered AP 13/14, an artists proof aside
from the edition of 65, published by Gemini G.E..L, Los Angeles, with their blindstamp, the full sheet, in very
good condition
S. 1063 x 1494 mm.
7,000-10,000
$11,000-15,000
9,500-13,000
LITERATURE:
Lembark S16
89
133
134
SAM FRANCIS
SAM FRANCIS
etching and aquatint in colours, 1988, on wove paper, signed in pencil, inscribed
SP, a proof aside from the edition of thirty (there were also ten artists proofs),
published by 2RC Edizioni dArte, Rome, with their blindstamps, in very good
condition
I. 984 x 1994 mm., S. 1159 x 2413 mm.
etching and aquatint in colours, 1988, on wove paper, signed in pencil, inscribed
SP, a proof aside from the edition of thirty (there were also ten artists proofs),
published by 2RC Edizioni dArte, Rome, with their blindstamps, in very good
condition
I. 984 x 1994 mm., S. 1159 x 2413 mm.
5,000-7,000
5,000-7,000
$7,700-11,000
6,800-9,400
LITERATURE:
LITERATURE:
Lembark I 97
Lembark I 99
90
$7,700-11,000
6,800-9,400
l135
FRANCIS BACON (1909-1992)
Three Studies for a Self-Portrait
three lithographs in colours printed on one sheet, 1981, on Arches wove
paper, signed in pencil, numbered 139/150 (there were also 25 hors commerce
impressions and ten artists proofs), printed by Arts Litho, Paris, published by
ditions de la Diffrence, Paris, the full sheet, a deckle edge at right, in very good
condition, framed
L. 325 x 280 mm. (each), S. 473 x 1035 mm.
20,000-25,000
$31,000-38,000
27,000-34,000
LITERATURE:
Sabatier 15
l136
FRANCIS BACON
Triptych 1987 (Central Panel)
lithograph in colours, 1989, on Arches wove paper, signed in pencil, numbered
123/180, published by Galerie Lelong, Paris, with wide margins, the colours bright
and fresh, in good condition
L. 685 x 505 mm., S. 896 x 645 mm.
4,000-6,000
$6,100-9,100
5,400-8,100
LITERATURE:
Sabatier 25
l137
FRANCIS BACON
Logique de la Sensation
lithograph in colours, 1981, on wove paper, signed in pencil, numbered 119/150
(there were also 25 proofs numbered in Roman numerals), printed by Arts Litho,
Paris, with their blindstamp, published by ditions de la Diffrence, Paris, the full
sheet, generally in very good condition
L., S. 448 x 330 mm.
6,000-8,000
$9,200-12,000
8,100-11,000
LITERATURE:
Sabatier 28
91
l138
l139
FRANCIS BACON
FRANCIS BACON
the set of three lithographs in colours, 1979, on Arches wove paper, each signed
in pencil, numbered 123/180, published by Galerie Lelong, Paris, the full sheets,
deckle edges below, in very good condition, framed (3)
L. 655 x 485 mm., S. 898 x 625 mm. (each)
the set of three lithographs in colours, 1989, on Arches wove paper, each signed
in pencil, inscribed E.A., one of eight artists proof sets aside from the edition of
sixty, published by Michel Archimbaud for Librairie Sguier for IRCAM, Centre
Pompidou, Paris, the full sheets, in very good condition, framed (3)
L. 623 x 462 mm., S. 755 x 560 mm.
15,000-20,000
$23,000-30,000
21,000-27,000
15,000-20,000
LITERATURE:
Sabatier 23
LITERATURE:
Sabatier 24
92
$23,000-30,000
21,000-27,000
140
l140
FRANCIS BACON
Miroir de la Tauromachie
the complete set of four lithographs in colours, 1990, on Arches wove paper, with title, text in French by
Michel Leiris and justification, each lithograph signed in pencil, printed on folded sheets with letterpress text
on the inside pages, copy number 73 from the edition of 150 (there were also five hors commerce copies),
published by Galerie Lelong, Paris, the full sheets, in excellent condition, loose (as issued), in the original
paper wrappers with title, within the canvas-covered box with title, in very good condition (portfolio)
510 x 385 x 40 mm. (overall)
40,000-60,000
$61,000-91,000
54,000-81,000
LITERATURE:
Sabatier 29
140
l141
FRANCIS BACON
Right Panel, from: Triptych
etching with aquatint in colours, 1981, on Guarro wove paper, signed in pencil, numbered 48/99 (there
were also 15 artists proofs), published by Polgrafa, Barcelona, the full sheet, some surface dirt and handling
creases in the margins, otherwise in good condition
P. 289 x 296 mm., S. 645 x 497 mm.
4,000-6,000
$6,100-9,100
5,400-8,100
LITERATURE:
Sabatier 4
93
l142
LUCIAN FREUD (1922-2011)
Blond Girl
etching, 1985, on Somerset white wove paper, initialled in pencil, numbered 18/50 (there were also fifteen
artists proofs), published by James Kirkman, London, and Brooke Alexander, New York, the full sheet, in very
good condition, framed
P. 700 x 545 mm., S. 880 x 720 mm.
40,000-60,000
LITERATURE:
94
$61,000-91,000
54,000-81,000
VARIOUS PROPERTIES
l143
LUCIAN FREUD
Woman with an Arm Tattoo
etching, 1996, on wove paper, initialled in pencil, numbered 36/40 (there were also 12 artists proofs),
published by Matthew Marks Gallery, New York, the full sheet, a deckle edge below, in very good condition,
framed
P. 592 x 815 mm., S. 700 x 916 mm.
40,000-60,000
$61,000-91,000
54,000-81,000
LITERATURE:
95
l*144
LUCIAN FREUD
Eli
etching, 2002, on Somerset white wove paper, initialled in pencil, numbered 12/46 (there were also 12 artists proofs),
published by Matthew Marks Gallery, New York, the full sheet, in excellent condition, framed
P. 660 x 850 mm., S. 780 x 960 mm.
80,000-120,000
$130,000-180,000
110,000-160,000
LITERATURE:
96
l*145
LUCIAN FREUD
The Painters Doctor
etching, 2006, on Somerset white wove paper, signed in pencil, numbered 36 (there were also 12 artists proofs),
published by Acquavella LLC, New York, the full sheet, in very good condition, framed
P. 596 x 457 mm., S. 777 x 616 mm.
12,000-18,000
$19,000-27,000
17,000-24,000
LITERATURE:
97
l146
GERHARD RICHTER (B. 1932)
Bahnhof (Hannover)
offset lithograph, 1967, on white lightweight
cardboard, signed, dated and titled in pencil,
numbered 13/170 (there were also ten trial proofs),
published by Kunstverein Hannover, with their
stamp verso, the full sheet, generally in good
condition
L. 479 x 584 mm., S. 580 x 689 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
LITERATURE:
Butin 10
l147
GERHARD RICHTER
Wolke
offset lithograph, 1971, on white lightweight
cardboard, signed in pencil, numbered in pencil and
stamped on the reverse 133/150 (there were also 12
proofs numbered in Roman numerals), published
by Kunstring Folkwang, Essen, the full sheet, in very
good condition
L. 440 x 440 mm., S. 640 x 600 mm.
3,000-5,000
LITERATURE:
Butin 37
98
$4,600-7,600
4,100-6,700
l148
GERHARD RICHTER
Seestck II
offset lithograph in colours, 1970, on white wove paper, signed and dated
in pencil, inscribed Druckprobe, a trial proof aside from the edition of thirty,
published by Kirschbaum KG, Dsseldorf, the full sheet, a long diagonal scuff
within the subject, pale scattered pinpoint foxing in the margins
L. 541 x 457 mm., S. 676 x 531 mm.
4,000-6,000
$6,100-9,100
5,400-8,100
LITERATURE:
Butin 31
l149
GERHARD RICHTER
Seestck II
offset lithograph in colours on black tinted ground, 1970, on white wove paper,
signed and dated in pencil at lower centre, again signed and dated in black ink
at lower right, presumably a unique colour variant printed predominantly in
shades of green and yellow, a trial proof before the edition of one hundred, the
full sheet, the lower left corner in the black margin slightly discoloured, generally
in good condition
L. 521 x 432 mm., S. 599 x 447 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
LITERATURE:
Butin 31
99
l150
GERHARD RICHTER
Teydelandschaft
offset lithograph in colours, 1971, on white rag paper, signed and dated in pencil,
numbered 1/150 (there were also twenty on white cardboard numbered in
Roman numerals), the full sheet, pale light-staining, otherwise in very good
condition
L. 335 x 480 mm., S. 459 x 598 mm.
2,000-3,000
$3,100-4,600
2,700-4,000
LITERATURE:
Butin 41
l151
GERHARD RICHTER
Meer
offset print in colours, 1973, cellophaned and mounted on white card, signed,
dated 1973 and numbered 180/250 on the support sheet, published by
the Kunstverein, Ghent, with the justification stamp on the support sheet
underneath the image, the full sheets, in very good condition
I. 249 x 249 mm., S. 670 x 650 mm.
3,000-5,000
$4,600-7,600
4,100-6,700
LITERATURE:
Butin 48
l152
GERHARD RICHTER AND
BLINKY PALERMO (1943-1977)
Telefon
offset print in colours and screenprint in yellow, 1971, on white cardboard, signed
in pencil by both artists on the reverse, inscribed Belegexemplar, a proof aside
from the edition of fifty, published by the Krefelder Kunstverein, with their
stamp, the full sheet, in good condition
S., I. 605 x 480 mm.
4,000-6,000
$6,100-9,100
5,400-8,100
LITERATURE:
100
VARIOUS PROPERTIES
153
CHRISTOPHER WOOL (B. 1955)
Black Book
the complete book including 17 screenprints, 1989, on smooth wove paper, with title page and justification,
signed on the justification and numbered 238/350, published by Thea Westreich, New York, and Gisela
Capitain, Cologne, the full sheets, bound (as issued), in very good condition, within the original black
cardboard covers (book)
587 x 410 mm. (overall)
20,000-30,000
$31,000-46,000
27,000-40,000
101
l154
l155
My Colouring Book
three lithographs in colours, 1999, on wove paper, signed, titled and dated in
pencil, numbered 34/50, the full sheets, with deckle edges above and below, in
very good condition, not examined out of the frames (3)
S. 1220 x 680 mm. (each)
(3)
the complete set of 21 etchings, 2004, on Somerset TP wove paper, with the title
and justification page, each signed in pencil and numbered 25/35 on the reverse
(there were also ten artists proof sets), published by The Paragon Press, London,
the full sheets, in very good condition, within the original portfolio case with title
printed on the front (portfolio)
562 x 448 mm. (overall)
20,000-30,000
102
$31,000-46,000
27,000-40,000
5,000-7,000
END OF SALE
$7,700-11,000
6,800-9,400
INDEX
B
C
Campigli, M., 69
Canaletto, A. (after), 14
Chagall, M., 38, 39, 40, 41, 42, 43, 44
Chagall. M. (after), 45
Chapman, J. & D., 155
D
Dix, O., 31
Dongen, K. van, 49
Dumas, M., 154
Drer, A., 1, 2, 3
F
Feininger, L., 37
Francis, S., 130, 131, 132, 133, 134
Freud, L., 142, 143, 144, 145
G
Gauguin, P., 28
Goya, F. de, 15, 16
H
Hamilton, R., 115
Heckel, E., 32
Helleu, P., 19
P
Palermo, B., 152
Picasso, P., 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85,
86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 100,
101, 102, 103, 104, 105, 106, 107, 108
Picasso, P. (after), 99
Portfolio, 35, 68
R
Redon, O., 24
Rembrandt, 6, 7, 8, 9, 10, 11, 12
Renoir, P. A., 22
Richter, G., 146, 147, 148, 149, 150, 151, 152
Rubens, P. P., 5
S
Schmidt-Rottluff, K., 34
Seguin, A., 28
Signac, P., 23
Sisley, A., 27
Sorlier, C., 45
T
Tissot, J.J.J., 20, 21
Toulouse-Lautrec, H. de, 25, 26
Twombly, C., 114
V
Visentini, A., 14
Kandinsky, W., 36
Warhol, A., 121, 122, 123, 124, 125, 126, 127, 128, 129
Whistler, J. A. M., 17, 18
Wool, C., 153
Wou-Ki, Z., 109
L
Lger, F., 52
Lichtenstein, R., 117, 118, 119, 120
M
Man Ray, 112
Marcoussis, L., 70
Matisse, H., 53, 54, 55, 56, 57, 58, 59, 60
Mir, J., 61, 62, 63, 64, 65, 66, 67
Morandi, G., 71, 72, 73
103
Paula Rego:
Thirty Years of Print
Online Only
Sale Information
10-19 March 2015
christies.com/paularego
Contact Information:
Lucia Tro Santaf
ltrosantafe@christies.com
+44 (0) 20 7389 2472
PLEASE NOTE
This is not a sale catalogue for the auction. This summary is provided as
a courtesy. Please see the sale online for full descriptions, the conditions
of sale, and other important information regarding this auction.
106
Moon Eggs
the complete series of 5
etchings, 2005
Estimate: 4,000-6,000
6 WITHDRAWAL
Christies may, at its option, withdraw any lot at any
time prior to or during the sale of the lot. Christies
has no liability to you for any decision to withdraw.
2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above,
a financial reference or a deposit as a condition
of allowing you to bid. If you have not bought
anything from any of our salerooms in the last two
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires years or if you want to spend more than on previous
and emeralds) may have been treated to improve occasions, please contact our Credit Department on
their look, through methods such as heating and +44 (0)20 7839 9060.
oiling. These methods are accepted by the international jewellery trade but may make the gemstone 3 IF YOU FAIL TO PROVIDE THE
RIGHT DOCUMENTS
less strong and/or require special care over time.
(b) All types of gemstones may have been improved If in our opinion you do not satisfy our bidder
by some method. You may request a gemmological identification and registration procedures including,
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request is made to us at least three weeks before the laundering and/or anti-terrorism financing checks
date of the auction and you pay the fee for the report. we may require to our satisfaction, we may refuse
(c) We do not obtain a gemmological report for to register you to bid, and if you make a successful
every gemstone sold in our auctions. Where we bid, we may cancel the contract for sale between
do get gemmological reports from internationally you and the seller.
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from 4 BIDDING ON BEHALF OF
American gemmological laboratories will describe
ANOTHER PERSON
any improvement or treatment to the gemstone. If you are bidding on behalf of another person,
Reports from European gemmological laboratories that person will need to complete the registration
will describe any improvement or treatment only requirements above before you can bid, and supply
if we request that they do so, but will confirm a signed letter authorising you to bid for him/
when no improvement or treatment has been her. A bidder accepts personal liability to pay the
made. Because of differences in approach and purchase price and all other sums due unless it
technology, laboratories may not agree whether a has been agreed in writing with Christies before
particular gemstone has been treated, the amount commencement of the auction that the bidder is
of treatment or whether treatment is permanent. acting as an agent on behalf of a named third party
The gemmological laboratories will only report acceptable to Christies and that Christies will only
on the improvements or treatments known to the seek payment from the named third party.
laboratories at the date of the report.
(d) For jewellery sales, estimates are based on the 5 BIDDING IN PERSON
information in any gemmological report or, if no If you wish to bid in the saleroom you must
report is available, assume that the gemstones may register for a numbered bidding paddle at least
have been treated or enhanced.
30 minutes before the auction. You may register
online at www.christies.com or in person. For
7 WATCHES & CLOCKS
help, please contact the Credit Department on +44
(a) Almost all clocks and watches are repaired in (0)20 7839 9060.
their lifetime and may include parts which are
not original. We do not give a warranty that 6 BIDDING SERVICES
any individual component part of any watch is The bidding services described below are a free
authentic. Watchbands described as associated service offered as a convenience to our clients and
are not part of the original watch and may not be Christies is not responsible for any error (human
authentic. Clocks may be sold without pendulums, or otherwise), omission or breakdown in providing
weights or keys.
these services.
(b) As collectors watches often have very fine and
complex mechanisms, a general service, change of (a) Phone Bids
battery or further repair work may be necessary,
Your request for this service must be made no
for which you are responsible. We do not give a
later than 24 hours prior to the auction. We
warranty that any watch is in good working order.
will accept bids by telephone for lots only if our
Certificates are not available unless described in
staff are available to take the bids. If you need
the catalogue.
to bid in a language other than in English, you
(c) Most wristwatches have been opened to find out must arrange this well before the auction. We
the type and quality of movement. For that reason, may record telephone bids. By bidding on the
wristwatches with water resistant cases may not be telephone, you are agreeing to us recording your
waterproof and we recommend you have them conversations. You also agree that your telephone
checked by a competent watchmaker before use.
bids are governed by these Conditions of Sale.
Important information about the sale, transport and
shipping of watches and watchbands can be found
(b) Internet Bids on Christies Live
in paragraph H2(h).
For certain auctions we will accept bids over
the Internet. Please visit www.christies.com/
B
REGISTERING TO BID
livebidding and click on the Bid Live icon to see
1 NEW BIDDERS
details of how to watch, hear and bid at the auction
(a) If this is your first time bidding at Christies or from your computer. As well as these Conditions
you are a returning bidder who has not bought of Sale, internet bids are governed by the Christies
anything from any of our salerooms within the last LIVEG terms of use which are available on www.
two years you must register at least 48 hours before christies.com.
an auction to give us enough time to process and
approve your registration. We may, at our option, (c) Written Bids
decline to permit you to register as a bidder. You You can find a Written Bid Form at the back of our
will be asked for the following:
catalogues, at any Christies office or by choosing
(i) for individuals: Photo identification (driving the sale and viewing the lots online at www.
licence, national identity card or passport) and, if christies.com. We must receive your completed
not shown on the ID document, proof of your Written Bid Form at least 24 hours before the
current address (for example, a current utility bill auction. Bids must be placed in the currency of the
or bank statement).
saleroom. The auctioneer will take reasonable steps
(ii) for corporate clients: Your Certificate of to carry out written bids at the lowest possible price,
Incorporation or equivalent document(s) showing taking into account the reserve. If you make a
your name and registered address together with written bid on a lot which does not have a reserve
documentary proof of directors and beneficial and there is no higher bid than yours, we will bid
owners; and
on your behalf at around 50% of the low estimate
(iii) for trusts, partnerships, offshore companies or, if lower, the amount of your bid. If we receive
and other business structures, please contact us in written bids on a lot for identical amounts, and at
advance to discuss our requirements.
the auction these are the highest bids on the lot,
(b) We may also ask you to give us a financial we will sell the lot to the bidder whose written bid
reference and/or a deposit as a condition of we received first.
allowing you to bid. For help, please contact our
Credit Department on +44 (0)20 7839 9060.
C
AT THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our
premises or decline to permit participation in any
auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a
reserve. We identify lots that are offered without
reserve with the symbol next to the lot number.
The reserve cannot be more than the lots low
estimate.
3 AUCTIONEERS DISCRETION
The auctioneer can at his sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any
way he or she may decide, or change the order of
the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more
lots;
(e) reopen or continue the bidding even after the
hammer has fallen; and
(f) in the case of error or dispute and whether
during or after the auction, to continue the bidding,
determine the successful bidder, cancel the sale of
the lot, or reoffer and resell any lot. If any dispute
relating to bidding arises during or after the auction,
the auctioneers decision in exercise of this option is
final.
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders, and internet bidders through
Christies LIVEG (as shown above in Section B6);
and
(c) written bids (also known as absentee bids or
commission bids) left with us by a bidder before the
auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid
on behalf of the seller up to but not including
the amount of the reserve either by making
consecutive bids or by making bids in response
to other bidders. The auctioneer will not identify
these as bids made on behalf of the seller and will
not make any bid on behalf of the seller at or above
the reserve. If lots are offered without reserve,
the auctioneer will generally decide to open the
bidding at 50% of the low estimate for the lot.
If no bid is made at that level, the auctioneer may
decide to go backwards until a bid is made, and
then continue up from that amount. In the event
that there are no bids on a lot, the auctioneer may
deem such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments). The auctioneer
will decide at his or her sole option where the
bidding should start and the bid increments. The
usual bid increments are shown for guidance only on
the Written Bid Form at the back of this catalogue.
7 CURRENCY CONVERTER
The saleroom video screens (and Christies LIVETM)
may show bids in some other major currencies as
well as sterling. Any conversion is for guidance only
and we cannot be bound by any rate of exchange
used. Christies is not responsible for any error
(human or otherwise), omission or breakdown in
providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her
discretion as set out in paragraph C3 above, when
the auctioneers hammer strikes, we have accepted
the last bid. This means a contract for sale has been
formed between the seller and the successful bidder.
We will issue an invoice only to the registered
bidder who made the successful bid. While we
send out invoices by post and/or email after the
auction, we do not accept responsibility for telling
you whether or not your bid was successful. If you
have bid by written bid, you should contact us by
telephone or in person as soon as possible after the
auction to get details of the outcome of your bid
to avoid having to pay unnecessary storage charges.
F
PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you must
pay the purchase price being:
(i) the hammer price; and
(ii) the buyers premium; and
(iii) any amounts due under section D3 above; and
(iv) any duties, goods, sales, use, compensating or
service tax or VAT.
Payment is due no later than by the end of the
seventh calendar day following the date of the
auction (the due date).
(b) We will only accept payment from the
registered bidder. Once issued, we cannot change
the buyers name on an invoice or re-issue the
invoice in a different name. You must pay
immediately even if you want to export the lot and
you need an export licence.
(c) You must pay for lots bought at Christies in
the United Kingdom in the currency stated on the
invoice in one of the following ways:
(i) Wire transfer
You must make payments to:
Lloyds Bank Plc, City Office, PO Box 217, 72
Lombard Street, London EC3P 3BT. Account
number: 00172710, sort code: 30-00-02 Swift
code: LOYDGB2LCTY. IBAN (international bank
account number): GB81 LOYD 3000 0200 1727
10.
(ii) Credit Card.
We accept most major credit cards subject to certain
conditions. To make a cardholder not present
(CNP) payment, you must complete a CNP
authorisation form which you can get from our
Cashiers Department. You must send a completed
CNP authorisation form by fax to +44 (0)20 7389
2869 or by post to the address set out in paragraph
(d) below. If you want to make a CNP payment
over the telephone, you must call +44 (0)20 7839
9060. CNP payments cannot be accepted by all
salerooms and are subject to certain restrictions.
Details of the conditions and restrictions applicable
to credit card payments are available from our
Cashiers Department, whose details are set out in
paragraph (d) below.
(iii) Cash
We accept cash subject to a maximum of %5,000
per buyer per year at our Cashiers Department only
(subject to conditions).
(iv) Bankers draft
You must make these payable to Christies and there
may be conditions.
(v) Cheque
You must make cheques payable to Christies.
Cheques must be from accounts in pounds sterling
from a United Kingdom bank.
(d) You must quote the sale number, your
invoice number and client number when making
a payment. All payments sent by post must be sent
to: Christies, Cashiers Department, 8 King Street,
St Jamess, London, SW1Y 6QT.
(e) For more information please contact our
Cashiers Department by phone on +44 (0)20 7839
9060 or fax on +44 (0)20 7389 2869.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of
the lot will not pass to you until we have
received full and clear payment of the
purchase
price, even in circumstances
where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will
transfer to you from whichever is the earlier of the
following:
(a) When you collect the lot; or
(b) At the end of the seventh day following the
date of the auction or, if earlier, the date the lot is
taken into care by a third party warehouse as set out
on the page headed Storage and Collection, unless
we have agreed otherwise with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full
by the due date, we will be entitled to do one or
more of the following (as well as enforce our rights
under paragraph F5 and any other rights we have by
law):
(i) to charge interest from the due date at a rate of
5% a year above the UK Lloyds Bank base rate from
time to time on the unpaid amount due;
110
10 REPORTING ON
WWW.CHRISTIES.COM
Details of all lots sold by us, including catalogue
descriptions and prices, may be reported on
www.christies.com. Sales totals are hammer
price plus buyers premium and do not reflect
J
OTHER TERMS
costs, financing fees, or application of buyers or
sellers credits. We regret that we cannot agree
1
OUR ABILITY TO CANCEL
In addition to the other rights of cancellation to requests to remove these details from www.
contained in this agreement, we can cancel a sale of christies.com.
a lot if we reasonably believe that completing the
GLOSSARY
transaction is, or may be, unlawful or that the sale J
places us or the seller under any liability to anyone authentic: a genuine example, rather than a copy
else or may damage our reputation.
or forgery of:
(i) the work of a particular artist, author or
2 RECORDINGS
manufacturer, if the lot is described in the
We may videotape and record proceedings at any Heading as the work of that artist, author or
auction. We will keep any personal information manufacturer;
confidential, except to the extent disclosure is (ii) a work created within a particular period or
required by law. However, we may, through this culture, if the lot is described in the Heading as a
process, use or share these recordings with another work created during that period or culture;
Christies Group company and marketing partners (iii) a work for a particular origin source if the lot
to analyse our customers and to help us to tailor is described in the Heading as being of that origin
our services for buyers. If you do not want to be or source; or
videotaped, you may make arrangements to make (iv) in the case of gems, a work which is made of
a telephone or written bid or bid on Christies a particular material, if the lot is described in the
LIVEG instead. Unless we agree otherwise Heading as being made of that material.
in writing, you may not videotape or record authenticity warranty: the guarantee we give in
proceedings at any auction.
this agreement that a lot is authentic as set out in
section E2 of this agreement.
3 COPYRIGHT
buyers premium: the charge the buyer pays us
We own the copyright in all images, illustrations and along with the hammer price.
written material produced by or for us relating to a catalogue description: the description of a lot
lot (including the contents of our catalogues unless in the catalogue for the auction, as amended by any
otherwise noted in the catalogue). You cannot use saleroom notice.
them without our prior written permission. We Christies Group: Christies International Plc,
do not offer any guarantee that you will gain any its subsidiaries and other companies within its
copyright or other reproduction rights to the lot.
corporate group.
condition: the physical condition of a lot.
4 ENFORCING THIS AGREEMENT
due date: has the meaning given to it in paragraph
If a court finds that any part of this agreement is not F1(a).
valid or is illegal or impossible to enforce, that part estimate: the price range included in the catalogue
of the agreement will be treated as being deleted or any saleroom notice within which we believe
and the rest of this agreement will not be affected. a lot may sell. Low estimate means the lower
figure in the range and high estimate means the
5 TRANSFERRING YOUR RIGHTS
higher figure. The mid estimate is the midpoint
AND RESPONSIBILITIES
between the two.
You may not grant a security over or transfer your hammer price: the amount of the highest bid the
rights or responsibilities under these terms on the auctioneer accepts for the sale of a lot.
contract of sale with the buyer unless we have Heading: has the meaning given to it in paragraph
given our written permission. This agreement will E2.
be binding on your successors or estate and anyone lot: an item to be offered at auction (or two or
who takes over your rights and responsibilities.
more items to be offered at auction as a group).
other damages: any special, consequential,
6 TRANSLATIONS
incidental or indirect damages of any kind or any
If we have provided a translation of this agreement, damages which fall within the meaning of special,
we will use this original version in deciding any incidental or consequential under local law.
issues or disputes which arise under this agreement. purchase price: has the meaning given to it in
paragraph F1(a).
7 PERSONAL INFORMATION
provenance: the ownership history of a lot.
We will hold and process your personal information qualified: has the meaning given to it in paragraph
and may pass it to another Christies Group E2 and Qualified Headings means the section
company for use as described in, and in line with, headed Qualified Headings on the page of
our privacy policy at www.christies.com.
the catalogue headed Important Notices and
Explanation of Cataloguing Practice.
reserve: the confidential amount below which we
8 WAIVER
No failure or delay to exercise any right or remedy will not sell a lot.
provided under these Conditions of Sale shall saleroom notice: a written notice posted next to
constitute a waiver of that or any other right or the lot in the saleroom and on www.christies.
remedy, nor shall it prevent or restrict the further com, which is also read to prospective telephone
exercise of that or any other right or remedy. No bidders and notified to clients who have left
single or partial exercise of such right or remedy commission bids, or an announcement made by the
shall prevent or restrict the further exercise of that auctioneer either at the beginning of the sale, or
before a particular lot is auctioned.
or any other right or remedy.
UPPER CASE type: means having all capital
letters.
9 LAW AND DISPUTES
This agreement, and any non-contractual obligations warranty: a statement or representation in which
arising out of or in connection with this agreement, or the person making it guarantees that the facts set
any other rights you may have relating to the purchase out in it are correct.
of a lot will be governed by the laws of England and
Wales. Before we or you start any court proceedings
(except in the limited circumstances where the dispute,
controversy or claim is related to proceedings brought
by someone else and this dispute could be joined
We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyers premium
and shown separately on our invoice.
For qualifying books only, no VAT is payable on the hammer price or the buyers premium.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyers premium but will not be shown separately
on our invoice.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see U symbol above)
For wine offered in bond only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be
charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the
buyers premium and shown on the invoice.
No refund is possible
No symbol and
* and
EU VAT registered
buyer
No Symbol, and #
Subject to HMRCs rules, you can reclaim the Import VAT charged on the hammer price through
your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT
amount in the buyers premium is invoiced under Margin Scheme rules so cannot normally be
claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under
standard VAT rules (as if the lot had been sold with a U symbol) then, subject to HMRCs rules,
you can reclaim the VAT charged through your own VAT return.
The VAT amount in the buyers premium cannot be refunded. However,
on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT
rules (as if the lot had been sold with a U symbol).
See below for the rules that would then apply.
If you provide us with your EU VAT number we will not charge VAT on the
buyers premium. We will also refund the VAT on the hammer price if you
ship the lot from the UK and provide us with proof of shipping, within three months
of collection.
* and
The VAT amount on the hammer and in the buyers premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a U symbol).
See above for the rules that would then apply.
If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:
Non EU buyer
No Symbol
U and
We will refund the VAT charged on the hammer price. VAT on the buyers premium can
only be refunded if you are an overseas business.
The VAT amount in the buyers premium cannot be refunded to non-trade clients.
(wine only)
No Excise Duty or Clearance VAT will be charged on the hammer price providing you export
the wine while in bond directly outside the EU using an Excise authorised shipper. VAT on the
buyers premium can only be refunded if you are an overseas business. The VAT amount in the
buyers premium cannot be refunded to non-trade clients.
* and
We will refund the Import VAT charged on the hammer price and the VAT amount
in the buyers premium.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or
failure to, mark a lot
112
PAYMENT
Free of Charge
Free of Charge
%70.00
%5.25
%35.00
%2.65
BOOKS
Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the
auction. Thereafter the charges set out above will be payable.
These charges do not include:
a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges
b) VAT which will be applied at the current rate
113
CANADA
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DENOTES SALEROOM
ENQUIRIES?
114
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+34 (0)93 487 8259
IRELAND
+353 (0)59 86 24996
Christine Ryall
MIAMI
+1 305 445 1487
Jessica Katz
NEWPORT
+1 401 849 9222
Betsy D. Ray
NEW YORK
+1 212 636 2000
PALM BEACH
+1 561 833 6952
Maura Smith
PHILADELPHIA
+1 610 520 1590
Christie Lebano
SAN FRANCISCO
+1 415 982 0982
Ellanor Notides
Carmen Schjaer
MADRID
+34 (0)91 532 6626
Juan Varez
Dalia Padilla
08/08/14
115
DEPARTMENTS
AMERICAN FURNITURE
INDIAN
CONTEMPORARY ART
POSTERS
PRINTS
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WORKS OF ART
JEWELLERY
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MARITIME PICTURES
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PICTURES
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AND WORKS OF ART
SILVER
TWENTIETH CENTURY
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AND GLASS
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
SCULPTURE
TRIBAL AND
PRE-COLUMBIAN ART
CONTEMPORARY ART
COSTUME, TEXTILES
AND FANS
MUSICAL INSTRUMENTS
London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com
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Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu
Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES
New York
+1 212 974 4570
newyork@cfass.com
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Tel: +65 6543 5252
Email: singapore@cfass.
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CHRISTIES
INTERNATIONAL
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PRIVATE SALES
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Tel +1 212 468 7182
Fax +1 212 468 7141
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Tel +44 20 7389 2551
Fax +44 20 7389 2168
info@christiesrealestate.com
info@christiesrealestate.com
WINE
POST-WAR ART
CHRISTIES EDUCATION
VICTORIAN PICTURES
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CORPORATE
COLLECTIONS
Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
POPULAR CULTURE
AND ENTERTAINMENT
OTHER SERVICES
AUCTION SERVICES
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
06/11/14
116
Contact
1821 April
85 Old Brompton Road
London SW7 3LD
Alexandra Gill
agill@christies.com
+44 (0)20 7752 3109
christies.com
Contact
1822 April
20 Rockefeller Plaza
New York, NY 10020
Richard Lloyd
rlloyd@christies.com
+1 212 636 2290
christies.com
Contact
28 March 1 April
85 Old Brompton Road
London SW7 3LD
Nicholas Lambourn
nlambourn@christies.com
+44 (0)20 7389 2040
christies.com
10402
Client Number (if applicable)
Sale Number
BIDDING INCREMENTS
Bidding generally starts below the low estimate and increases in steps
(bid increments) of up to 10 per cent. The auctioneer will decide where
the bidding should start and the bid increments. Written bids that do not
conform to the increments set below may be lowered to the next bidding
interval.
UK50 to UK 1,000
UK1,000 to UK2,000
UK2,000 to UK3,000
UK3,000 to UK5,000
UK5,000 to UK10,000
UK10,000 to UK20,000
UK20,000 to UK30,000
UK30,000 to UK50,000
UK50,000 to UK100,000
UK100,000 to UK120,000
Above UK200,000
by UK50s
by UK100s
by UK200s
by UK200, 500, 800
(eg UK4,200, 4,500, 4,800)
by UK500s
by UK1,000s
by UK2,000s
by UK2,000, 5,000, 8,000
(eg UK32,200, 35,000,
38,000)
by UK5,000s
by UK10,000s
at auctioneers discretion
The auctioneer may vary the increments during the course of the
auction at his or her own discretion.
1. I request Christies to bid on the stated lots up to the
maximum bid I have indicated for each lot.
2. I understand that if my bid is successful, the amount payable
will be the sum of the hammer price and the buyers
premium (together with any taxes chargeable on the hammer
price and buyers premium and any applicable Artists Resale
Royalty in accordance with the Conditions of Sale). The buyers
premium rate shall be an amount equal to 25% of the hammer
price of each lot up to and including 50,000, 20% on any
amount over 50,000 up to and including 1,000,000 and 12%
of the amount above 1,000,000. For wine and cigars there is a
flat rate of 17.5% of the hammer price of each lot sold.
3. I agree to be bound by the Conditions of Sale printed in
the catalogue.
4. I understand that if Christies receive written bids on a lot for
identical amounts and at the auction these are the highest bids on
the lot, Christies will sell the lot to the bidder whose written bid
it received and accepted first.
5.
Written bids submitted on no reserve lots will, in the
absence of a higher bid, be executed at approximately 50% of the
low estimate or at the amount of the bid if it is less than 50%
of the low estimate.
I understand that Christies written bid service is a free service
provided for clients and that, while Christies will be as careful as
it reasonably can be, Christies will not be liable for any problems
with this service or loss or damage arising from circumstances
beyond Christies reasonable control.
Address
Post Code
Daytime Telephone
Evening Telephone
Fax (Important)
Please tick if you prefer not to receive information about our upcoming sales by e-mail
I have read and understood this Written Bid Form and the Conditions of Sale - Buyers Agreement
Signature
If you have not previously bid or consigned with Christies, please attach copies of the following documents.
Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or
passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank
statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore
companies or partnerships: please contact the Compliance Department at +44(0)20 7839 9060 for advice on
the information you should supply. If you are registering to bid on behalf of someone who has not previously
bid or consigned with Christies, please attach identification documents for yourself as well as the party on
whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients,
clients who have not made a purchase from any Christies office within the last two years, and those wishing
to spend more than on previous occasions will be asked to supply a bank reference.
Maximum Bid UK
(excluding buyers premium)
Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
30.01.15
121
Code
L11
N61
N11
P61
K13
K72
Subscription Title
Photographs, Posters & Prints
Old Master, 19th Century,
Modern & Contemporary Prints
Photographs
Prints
Photographs
Old Master, 19th Century,
Modern & Contemporary Prints
Vintage Posters
Vintage works from the 19th and early 20th centuries, modern and
contemporary photographs and photographically illustrated books.
Original works from the great masters of all periods of western
printmaking from Drer through Rembrandt and Goya to ToulouseLautrec, Picasso and Contemporary artists.
Location
Issues
UKPrice
US$Price
EURPrice
King Street
57
91
86
New York
New York
Paris
South Kensington
5
3
2
4
119
71
38
68
190
114
61
114
181
108
57
103
South Kensington
43
71
66
www.christies.com/shop
Photographs, Posters and Prints Impressionist and Modern Art
Jewellery, Watches and Wine Antiquities and Tribal Art
Asian and Islamic Art Russian Art
Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings
CHRISTIES
CHRISTIES INTERNATIONAL PLC
Patricia Barbizet, Chairwoman and
Chief Executive Officer
Stephen Brooks, Global Chief Operating Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Franois-Henri Pinault,
Jussi Pylkknen, Global President
CHRISTIES UK
CHAIRMANS OFFICE
Viscount Linley, Chairman
Nol Annesley, Honorary Chairman;
Richard Roundell, Vice Chairman;
Robert Copley, Deputy Chairman;
The Earl of Halifax, Deputy Chairman;
Francis Russell, Deputy Chairman;
Julia Delves Broughton, James Hervey-Bathurst,
Amin Jaffer, Orlando Rock,
Nicholas White, Mark Wrey
SENIOR DIRECTORS
Dina Amin, Daniel Baade, Philip Belcher,
Jeremy Bentley, Ellen Berkeley, Jill Berry,
Giovanna Bertazzoni, Prof. Dr. Dirk Boll,
Peter Brown, James Bruce-Gardyne,
Olivier Camu, Sophie Carter, Benjamin Clark,
Christopher Clayton-Jones, Karen Cole,
Isabelle de La Bruyere, Leila de Vos,
Nicole Dembinska, Paul Dickinson,
Harriet Drummond, Julie Edelson,
Hugh Edmeades, David Elswood,
David Findlay, Margaret Ford, Daniel Gallen,
Philippe Garner, Jane Griffiths, Karen Harkness,
Philip Harley, James Hastie, Paul Hewitt,
Rachel Hidderley, Mark Hinton, Nick Hough,
Michael Jeha, Hugues Joffre, Donald Johnston,
Erem Kassim-Lakha, William Lorimer,
Catherine Manson, John McDonald,
Nic McElhatton (Chairman, South Kensington),
Alexandra McMorrow, Jeremy Morrison,
Nicholas Orchard, Francis Outred,
Clarice Pecori-Giraldi, Benjamin Peronnet,
Henry Pettifer, Steve Phipps, Will Porter,
Paul Raison, Tara Rastrick, William Robinson,
John Stainton, Alexis de Tiesenhausen,
Lynne Turner, Jay Vincze, Andrew Ward,
David Warren, Andrew Waters,
Harry Williams-Bulkeley, Martin Wilson,
Andr Zlattinger
DIRECTORS
Richard Addington, Zoe Ainscough,
Georgiana Aitken, Marco Almeida, Maddie Amos,
Simon Andrews, Helen Baker, Karl Barry,
Rachel Beattie, Sven Becker, Jane Blood,
Piers Boothman, David Bowes-Lyon,
Anthony Brown, Lucy Brown, Robert Brown,
Grace Campbell, Lucy Campbell, Jason Carey,
Romilly Collins, Ruth Cornett, Sigrun Danielsson,
Armelle de Laubier-Rhally, Sophie DuCret,
Anna Evans, Arne Everwijn, Adele Falconer,
Nick Finch, Peter Flory, Elizabeth Floyd,
Christopher Forrest, Giles Forster, Patricia Frost,
Sarah Ghinn, Zita Gibson, Alexandra Gill,
Sebastian Goetz, John Green, Simon Green,
David Gregory, Mathilde Heaton,
Annabel Hesketh, Sydney Hornsby,
Peter Horwood, Simon James, Sabine Kegel,
Hans-Peter Keller, Tjabel Klok, Quincy Kresler,
Robert Lagneau, Nicholas Lambourn,
Joanna Langston, Tina Law, Darren Leak,
Adriana Leese, Brandon Lindberg, Laura Lindsay,
29/01/15
+44 (0)20 7839 9060 telephone +44 (0)20 7389 2869 facsimile