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22 April 2015 SOUTH KENSINGTON
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AUCTION
STORAGE AND COLLECTION
Wednesday 22 April 2015

at 10.30 am Lots 1-121 and
at 2.00 pm Lots 122-306
85 Old Brompton Road
London SW7 3LD
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MORNING SESSION
(LOTS 1-121)
l*1
DAMIEN HIRST (B. 1965)
Kindness
screenprint in colours, 2011, on smooth wove paper, signed in black felt-tip
pen, numbered 24/50 in black felt-tip pen (there were also ten artists proofs),
published by Other Criteria, London, the full sheet, in good condition, framed
Image, Sheet: 914 x 914 mm.
5,000-7,000
$7,500-10,000
7,100-9,900
SOL LEWITT (1928-2007)

Two plates, from: Stars
two linocuts in colours, 2002, on Somerset wove paper, each signed in pencil,
numbered 49/50 (there were also ten artists proofs), published by Parasol Press
Ltd., New York, the full sheets, each in apparently good condition, unexamined
out of their frames
Block: 590 x 590 mm., Sheet: 685 x 685 mm. (each)
(2)
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:
Krakow 2002.02
FRANK STELLA (B. 1936)
One plate, from: Open Cube in Colour on Colour
Conway, from: Eccentric Polygons
linocut in colours, 2003, on Somerset wove paper, signed in pencil, numbered

18/20 (there were also eight trial proofs), published by Sonia de Juanas, Arte y
Naturaleza, Madrid, the full sheet, in good condition
Block: 280 x 280 mm., Sheet: 350 x 350 mm.
lithograph and screenprint in colours, 1974, on Arches paper, signed and dated
74 in pencil, numbered 60/100 (there were also ten artists proofs), published
by Gemini G.E.L., Los Angeles, with their blindstamps and inkstamp verso, the
full sheet, two soft diagonal creases in the right of the image, otherwise in good
condition
Sheet: 438 x 565 mm.
1,000-1,500
$1,500-2,200
1,500-2,100
800-1,200
LITERATURE:
Krakow 2003.05
LITERATURE:
Axsom 97
$1,200-1,800
1,200-1,700
6
5
l*5
l6
EDUARDO CHILLIDA (1924-2002)
PIERRE SOULAGES (B. 1919)
Argi VI
Srigraphie n 21
etching and aquatint, 1988, on watermarked BFK Rives paper, signed in pencil,
numbered VI/X inscribed P.A. an artists proof aside from the standard edition
of 50, published by Polgrafa, Barcelona, printed to the edges of the full sheet, in
good condition, framed
screenprint in colours, 1994, on wove paper, signed in pencil, numbered 14/100,

published by Edition Domberger, Stuttgart, with their blindstamp, the full sheet,
in good condition, framed
Image: 395 x 350 mm.
3,000-5,000
1,000-1,500
$4,500-7,500
4,300-7,100
$1,500-2,200
1,500-2,100
LITERATURE:
LITERATURE:
Gatto 113
Koelen 88017
JEFF KOONS (B. 1955)
JEFF KOONS (B. 1955)
Balloon dog (Blue)
Balloon Dog (Red)
metallic porcelain multiple, 2002, numbered 265/2300 on the printed label

verso, published by the Museum of Contemporary Art, Los Angeles, some minor
surface dust, generally in good condition, with the original white box with the
artists name printed in metallic blue and plastic stand
260 mm. (diameter)
metallic porcelain multiple, 2002, numbered 1940/2300 on the printed label

verso, published by the Museum of Contemporary Art, Los Angeles, a 2 mm.
area of paint loss on the nose, other minor surface defects, otherwise in good
condition, with plastic stand, lacking the original white card box with the artists
name printed in metallic blue
260 mm. (diameter)
4,000-6,000
$6,000-9,000
5,700-8,500
4,000-6,000
$6,000-9,000
5,700-8,500
10
*9
l10
CHEN TINGSHIH (1916-2002)
PATRICK CAULFIELD (1936-2005)
Vacation of the Stars # 4
Cigar
woodcut in colours, 1971, on wove paper, signed, titled and dated in pencil,
numbered 4/18, together with; Calligraphy # 2, woodcut, 1976, on wove paper,
signed, dated and titled in pencil, numbered 6/40, the full sheets, in good
condition
Sheet: 685 x 685 mm. (and similar)
(2)
screenprint in colours, 1978, on wove paper, signed in pencil, inscribed PP, a

printers proof aside from the standard edition of 75, published by Waddington
Graphics, London, printed by Kelpra Studio, London, with their inkstamp verso,
the full sheet, in good condition, framed
Image: 448 x 480 mm., Sheet: 575 x 609 mm.
2,000-3,000
700-1,000
$3,000-4,500
2,900-4,200
PROVENANCE:
LITERATURE:
From the Collection of Gilles A. Abrioux.
Cristea 57
$1,100-1,500
990-1,400
12
11
l11
l*12
EDUARDO CHILLIDA (1924-2002)
SERGE POLIAKOFF (1900-1969)
Atzapar
Composition in Green and Yellow
etching, 1973, on watermarked BFK Rives paper, signed in pencil, numbered

36/50 (there were also five artists proofs), published by Maeght diteur, Paris,
Plate: 398 x 297 mm., Sheet: 794 x 603 mm.
lithograph in colours, 1966, on watermarked BFK Rives paper, signed in pencil,

numbered 69/75 (there were also six artists proofs), published by Galerie im
Erker, St. Gallen, printed by Erker-Presse, St. Gallen, with their blindstamp, the full
sheet, in good condition
Lithograph: 475 x 635 mm., Sheet: 635 x 800 mm.
2,000-3,000
$3,000-4,500
2,900-4,200
2,000-3,000
LITERATURE:
Koelen 73023
LITERATURE:
Poliakof & Schneider 60
$3,000-4,500
2,900-4,200
(part lot)
*13
AD REINHARDT (1913-1967)
10 Screenprints
the complete set of ten screenprints in colours, 1966, on wove paper, unsigned
(only the first 20 copies were signed) numbered 164/250, published by
Wadsworth Atheneum, Hartford, Connecticut, with the Ives-Sillman blindstamp,
the full sheets, each in good condition, loose (as issued), each in its individual,
numbered paper folder, within the original paper wrapper, in good condition
560 x 430 x 14 mm. (overall)
4,000-6,000
$6,000-9,000
5,700-8,500
PROVENANCE:
l14
LUCIO FONTANA (1899-1968)
Concetto Spaziale
screenprint on Rhodod with circular perforations, 1968, with Japan paper also
with circular perforations, scratch-signed, numbered 44, from the standard
edition of 100 (there were also 50 copies in Roman Numerals), published by
Documenta Foundation, Kassel, the full sheet, with minor surface defects,
otherwise in good condition
1,000-1,500
$1,500-2,200
1,500-2,100
LITERATURE:
Ruh & Rigo S-18
14
l*15
RICHARD HAMILTON (1922-2011)

Reaper (a)
etching, 1949, on England handmade paper, signed in pencil, from the edition
of 300 (there was an earlier edition of 25 published in 1949), published by
Griffelkunst-Vereinigung, Hamburg, with their inkstamp verso, 1977, the full
600-800
$900-1,200
850-1,100
LITERATURE:
Lullin 20
15
l16
LUCIO FONTANA (1899-1968)
Concetto Spaziale
pencil with punched holes, 1962-64, on wove paper, signed in pencil, numbered
85/130, from the edition of 130 unique works, published by Hofhaus Presse,
Dsseldorf, the full sheet, pale time-staining at the sheet edges, otherwise in
3,000-5,000
LITERATURE:
Ruh & Rigo U-3
16
$4,500-7,500
4,300-7,100
17
CARLOS CRUZ-DIEZ (B. 1923)
Four plates, from: Couleur Additive
four screenprints in colours, 1970, on wove paper, each signed and dated in
pencil, numbered 5/200, 16/200, 125/200 and 172/200 respectively, published
by Denise Rene diteur, Paris, with margins, each in apparently good condition,
unexamined out of their frames
(4)
5,000-7,000
$7,500-10,000
7,100-9,900
11
19
18
l18
l19
BRIDGET RILEY (B. 1931)
Elapse
Window at night
screenprint in colours, 1982, on watermarked BFK Rives paper, signed, titled

and dated in pencil, from the unnumbered (as issued) edition of 260, published
by the Print Club of Cleveland, with their blindstamp, the full sheet, in good
condition, framed
Image: 1020 x 638 mm.
screenprint in colours, 1972, on wove paper, signed in pencil, numbered 25/72

(there were also 15 proofs), published by Leslie Waddington Prints, London, with
full margins, apparently in good condition, unexamined out of the frame
1,000-1,500
4,000-6,000
$6,000-9,000
5,700-8,500
EXHIBITED:
LITERATURE:
Schubert 30
12
Cristea 25
$1,500-2,200
1,500-2,100
20
CARLOS CRUZ-DIEZ (B. 1923)
Three plates, from: Induction Chromatique
three screenprints in colours, 1979, on wove paper, each signed and dated
in pencil, numbered 65/200, 70/200 and 199/200 respectively, published
by Denise Rene diteur, Paris, with their blindstamp, with margins, each in
apparently good condition, unexamined out of their frames
4,000-6,000
(3)
$6,000-9,000
5,700-8,500
13
*21
Irregular Zigzag Bands
etching and aquatint in colours, 1996, on watermarked Arches 88 paper, signed
in pencil, numbered 47/50 (there were also 15 artists proofs), published by
Leucadia National Corporation, New York, the full sheet, in good condition,
framed
Plate: 175 x 693 mm., Sheet 330 x 785 mm.
21
1,500-2,000
$2,300-3,000
2,200-2,800
PROVENANCE:
From the archives of the publisher.

LITERATURE:
Krakow 1996.06
*22
TAKASHI MURAKAMI (B. 1962)
Two Prints by the Artist
two offset lithographs in colours, 2008, on smooth wove paper, comprised of
Acupuncture/Flowers (Checkers), signed in silver ink, numbered 78/300 and
Acupuncture/Flowers, signed in silver ink, numbered 89/300, each co-published
by the artist and Kaikai Kiki Co. Ltd., Tokyo and New York, the full sheets, in good
condition
Image, Sheet: 680 x 680 mm. (each)
(2)
1,000-1,500
$1,500-2,200
1,500-2,100
Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

22
l23
ALBERTO BURRI (1915-1995)
Trittico C: 1-3
the complete set of three screenprints in colours, 1973/76, on Fabriano
Rosaspina paper, each signed in pencil, numbered 25/90 (there were also 15
artists proofs), published by 2RC Edizioni dArte, Rome, with their blindstamp,
the full sheets, in good condition
Image: 253 x 358 mm., Sheet: 430 x 536 mm. (and smaller)
(3)
3,000-5,000
23
14
$4,500-7,500
4,300-7,100
(recto)
(verso)
24
RICHARD TUTTLE (B. 1941)
Two with Any Two
the complete portfolio of six etchings and lithographs in colours, 1977, printed
on three sheets recto and verso, signed in pencil on the justification, numbered
1/50, co-published by Edition der Galerie Heiner Friedrich, Mnchen and
Brooke Alexander Inc., New York, each sheet, in good condition, within the grey
cardboard portfolio box, with title in pencil on the lid, in good condition
760 x 530 x 15 mm. (overall)
800-1,200
$1,200-1,800
1,200-1,700
15
25
26
27
*25
26
l27

AND MARK GROTJAHN (B. 1968)
ELLSWORTH KELLY (B. 1923)
GEORGES BRAQUE (1882-1963)
Orange
One plate, from: Si je mourais l-bas
lithograph in colours, 2004, on wove paper, signed

in pencil, numbered 154/250 (there were also 44
artists proofs), published by Gemini G.E.L., Los
Angeles, with their blindstamps and inkstamp verso,
wood engraving in colour, 1962, on watermarked LB

wove paper, signed in pencil, numbered III/X aside
from the standard edition of 150 (there was also an
edition of 40 on Japan nacr paper), published by
Louis Broder, Paris, the full sheet, in good condition,
framed
Untitled (Scarlet Lake and Indigo Blue

Butterfly 826); Untitled (Canary Yellow
and Black Butterfly 830)
two offset lithographs in colours, 2010, on wove
paper, each signed by both artists (Mark Grotjahn
in black ink and Takashi Murakami in silver ink),
numbered 165/300 and 170/300 respectively,
co-published by the artists and KaiKai Kiki Ltd.,
Japan, printed to the edges of the full sheets, each
in good condition
Lithograph, Sheet: 700 x 557 mm. (each)
(2)
1,200-1,800
$1,800-2,700
1,700-2,500
Takashi Murakami/Kaikai Kiki Co., Ltd. All

Rights Reserved
16
800-1,200
$1,200-1,800
1,200-1,700
1,500-2,000
LITERATURE:
Axsom 309
LITERATURE:
Vallier 181
$2,300-3,000
2,200-2,800
*28
Flowers Blooming in this World and the Land of Nirvana
five offset lithographs in colours, 2013, on wove paper, each signed in either
black or silver ink, numbered from the edition of 300, each co-published by the
artist and Kaikai Kiki Co., Ltd., Tokyo and New York, printed to the edges of the
full sheets, each in good condition
Lithograph, Sheet: 505 x 505 mm.
(5)
2,500-3,000
$3,800-4,500
3,600-4,200
Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved
28
*29
29
Three Prints by the Artist

three offset lithographs in colours, 2012, on smooth wove paper, comprised
of An Hommage to Monopink 1960 A, signed in silver felt-tip pen, numbered
120/300, An Homage to Monogold 1960 A, signed in black felt-tip pen 111/300
and An Homage to Yves Klein, Multicolor A, signed in black felt-tip pen 100/300,
each co-published by the artist and Kaikai Kiki Co., Ltd., Tokyo and New York,
printed to the edges of the full sheets, in good condition
(3)
1,500-2,000
$2,300-3,000
2,200-2,800
29
30
Killer Pink
offset lithograph in colours, 2005, on wove paper, signed in silver ink, numbered
146/300, co-published by the artist and Kaikai Kiki Co., Ltd, Tokyo and New York,
printed to the edges of the full sheet, apparently in good condition, unexamined
out of the frame
1,500-2,000
$2,300-3,000
2,200-2,800
30
17
l*31
JOAN MIR (1893-1983)

Chemin de Ronde II
etching and aquatint in colours, 1966, on wove paper, signed in pencil,
numbered 10/50, published by Maeght diteur, Paris, with margins, trimmed
along the left and lower sheet edge, pale mount staining in all margins, framed
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:
Dupin 413
31
32
LIU-YE (B. 1964)
She and Mondrian
lithograph in colours, 2001, on wove paper, an unsigned proof aside from the
the standard edition of 50, published by George C.P. Mulder, Amsterdam, the full
sheet, in apparently good condition, unexamined out of the frame
1,500-2,000
$2,300-3,000
2,200-2,800
PROVENANCE:
From the archive of the publisher.
32
l*33
VICTOR PASMORE (1908-1998)
Untitled 5
screenprint in colours, 1989, on wove paper, initialled and dated in pencil,
numbered 3/70 (there were also 20 artists proofs), published by Marlborough
Fine Art Ltd., London, printed by Kelpra Studio, London, with their blindstamp,
the full sheet, in good condition
800-1,200
LITERATURE:
Lynton G. 55
33
18
$1,200-1,800
1,200-1,700
l*34
Serie di Sei : Tav. 1-6
the complete set of six screenprints in colours, 1973, on Fabriano Rosaspina
paper, signed in pencil, numbered 40/90 (there were also 15 artists proofs),
published by 2RC Edizioni dArte, Rome, the full sheets, each in good condition
(6)
4,000-6,000
$6,000-9,000
5,700-8,500
19
l35

Methamphetamine
etching in colours, 2004, on wove paper, signed in pencil, numbered 101/115
verso, published by Paragon Press, London, the full sheet, apparently in good
condition, unexamined out of the frame
8,000-12,000
20
$13,000-18,000
12,000-17,000
l36

Flumequine
etching in colours, 2007, on wove paper, signed in pencil, numbered 41/75
verso, published by Paragon Press, London, the full sheet, apparently in good
7,000-10,000
$11,000-15,000
9,700-14,000
21
37
38
l37
l38
PETER BLAKE (B. 1932)
SIGMAR POLKE (1941-2010)
Lucky Strike
Hallo Shiva
three screenprints in colours with foil leaf, 2008, on wove paper, signed in pencil,
each inscribed A/P, artists proofs aside from the edition of unknown size, the full
sheets, each in good condition, framed
Sheet: 1015 x 755 mm. (each)
(3)
offset lithograph in colours, 1974, on wove paper, signed in pencil, numbered

7/80, published by Galerie E. Klein, Bonn, the full sheet, in good condition
3,000-5,000
700-1,000
$4,500-7,500
4,300-7,100
LITERATURE:
Becker & von der Osten 39
22
$1,100-1,500
990-1,400
39
ROBERT INDIANA (B. 1928)

Spring Love
New Zealand wool rug, signed in black felt-tip pen on a
fabric label verso, numbered 63/175, handcrafted by Master
Contemporary Original Artist Rugs, in good condition
2438 x 2438 mm. (overall)
2,500-3,000
$3,800-4,500
3,600-4,200
39
40

Grisaille Love
New Zealand wool rug, signed in black felt-tip pen on a
fabric label verso, numbered 60/175, handcrafted by Master
Contemporary Original Artist Rugs, in good condition
2,500-3,000
$3,800-4,500
3,600-4,200
40
23
41
42
l*41
l*42
Trittico A: 1-3
Trittico B: 1-3
the complete set of three screenprints in colours, 1973, on wove paper, each
signed in pencil, numbered 40/90 (there were also 25 artists proofs), published
and printed by 2RC Edizioni dArte, Rome, each with their blindstamp, the full
sheets, in good condition
Image: 253 x 357 mm., Sheet: 355 x 435 mm. (each)
(3)
the complete set of three screenprints in colours, 1973/76, on wove paper, each
signed in pencil, numbered 51/90 (there were also 15 artists proofs), published
by 2RC Edizioni dArte, Rome, with their blindstamp, the full sheets, one with
minor scuffing to the black ink, otherwise in good condition
Image: 276 x 241 mm., Sheet: 434 x 357 mm. (each)
(3)
3,000-5,000
3,000-5,000
24
$4,500-7,500
4,300-7,100
$4,500-7,500
4,300-7,100
l43

All you need is Love, Love, Love
screenprint in colours, 2008, on wove paper, signed in pencil, numbered 15/50,
published by Other Criteria, London, the full sheet, apparently in good condition,
unexamined out of the frame
Sheet: 1524 x 1524 mm.
10,000-15,000
$15,000-22,000
14,000-21,000
25
l*44
ARNALDO POMODORO (B. 1926)
Cronaca 2, 4, 5 and 7
four etchings in colour, with embossing on copper and epoxy plate, 1976, each
on watermarked Fabriano Rosaspina paper, each signed in pencil, numbered
71/90, 59/90, 37/60 and 57/90 respectively (there were also 20 artists proofs),
published by 2RC Edizioni dArte, Rome, with their blindstamp, printed to the
edges of the full sheets, in good condition
(4)
4,000-6,000
26
$6,000-9,000
5,700-8,500
45
46
47
45
46
*47
GEORGE SEGAL (1924-2000)
Hand on Breast
Man in Red Shirt and Man in Solferino

Shirt, from: Blue Jeans
Girl in Blue Jeans, Girl in Violet Shirt and

Girl in Doorway, from: Blue Jeans Series
two etchings and aquatints in colours, 1975, on

Fabriano wove paper, each signed and dated in
pencil, numbered 32/51 and 50/55, published by
2RC Edizioni dArte, Rome, with their blindstamp,
the full sheets, with minor surface defects, otherwise
in good condition
(and similar)
(2)
three etchings and aquatints in colours, 1976, on

watermarked Fabriano paper, each signed in pencil,
numbered 32/55, 38/47 and 56/57 respectively,
published by 2RC Edizioni dArte, Rome, with their
blindstamp, the full sheets, with minor surface
defects, otherwise in good condition
(and similar)
(3)
1,200-1,800
1,500-2,000
paper-cast relief, 1979, signed and dated 79

in pencil, numbered 45/50, published by the
Metropolitan Museum of Art, New York, in a perspex
presentation box, in good condition
542 x 150 x 630 mm. (overall)
1,000-1,500
$1,500-2,200
1,500-2,100
PROVENANCE:
From the Peter Bendixen Collection
$1,800-2,700
1,700-2,500
$2,300-3,000
2,200-2,800
27
48
49
*48
*49
JAMES ROSENQUIST (B. 1933)
Paper Clip
Elbow Lake
lithograph in colours, 1974, on wove paper, signed, titled and dated in pencil,
numbered 59/75 (there were also 20 artists proofs in Roman numerals),
published by Petersburg Press, New York, the full sheet, with minor surface
defects, in good condition
numbered 38/100, published by Sidney Singer, printed by Aripeko Ltd. Editions,
with their inkstamp, the full sheet, with time and mount staining, a soft crease the
length of the left image edge, otherwise in good condition
3,000-5,000
1,500-2,500
$4,500-7,500
4,300-7,100
LITERATURE:
LITERATURE:
Glenn 71
Glenn 126
28
$2,300-3,700
2,200-3,500
50
51
*50
l51
MARINO MARINI (1901-1980)
Wall Street Journal, Dinner Triangles: 2nd State
Il Grido
etching and aquatint in colours, 1978, on wove paper, signed, titled and dated
in pencil, numbered 11/78 (there were also eight artists proofs), published by
Multiples Inc., New York, the full sheet, soft handling creases at the sheet edges,
Sheet: 578 x 1013 mm.

numbered 22/50, published by LOEuvre Grave, Zurich, with their blindstamp,
the full sheet, pale mount staining, otherwise in good condition
700-1,000
1,200-1,800
$1,800-2,700
1,700-2,500
$1,100-1,500
990-1,400
LITERATURE:
LITERATURE:
Guastalla L. 86
Glenn 116a
29
53
52
l52
l53
GERHARD RICHTER (B. 1932)
Lamp and Lung Kuan Ware, from: White Ware Prints
One plate, from: Schweizer Alpen I-V (Motiv B1)
screenprint in colours, 1990, on wove paper, signed and inscribed AP 1/10 in

pencil, one of 13 proofs aside from the standard edition of 45, published by
Waddington Graphics, London, the full sheet, apparently in good condition,
Image: 790 x 533 mm, Sheet: 1072 x 811 mm.
screenprint in colours, 1969, on wove paper, signed in pencil, from the

unnumbered (as issued) edition of 300, stamped verso, published by
Griffelkunst Vereinigung, Hamburg-Langenhorn, printed to the edges of the
full sheet, one corner slightly creased, soft crease at right, otherwise in good
condition
700-1,000
$1,100-1,500
990-1,400
1,000-1,500
LITERATURE:
Cristea 80
LITERATURE:
Butin 16
30
$1,500-2,200
1,500-2,100
54
55
56
l54
l*55
l*56
ENZO CUCCHI (B. 1949)
Roma
One plate, from: Sur le mur den face
Eau-Forte No. 11
aquatint with carborundum in colours, 1991, on

wove paper, signed, dated and inscribed buona per
tirare, the bon tirer impression, aside from the
standard edition of 60 (there were also nine artists
proofs), co-published by Polgrafa, Barcelona, and
2RC Edizioni dArte, Rome, the full sheet, in good
condition, with the original frame
screenprint in colour, 1979, on Arches paper,

signed in pencil, numbered 18/75, with title, text in
French and signed justification, lacking two plates,
published by Bernard Frize, Paris, in good condition,
lacking the original cloth covered portfolio
530 x 380 x 12 mm. (overall)
etching and aquatint in colour, 1961, on

watermarked BFK Rives paper, signed in pencil,
numbered 16/100, published by Lacourire, Paris,
the full sheet, time-staining across the sheet,
1,000-1,500
2,000-3,000
1,000-2,000
$1,500-3,000
1,500-2,800
$1,500-2,200
1,500-2,100
PROVENANCE:
LITERATURE:
Rivire 11
$3,000-4,500
2,900-4,200
31
l57
CHRISTO (B. 1935)
Wrapped Monument to Vittorio Emanueule, Project for Piazza
del Duomo, Milan
lithograph in colours with collage of fabric, twine and staples, 1975, on Guarro
mounted on card (as issued), signed in pencil, numbered 68/75 (there were also
ten artists proofs), published by Polgrafa, Barcelona, the full sheet, tipped to the
backboard, slight cockling to the sheet, otherwise in good condition, framed;
together with two black and white photographs, from the same series, each
signed in black felt-tip pen, numbered 68/75, the full sheets, in good condition,
framed
(3)
2,000-3,000
LITERATURE:
Schellmann 78, 82 & 83
32
$3,000-4,500
2,900-4,200
59
58
l58
l59
CHRISTO (B. 1935)
CHRISTO (B. 1935)
Wrapped Spiegel
Wrapped Sylvette, Project for Washington Square Village, New York
Der Spiegel magazine (folded), transparent plastic wrap, string and scotch tape,
1963, signed and dated 63 in black felt-tip pen verso, numbered 102, from the
edition of 130 unique works, published by Hans Mller, Dsseldorf, in good
condition, framed
310 x 120 x 8 mm. (overall)
screenprint and collotype printed in colours with collage, 1973-74, on Fabriano

paper, signed and numbered 222/300 in pencil, (there were also five proofs
numbered in Roman numerals), published by Propylen Verlag, Berlin, printed to
the edges of the full sheet, in good condition, framed
3,000-5,000
700-1,000
$4,500-7,500
4,300-7,100
LITERATURE:
LITERATURE:
Schellmann 1
Schellmann 60
$1,100-1,500
990-1,400
33
60
61
l*60
l61
CHRISTO (B. 1935)
CHRISTO (B. 1935)
Wrapped floors, project for Haus Lange museum, Krefeld
Packed Hay (Project for the Institute of Contemporary Art,

The University of Pennsylvania, Philadelphia)
lithograph in colours with collage of paper, cloth and staples, 1983, on Arches
paper mounted to board (as issued), signed and dated in pencil, numbered
49/100 (there was also an edition of 25 in Roman numerals plus 20 artists
proofs), published by Edition Schellmann & Klser, Munich and New York,
printed to the edges of the full sheet, minor scuff to the fabric in the lower right
corner, otherwise in good condition, framed
screenprint in colours, 1973, on wove paper laminated to brown board (as

issued), signed in pencil, inscribed E.A. an artists proof aside from the standard
edition of 200, published by Kestner-Gesselschaft, Hanover, printed to the edges
of the full sheet, in good condition
700-1,000
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
LITERATURE:
Schellmann & Benecke 110
34
Schellmann 62
$1,100-1,500
990-1,400
(folio)
62
63
(folio)
l62
l63
ENRICO CASTELLANI (B. 1930)
AGOSTINO BONALUMI (B. 1935)
Trous
Giusto Provarci
the complete set of five embossings, 1996, on wove paper, with title and text in
French, hors-texte, each signed and dated in pencil, numbered 35/75 (there were
also 25 in Roman numerals and ten numbered proofs), also numbered on the
justification, published by Proposte dArte Colophon, Belluno, Italy, each sheet, in
good condition, loose (as issued), within the white paper cover with embossed
title, within the original wooden slipcase, in good condition
340 x 330 x 65 mm. (overall)
3D metal multiple in high relief, 2006, signed in the metal plate, numbered 22/45,
from the deluxe edition (the total edition was 100, only 45 with the multiple),
published by Edizioni Colophon di Belluno, Santo Biagio, together with the set
of nine poems, numbered 22/80 in pencil on the justification, loose (as issued)
within the blue printed dust jacket, in good condition, presented together in a
perspex case, minor scratches
387 x 273 x 65 mm.(overall)
2,000-3,000
1,500-2,500
$3,000-4,500
2,900-4,200
$2,300-3,700
2,200-3,500
35
64
65
l64
l65
BANKSY (B. 1974)
BANKSY (B. 1974)
No Ball Games
Monkey Queen
screenprint in colours, 2009, on wove paper, signed in pencil, numbered

194/250, published by Pictures on Walls, London, with their blindstamp, the full
sheet, in good condition, framed
screenprint in colours, 2003, on wove paper, unsigned (as issued), numbered

in pencil 179/750, published by Pictures on Wall, London, the full sheet, in good
condition
2,500-3,500
3,000-5,000
$3,800-5,200
3,600-4,900
This lot is ofered with the Certificate of Authenticity from Pest Control.
36
$4,500-7,500
4,300-7,100
(part lot)
l66
PAULA REGO (B. 1935)
Peter Pan
the complete set of 15 etchings and aquatints, nine plates with hand-colouring,
with title, index/justification and book, on Somerset wove paper, 1992, the
deluxe edition, each print signed in pencil, numbered 2/50 (there were also 14
artist proofs), the book signed by the artist in blue ink and lettered J in pencil,
published by the artist and Marlborough Graphics, London, printed by Culford
Press, London, with their blindstamp, the prints with foxing across the the
sheets, the book with staining from the ribbon, other minor defects, sheets all
loose within the original green leather-covered solander box, foxing across the
interior of the box
767 x 637 x 85 mm. (overall)
15,000-20,000
$24,000-31,000
21,000-28,000
LITERATURE:
Rosenthal 79-93
37
68
67
l67
68
JOSEPH BEUYS (1921-1986)
BRUCE NAUMAN (B. 1941)
Urschlitten 1, from: Circulation Time
Verso Recto
etching, 1982, on wove paper, signed and titled in pencil, numbered A.P. 4/25,
one of 25 artists proofs (aside from the standard edition of 75), published by
Grafos-Verlag, Vaduz, Liechtenstein, the full sheet, in apparently good condition,
etching, 1997, on wove paper, signed and dated in pencil, inscribed P.P. II a
printers proof aside from the standard edition of 75, published by Gemini G.E.L.,
Los Angeles, with their blindstamps and inkstamp verso, the full sheet, in good
condition, framed
700-1,000
1,000-1,500
$1,100-1,500
990-1,400
LITERATURE:
LITERATURE:
Schellmann & Klser 434
Gemini 1703
38
$1,500-2,200
1,500-2,100
l69
MARLENE DUMAS (B. 1953)
The Fog of War
the complete set of four digital prints, 2006, on wove paper, with
table of content and justification, each signed in pencil, numbered
10/80 (there were an additional ten artists proofs), the full sheets,
2,500-3,500
$3,800-5,200
3,600-4,900
39
71
70
*70
l*71
SHEPARD FAIREY (B. 1970)
GERALD LAING (1936-2011)
Ai Weiwei
Brigitte Bardot
screenprint in colours, 2014, on wove paper, signed and dated in pencil,

numbered 50/375, the full sheet, in good condition
screenprint in colours, 1968, on wove paper, signed, dated and titled in pencil, an
artists proof aside from the standard edition of 200, inscribed for Jack & Bob,
published by the artist, with his blindstamp, minor creasing and soft folds in the
corners, otherwise in good condition
800-1,200
40
$1,200-1,800
1,200-1,700
3,000-5,000
$4,500-7,500
4,300-7,100
72
73
72
73
ANDY WARHOL (1928-1987)
ROY LICHTENSTEIN (1923-1997)
Mao
The Solomon R. Guggenheim Museum Poster
screenprint in colours, 1972, on Beckett High White wove paper, signed in

ball-point pen and stamp numbered 58/250 verso (there were also 50 artists
proofs), published by Castelli Graphics and Multiples Inc., New York, printed by
Styria Studio Inc., New York, with the artists copyright stamp and the printers
stamp verso, printed to the edges of the full sheet with backboard staining, a
small paper loss at the upper right and lower left, the sheet slightly cockled,
other defects, framed
screenprint in colours, 1969, on BFK Rives paper, signed and dated in pencil,
numbered 70/250 (there were also an unknown number of artists proofs),
co-published by the artist and Leo Castelli Gallery, New York, the full sheet, with
extensive time-staining, the colours attenuated, other minor defects, framed
Image: 588 mm. (diameter), Sheet: 728 x 728 mm.
15,000-25,000
$23,000-37,000
22,000-35,000
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
Corlett 83
LITERATURE:
Feldman & Schellmann II. 97
41
l74
LUCIAN FREUD (1922-2011)
Woman sleeping
etching, 1995, on Somerset wove paper, initialled in pencil, numbered 27/36, the
full sheet, a skilfully repaired tear in the upper left margin extending 20 mm. into
the image, otherwise in good condition
10,000-15,000
LITERATURE:
Figura 39
42
$15,000-22,000
14,000-21,000
75
76
*75
l76
ALBERTO GIACOMETTI (1901-1966)
GEORG BASELITZ (B. 1938)
Rimbaud vu par les peintres
Acht Radierungen nach Zeichnungen von 1959,

Heiner Friedrich, Munich, 1973
etching, 1962, on wove paper, signed in pencil, numbered 29/97, the full sheet,
time-staining around the image, otherwise in good condition
3,000-5,000
LITERATURE:
Lust 175
$4,500-7,500
4,300-7,100
the complete set of eight etchings with drypoint, 1973, on Van Gelder Zaansbord
paper, each signed, dated and numbered in pencil 48/50, also numbered on the
justification (there was also an edition of ten numbered in Roman numerals), the
full sheets, scattered pinpoint foxing on each sheet, creasing on the justification,
otherwise in good condition, within the original brown imitation leather folder,
with the artists name printed in black on the front, minor scuffing otherwise in
good condition
765 x 660 x 20 mm. (overall)
1,200-1,800
$1,800-2,700
1,700-2,500
LITERATURE:
Jahn 109-116
43
l77
FRANCIS BACON (1909-1992)

Autoportrait
lithograph in colours, 1973, on watermarked Arches paper, signed in felt-tip
pen (signature faded), numbered 38/180, published by Galerie Claude Bernard,
Paris, the full sheet, pale time-staining, the colours attenuated, otherwise in good
condition, framed
4,000-6,000
LITERATURE:
Sabatier 12
44
$6,000-9,000
5,700-8,500
l78
FRANCIS BACON (1909-1992)

Figure writing reflected in a mirror
lithograph in colours, 1977, on Arches wove paper, signed in felt-tip pen
(signature faded), numbered 37/180 in pencil, published by Galerie Bernard,
Paris, the full sheet, some light-staining, otherwise in good condition, framed
5,000-7,000
$7,500-10,000
7,100-9,900
LITERATURE:
Sabatier 13
45
79
80
l79
l80
Magdalena
Waterende Vrouw
numbered I/X AP an artists proof aside from the standard edition of 40,
published by Edition Marcel Kalksma, Amsterdam, the full sheet, apparently in
good condition, unexamined out of the frame
lithograph, 1996, on wove paper, signed, titled and dated in pencil, numbered
85/100, the full sheet, apparently in good condition, unexamined out of frame
2,500-3,500
46
$3,800-5,200
3,600-4,900
800-1,200
$1,200-1,800
1,200-1,700
l81
DAVID HOCKNEY (B. 1937)
Figure by a curtain
lithograph in colour with screenprint additions, 1964, on wove paper, signed and dated in pencil, inscribed
proof and numbered 1/16, a proof aside from the standard edition of 75, published by Editions Alecto, London
(with their blindstamp), the full sheet, pale staining at the extreme sheet edges, otherwise in good condition,
framed
4,000-6,000
$6,000-9,000
5,700-8,500
LITERATURE:
Scottish Arts Council 37
47
l82
VARIOUS ARTISTS
This box contains the items you ordered
(Contemporary Archaeology, Pandora Part Two)
artists box containing ten works in various media by Sophie Boursat, Ren
Daniels, Klaas Gubbels, Sol Lewitt, Maarten Ploeg, Steef Roothaan, Reiner
Ruthenbeck, Gnter Tuzina, Ben Vautier and Robin Winters, 1986/87,
numbered 136/160, with title page, table of contents, justification page and text,
published by Publishing House Bbert, Rotterdam, all items loose within the
original white painted wooden box, with ribbon tie, titled on the lid, generally in
good condition
350 x 280 x 145 mm. (overall)
1,000-1,500
$1,500-2,200
1,500-2,100
82
l83
VARIOUS ARTISTS
Protect me from what I want
(Contemporary Archeology, Pandora Part Three)
artists box containing ten works in various media by Richard Artschwager,
Christiaan Bastiaans, Daniel Buren, Guillaume Bijl, Jenny Holzer, Edwin
Janssen, Imi Knoebel, Robert Longo, Aldo Rossi and Rob Scholte, 1989/90,
numbered 66/200, with title page, table of contents, justification page and text,
published by Publishing House Bbert, Rotterdam, all items loose within the
original black painted wooden box with ribbon tie, titled on the lid, generally in
good condition
385 x 285 x 255 mm. (overall)
1,000-1,500
$1,500-2,200
1,500-2,100
83
l84
Postkarten
the complete set of 81 postcards in colours, 1968-1986, within the original
cardboard presentation box signed in pencil on the lid, published by Edition
Staeck, Heidelberg, the full sheets, some with minor surface defects, otherwise in
good condition
175 x 125 x 45 mm. (overall)
700-1,000
84
48
$1,100-1,500
990-1,400
85
86
l85
86
VARIOUS ARTISTS
CILDO MEIRELES (B. 1948)
A Collection of Momart Christmas Multiples
Camel
seven multiples by various artists in various media, 1990-1999, comprising

works by Antony Caro, Lynn Chadwick, Richard Deacon, Tracey Emin, Damien
Hirst and two coins by Bill Woodrow, all published by Momart, London, each in
generally good condition, the Tracey Emin and Lynn Chadwick multiples with
accompanying pamphlets
270 x 215 mm. (and smaller)
(7)
3D Multiple comprised of 1,000 pins, 1,000 collar stays, two tables, a puppet, a
motor, a box, a plug, string and screws, 1998, signed and dated in pencil on the
back of the box, numbered 247/1000, published by Galerie Luisa Strina, So
Paulo, in good condition
298 x 385 x 74 mm. (overall)
1,500-2,500
$2,300-3,700
2,200-3,500
1,000-1,500
$1,500-2,200
1,500-2,100
49
l87
JAN DIBBETS (B. 1941)
Ten Windows
the sequenced set of ten chromogenic prints, 1997, on photographic paper, each
signed in black ink and inscribed with sequence number in Roman numerals,
numbered 14/40, published by Alan Cristea, London, the full sheets, each in good
condition, framed, lacking the portfolio case
(10)
6,000-8,000
50
$9,000-12,000
8,500-11,000
51
88
89
l88
l89
MICHELANGELO PISTOLETTO (B. 1933)
Selbstbildnis
Cappio
offset lithograph, signed in blue ballpoint pen, 1971, on glossy wove paper,
numbered 8/120 (there were also three artists proofs), published by Galerie
Ren Block, Berlin, the full sheet, a hairline scratch in the centre of the image,
screenprint in colours, 1973, on reflective silver foil, signed in black ink,

numbered 124/130 in blue ink, published by Kestner-Gesellschaft, Hanover, the
full sheet, minor indentations in the upper image, otherwise in good condition,
framed
700-1,000
2,000-3,000
PROVENANCE:
From the Peter Bendixen Collection.

LITERATURE:
52
$1,100-1,500
990-1,400
$3,000-4,500
2,900-4,200
l90
Klner Bettler I-IV
the complete set of four offset lithographs, 1972, on wove paper, each signed
Edition Staeck, Heidelberg, the full sheets, one with a minor scuff, otherwise in
good condition
(4)
700-1,000
$1,100-1,500
990-1,400
PROVENANCE:

LITERATURE:
53
91
92
93
l91
l92
l*93
Neue Anschrift (New Address)
Mu Nieltnam Netorruprup
Auguren
letterpress in black ink, 1973, on card, signed in

pencil, from the unnumbered (as issued) edition of
300 (there were also 50 artists proofs), published
by Galerie Grafikmeyer, Karlsruhe, the full sheet, in
offset lithograph in colours, 1975, on wove paper,

signed in pencil, inscribed probe, a proof aside from
the standard edition of 75, published by SchleswigHolsteinischer Kunstverein, Kiel, the full sheet, with
a 10 mm. tear at the extreme left sheet edge, other
minor surface defects
offset lithograph in colours, 1982, on wove paper,

signed in pencil, numbered 88/200, published by
Edition Staeck, Heidelberg, the full sheet, in good
condition
1,200-1,800
$1,800-2,700
1,700-2,500
2,000-3,000
LITERATURE:
54
LITERATURE:
Schellmann 443
LITERATURE:
Schellmann 73
$3,000-4,500
2,900-4,200
600-800
$900-1,200
850-1,100
94
YAYOI KUSAMA (B. 1929)
Pumpkin
screenprint in colour, 2000, on wove paper, signed in pencil, titled, dated and
numbered 115/200, the full sheet, in good condition
1,500-2,000
$2,300-3,000
2,200-2,800
94
l95
MANOLO VALDS (B. 1942)

Reina Mariana I
etching and aquatint in colours with collage, 2008, on wove paper, signed in
pencil, numbered 47/50, printed to the edges of the full sheet, in good condition,
framed
Sheet: 1660 x 940 mm.
3,000-4,000
$4,500-6,000
4,300-5,600
95
96
KEITH HARING (1958-1990)
Portrait of Joseph Beuys
screenprint in colours, 1986, on canvas, signed and dated in black felt-tip pen,
numbered 57/90, co-published by Galerie Bernd Klser, Mnchen and Edition
Schellmann, New York, the full sheet, in good condition, framed
3,000-5,000
$4,500-7,500
4,300-7,100
LITERATURE:
Littmann 61
96
55
97
98
99
97
98
l99
VARIOUS ARTISTS
TOM WESSELMANN (1931-2004)
ALLEN JONES (B. 1937)
Rubber Stamp Portfolio
Bedroom Face
One plate, from: Magician Suite
the complete set of 13 stamped prints in colours,

1976, on various papers, ten stamp signed and
numbered 503/1000 verso, published by Parasol
Press, Ltd., New York, each sheet loose (as issued)
inside the accompanying paper envelope, in good
condition
295 x 298 mm. (and smaller)
(13)
aquatint in colours, 1977, on Arches paper, signed

and dated in pencil, numbered 64/75, published by
Multiples, Inc., New York, with their blindstamp and
the blindstamp of Aero Press, the full sheet, in good
condition, framed
lithograph in colours, 1976, on wove paper, signed

and dated in pencil, numbered 55/60 (there were
also 15 artists proofs), published by Waddington
Graphics, London, the full sheet, nicks to the lower
and right sheet edges, handling creases in the left
and right margin, other minor defects
3,000-5,000
800-1,200
$1,200-1,800
1,200-1,700
$4,500-7,500
4,300-7,100
1,000-1,500
LITERATURE:
Lloyd 71 e
56
$1,500-2,200
1,500-2,100
100

Green on Blue Love
New Zealand wool rug, signed in black felt-tip pen on a fabric label
verso, numbered 59/175, handcrafted by Master Contemporary
Original Artist Rugs, in good condition
2,500-3,000
$3,800-4,500
3,600-4,200
100
101

American Love
New Zealand wool rug, signed in black felt-tip pen on a fabric label
verso, numbered 44/125, handcrafted by Master Contemporary
Original Artist Rugs, in good condition
3048 x 3048 mm.
3,000-5,000
$4,500-7,500
4,300-7,100
101
57
102
103
l102
l*103
GILBERT & GEORGE (B. 1943 AND B. 1942)
Ginkgo Winkgo
Slow Rise, from: Some More New Prints
offset lithograph in colours, 2005, on smooth wove paper, signed by the artists
in black felt-tip pen, numbered 42 from the edition of 50, with full margins,
apparently in good condition, unexamined out of the frame
lithograph in colours, 1993, on watermarked Arches 88 paper, signed and dated

Gemini G.E.L., Los Angeles, with their blindstamps, and their inkstamps verso, the
full sheet, pale time-staining at the upper sheet edge, in good condition, framed
1,000-1,500
$1,500-2,200
1,500-2,100
2,000-3,000
LITERATURE:
Tokyo 342
58
$3,000-4,500
2,900-4,200
104
105
104
l105
ANDREW HERMAN (B. 1961)
Untitled, from: Other Mens Flowers
For the Love of God, Believe
screenprint in colours, 1994, on wove paper, signed in pencil, numbered 4/50

(there were also 20 artists proofs), published by Paragon Press, London, the full
screenprint in colours, 2007, on wove paper, signed in white pencil, numbered

1103/1700 in white pencil, published by Other Criteria, London, printed to the
edges of the full sheet, in good condition, framed
700-1,000
1,200-1,800
$1,100-1,500
990-1,400
$1,800-2,700
1,700-2,500
59
107
106
108
PROPERTY FROM A DISTINGUISHED BELGIAN

COLLECTION
106
ANDY WARHOL (1928-1987)
Cow
LITERATURE:
Feldman & Schellmann II. 12
60
l107
l108
MATTEO NEGRI (B.1982)
MATTEO NEGRI (B.1982)
LEGO MAP
LEGO MAP
screenprint in colours, 1976, on wallpaper, from an

edition of unknown size (there was also a signed
edition of 150 published in 1979), published by
Factory Additions, New York, lacking their inkstamp
verso, the full sheet as published, a soft fold along
the upper margin, otherwise in good condition,
framed
Sheet: 1160 x 755 mm.
1,500-2,000
VARIOUS PROPERTIES
$2,300-3,000
2,200-2,800
aquatint in colours with embossing, 2012, on

watermarked Graphia paper, signed in pencil,
numbered 11/12, published by ABC Arte, Genoa, the
full sheet, in good condition, framed
700-1,000
$1,100-1,500
990-1,400
aquatint in colours with embossing, 2012, on wove

paper, signed in pencil, numbered 12/12, published
by ABC Arte, Genoa, the full sheet, in good
condition, framed
700-1,000
$1,100-1,500
990-1,400
(part lot)
109
VARIOUS ARTISTS
Other Mens Flowers
the complete set of 15 screenprints and letter press prints, 1994, on a variety
of papers, 13 signed in pencil, the Hume signed on an accompanying sheet of
paper, the Gillick unsigned, copy number 17/20, an artists proof aside from the
edition of 50, published by Paragon Press, London, the full sheets, each in good
condition, loose (as issued) in the original blue cloth portfolio
495 x 625 x 20 mm. (overall)
3,500-4,500
$5,300-6,700
5,000-6,300
61
111
110
l*110
l111
GINO SEVERINI (1883-1966)
JOHN PIPER (1903-1992)
Les Arlequins
Eye and Camera: Marble, Red, Black etc. - lying figure reversed
lithograph in colours, 1954, on watermarked Marais paper, signed in pencil,

numbered 204/220 (there were also a few artists proofs), published by Guilde
de la Gravure, Pully-Lausanne, the full sheet, paper slightly toned, otherwise in
good condition
screenprint in colours, 1973, on wove paper, signed in pencil, inscribed artists

proof, aside from the standard edition of 70, published by Marlborough Fine
Art, London, the full sheet, tipped to the backboard along the left and right sides,
time-staining around the image, framed
1,500-2,000
700-1,000
$2,300-3,000
2,200-2,800
LITERATURE:
LITERATURE:
Meloni 24
Levinson 234
62
$1,100-1,500
990-1,400
112
113
112
PROPERTY FROM A DECEASED ESTATE
SAM FRANCIS (1923-1994)
l113
For Thirteen
AFTER FERNAND LGER (1881-1955)
screenprint in colours, 1989, on wove paper, signed and titled for 13 in pencil,
numbered 106/115, published by La Paloma, Tujunga, California, printed to the
edges of the full sheet, in good condition
1,500-2,500
LITERATURE:
$2,300-3,700
2,200-3,500
Les femmes au bouquet

lithograph in colours, 1960, on wove paper, stamp signed (as issued), numbered
43/250, published by Muse Biot Fernand Lger, Biot, with their blindstamp, with
margins, apparently in good condition, unexamined out of the frame
Lithograph: 510 x 645 mm.
1,200-1,800
$1,800-2,700
1,700-2,500
Lembark S. 20
63
118
115
VARIOUS PROPERTIES
l*114
l*115
MAURICE ESTVE (1904-2001)
ANTONIO SAURA (1930-1998)
Java Vrille
Three plates, from: Diversaurio
lithograph in colours, 1977, on wove paper, signed in pencil, inscribed H.C., one of
six hors commerce impressions, aside from the standard edition of 95, published
by Claude Bernard, Paris, the full sheet, with time-staining, otherwise in good
condition
Lithograph: 646 x 504 mm, Sheet: 802 x 605 mm.
three screenprints in colours, 1962, on wove paper, each signed and dated
in pencil, inscribed Proof dArtiste, proofs aside from the standard edition of
85, published by Serigrafis, Madrid, the full sheets, with minor surface defects,
(3)
700-1,000
600-800
$1,100-1,500
990-1,400
LITERATURE:
LITERATURE:
Prudhomme-Estve & Moestrup 84
Galfetti 34, 38 & 40
64
$900-1,200
850-1,100
117
116
*116
l117
JOAN MIR (1893-1983)
SFE 016
Festa Major
etching and aquatint in colours, 1984, on wove paper, signed in pencil,

numbered 7/30, published by The Litho Shop, Inc., Santa Monica, California, the
full sheet, in good condition, framed
lithograph in colours, 1978, on watermarked Arches paper, signed in pencil,

numbered 9/75 (there were also 25 artists proofs), published by Galera Maeght,
Barcelona, the full sheet, mount staining in all margins, otherwise in good
condition
1,800-2,000
$2,700-3,000
2,600-2,800
4,000-6,000
$6,000-9,000
5,700-8,500
LITERATURE:
Lembark I. 49
LITERATURE:
Mourlot 1154
65
119
120
118
l119
CLAES OLDENBURG (B. 1929)
JOAN MIR (1893-1983)
Broken Button
Sala Pelaires, Palma de Majorca
dyed and moulded paper, screenprint, wood, 1981, signed, dated in pencil,
numbered 60/100 (there were also ten artists proofs), published by Multiples
Inc., New York, in a perspex presentation case, in good condition
413 x 361 x 160 mm. (overall)
lithograph in colours, 1970, on wove paper with Sala Gaspar watermark,

signed and monogrammed in pencil, inscribed H.C. 17/II/72, an hors commerce
impression (aside from the standard edition of 75), the full sheet, with timestaining and other minor surface defects, otherwise in apparently good
1,000-1,500
$1,500-2,200
1,500-2,100
1,000-1,500
PROVENANCE:

LITERATURE:
LITERATURE:
Axsom & Platzker 175
66
Maeght 684
$1,500-2,200
1,500-2,100
121
122
120
l121
RICHARD SERRA (B. 1939)
BANKSY (B.1974)
One plate, from: Venice Notebooks
CND Soldiers
etching, 2001, on wove paper, signed and dated in pencil, numbered 30/60,
published by Gemini G.E.L., Los Angeles, with their blindstamps, the full sheet,
tipped to the backboard in two places, mould growth in the black areas visible in
a raking light, framed
screenprint in colour, 2005, on wove paper, signed and dated in pencil,

numbered 200/350 (there was also an unsigned but numbered edition of 350),
published by Pictures on Walls, London, with their blindstamp, the full sheet, in
1,000-1,500
5,000-7,000
$1,500-2,200
1,500-2,100
$7,500-10,000
7,100-9,900
67
AFTERNOON SESSION
(LOTS 122-306)
l122
LE CORBUSIER (1887-1965)
Petite Confidences
the complete portfolio of ten lithographs, 1957, on watermarked BFK Rives
paper, with title page signed in pencil verso, list of contents printed in green,
numbered 120 (the total edition was 125), published by Fernand Mourlot, Paris,
1960, the full sheets, with minor surface defects, otherwise in good condition,
loose (as issued) within the red linen covered portfolio case with printed artists
name and title affixed to the front, minor surface scuffs
580 x 470 x 10 mm. (overall)
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
see Weber pp. 44-47
122
l123
HANS ARP (1886-1966)
Mondsand
the complete set of seven etchings, 1959, on watermarked BFK Rives paper,
hors-texte, with title, text in German, signed in pencil on the justification page,
numbered 121 from the standard edition of 300 (there was also an edition of
33 in Roman numerals), published by Verlag Gnther Neske, Pfullingen, the full
sheets, each in good condition, bound (as issued) within the grey linen covered
boards and slipcase, in good condition
290 x 225 x 12 mm. (overall)
1,000-2,000
$1,500-3,000
1,500-2,800
LITERATURE:
Arntz Bulletin 396

123
124
Untitled, from: Michel Waldberg: Pomes dans le ciel
lithograph, 1986, on watermarked BFK Rives paper, signed in pencil, numbered
38/100, published by Philosophie des Arts, Paris, the full sheet, in good condition,
framed
1,200-1,800
LITERATURE:
Lembark L. 270
124
68
$1,800-2,700
1,700-2,500
l*125
HOWARD HODGKIN (B. 1932)
All Alone in the Museum of Modern Art, from: In the
Museum of Modern Art
etching with hand-colouring, 1979, on thick wove paper, signed and dated in
red crayon, numbered 63/100 (there were also 20 artists proofs), published by
Petersburg Press, London, the full sheet, in good condition
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:
Heenk 53
125
l126
JOAN MIR (1893-1983)
One plate, from: Espriu-Mir
etching and aquatint in colours, 1975, on watermarked Sala Gaspar wove paper,
signed in pencil, numbered 24/50, published by Sala Gaspar, Barcelona, the full
1,500-2,500
$2,300-3,700
2,200-3,500
LITERATURE:
Dupin 872
see Cramer books 197
126
l127
Sand
lithograph in colours, with additional hand-colouring, on Arches mould-made
paper, initialled and dated in pencil, numbered 1/50, (there were also 16 artist
proofs), published by Petersburg Press, London, printed to the edges of the full
sheet, apparently in good condition, unexamined out of the frame
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
Heenk 70
127
69
128
129
130
l128
l129
l130
ANTONI TPIES (B. 1923)
JOAN MIR (1893-1983)
JOAN MIR (1893-1983)
Quatre rius de sang
Chanteur des Rues IV
Per un Teatre a Catalunya
etching and aquatint in colours with carborundum,

1972, on watermarked Guarro paper, signed in
pencil, inscribed H.C. an hors commerce impression
aside from the standard edition of 75, published by
Polgrafa, Barcelona, the full sheet, mount staining
at the extreme sheet edges, otherwise in good
condition, framed
Plate, Sheet: 600 x 770 mm.
etching and aquatint in colours, 1981, on Maeght

watermarked wove paper, signed in pencil,
numbered 60, published by Daniel Lelong,
Paris, the full sheet, apparently in good condition,
lithograph in colours, 1973, together with; Umbracle,

lithograph in colours, 1973, each on watermarked
Sala Gaspar wove paper, signed in pencil,
numbered 20/50 and 31/50 respectively, published
by Sala Gaspar, Barcelona, the full sheets, each in
good condition
Lithograph: 595 x 505 mm., Sheet: 749 x 567 mm. (and
similar)
1,500-2,000
$2,300-3,000
2,200-2,800
1,000-1,500
$1,500-2,200
1,500-2,100
1,500-2,500
LITERATURE:
Dupin 1139
LITERATURE:
LITERATURE:
Galfetti 291
Mourlot 913 & 922
70
$2,300-3,700
2,200-3,500
l*131
JOAN MIR (1893-1983)
Ren Char, Le Marteau sans Maitre, Le Vent dArles, Paris, 1976
the complete set of 23 etchings with aquatint in colours, hors-texte, title page, text in French, table of
contents and justification, on Arches watermark Au vent dArles paper, signed by the artist and author
on the justification, copy 102 of 125 (there were also 50 copies in Roman numerals), the full sheets, in
good condition, loose (as issued), original grey Auvergne paper wrapper with title on cover and papercovered portfolio box, in good condition
8,000-12,000
$12,000-18,000
12,000-17,000
PROVENANCE:

LITERATURE:
Dupin 944-969
71
132
134
133
132
133
134
ZAO WOU-KI (1920-2013)
ZAO WOU-KI (1920-2013)
ZAO WOU-KI (1920-2013)
Untitled
Untitled
Untitled
etching and aquatint in colours, 1963, on

watermarked Arches paper, signed and dated in
pencil, inscribed preuve dartiste, an artists proof
Atelier Lacourire et Frlaut, Paris, the full sheet, in

aside from the standard edition of 75, published
by Atelier Lacourire et Frlaut, Paris, with their
blindstamp, the full sheet, pinpoint foxing in the
lower margin, otherwise in good condition, framed

Atelier Lacourire et Frlaut, Paris, the full sheet, in
2,500-3,500
$3,800-5,200
3,600-4,900
2,500-3,500
2,500-3,500
LITERATURE:
gerup 149
LITERATURE:
LITERATURE:
gerup 163
72
$3,800-5,200
3,600-4,900
gerup 152
$3,800-5,200
3,600-4,900
136
135
137
135
*136
137
ZAO WOU-KI (1920-2013)
ZAO WOU-KI (1920-2013)
ZAO WOU-KI (1920-2013)
Untitled
LAurore
Untitled

watermarked BFK Rives paper, signed in pencil,
numbered 55/99 (there were also 20 artists proofs),
published by Atelier Lacourire et Frlaut, Paris, the
full sheet, in good condition
lithograph in colours, 1956, on watermarked Rives

paper, signed and dated in pencil, numbered 95/125
(there were also ten artists proofs), published by
lOEuvre Grave, Zurich, with their blindstamp, with
margins, in good condition

aside from the standard edition of 99, published
by Atelier Lacourire et Frlaut, Paris, with their
blindstamp, the full sheet, in good condition, framed
3,000-5,000
2,500-3,000
$4,500-7,500
4,300-7,100
$3,800-4,500
3,600-4,200
PROVENANCE:
PROVENANCE:
2,500-3,500
$3,800-5,200
3,600-4,900
LITERATURE:
gerup 171
LITERATURE:
LITERATURE:
gerup 299
gerup 98
73
l138
JOAN MIR (1893-1983)
Femme et Oiseau dans la Tourmente
inscribed H.C. an hors commerce impression aside from the standard edition of
75, published by Maeght diteur, Paris, the full sheet, in good condition, framed
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
Maeght 442
139
l139
JOAN MIR (1893-1983)
One Plate, from: Album 13
lithograph, 1948, on watermarked Marais paper, signed and dated in pencil,
numbered 39/75, published by Maeght diteur, Paris, the full sheet, with pale
time-staining across the sheet, otherwise in good condition, framed
1,200-1,800
$1,800-2,700
1,700-2,500
LITERATURE:
Mourlot 78
see Cramer books 18
140
l140
JOAN MIR (1893-1983)
Sobreteixims I Escultures
lithograph in colours, 1972, on wove paper, signed in pencil, numbered 99/150,
published by Sala Gaspar diteur, Barcelona, the full sheet, apparently in good
1,000-1,500
LITERATURE:
Maeght 849
141
$1,500-2,200
1,500-2,100
l141
Six plates, from: The Berlin Suite
six lithographs in colours from the set of ten, 1974, on watermarked Arches
paper, each signed and numbered 100/150 (there were also 15 artists proofs),
published by Propylen Verlag, Berlin, printed to the edges of the full sheets,
each in good condition
(6)
2,500-3,500
$3,800-5,200
3,600-4,900
LITERATURE:
Galfetti 480-485
142
l142
ANTONI TPIES (1923-2012)
Aparicions 8
etching with relief in colours, 1982, on watermarked Guarro paper, signed in
pencil, numbered 8/99 (there were also 15 artists proofs and 15 hors commerce
in Roman numerals), published by Polgrafa, Barcelona, the full sheet, with minor
surface defects, otherwise in good condition
1,500-2,500
$2,300-3,700
2,200-3,500
LITERATURE:
Galfetti 894
143
l143

Oval i blanc
etching and aquatint in colours with carborundum, 1982, on watermarked
Guarro paper, signed in pencil, numbered 52/99 (there were also 15 artists
proofs), published by Polgrafa, Barcelona, the full sheet, with pinpoint foxmarks
in the lower margin, otherwise in good condition, framed
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:
Galfetti 849
144
75
144
146
145
l144
l145
l146
ROBERTO SBASTIAN MATTA

(1911-2002)
WASSILY KANDINSKY (1866-1944)
Semanas Catalanas en Berlin
Etching for 24 Essais de Jakovski
lithograph in colours, 1978, on partially watermarked

Guarro paper, signed in pencil, numbered 25/99,
co-published by Internationale Sommerfestspiele,
Berlin and Polgrafa, Barcelona, the full sheet, in
etching, 1934, on wove paper, unsigned by the artist,

initialled and inscribed bon tirer by the publisher,
Anatole Jakovski, the full sheet, stray printing ink in
the margins, scattered foxing, a hard crease in the
upper right corner, other minor defects
Hommere IV - Pont dAppui

the complete portfolio of ten etchings and aquatints
in colours, 1983, on Japan nacr paper, hors-texte,
with title, justification and text in French, each
signed in pencil, numbered 34/100 (there were also
25 hors commerce), published by ditions Sistan,
Lugano, the full sheets, loose (as issued), in good
condition, within the original linen covered portfolio
box, in good condition
1,200-1,800
$1,800-2,700
1,700-2,500
2,000-3,000
LITERATURE:
4,000-6,000
76
$6,000-9,000
5,700-8,500
Galfetti 693
LITERATURE:
Roethel 198
$3,000-4,500
2,900-4,200
148
147
149
l147
l*148
l149
One plate, from: Llambrec Material
A Collection of Prints
One plate from: Suite 63 x 90
lithograph in colours, 1975, on BFK Rives paper,

signed in pencil, numbered V/XXV from the suite
aside from the edition of 75 on Guarro paper,
published by Polgrafa, Barcelona, the full sheet,
soft creases at the sheet edges, otherwise in good
condition, framed
seven etching and aquatints in colours, 1974, on wove

paper, each initialled in pencil, each from the standard
edition of 60, including: By What Means Can We Know,
Linear Motif in Two Movements, When the Lute is
Broken (melodies are remembered not), The tear that
falls, Quiet is the Island, Turning and Turning in the
Widening Gyre and Variation of Points of Contact No.
9, each published by Marlborough Graphics, London,
the full sheets, each in good condition
Sheet: 705 x 605 mm. (and similar)
(7)
lithograph in colours, 1980, on watermarked BFK

Rives paper, signed in pencil, inscribed II/X Probe,
a proof aside from the standard edition of 90,
published by Erker-Presse, St. Gallen, with their
blindstamp, the full sheet, in good condition, framed
2,000-3,000
Galfetti 775
700-1,000
$1,100-1,500
990-1,400
700-1,000
$1,100-1,500
990-1,400
LITERATURE:
LITERATURE:
Galfetti 551
$3,000-4,500
2,900-4,200
PROVENANCE:
77
150
151
l150
l151
Anxious Moment
Senza Titolo 6
etching and aquatint in colours, 1986, on Fabriano paper, initialled and dated
Marlborough Fine Art Ltd., London, and 2RC Edizioni dArte, Rome, printed by
Vigna Antoniniana Stamperia dArte, Rome, with their blindstamps, the full sheet,
in good condition
etching and aquatint in colours, 1988, on Fabriano paper, initialled and dated
in pencil, numbered 3/90 (there were also 11 artists proofs), co-published by
Marlborough Graphics Ltd., London and 2RC Edizioni dArte, Rome, printed by
Vigna Antoniniana, with their blindstamps, the full sheet, in good condition
3,000-5,000
3,000-5,000
$4,500-7,500
4,300-7,100
LITERATURE:
LITERATURE:
Lynton G. 42
78
Lynton G. 54
$4,500-7,500
4,300-7,100
152
153
l152
l*153
Points of contact 2, from: Transformations
Two plates, from: Twos Company
screenprint in colours, 1970, on wove paper, initialled and dated in black

ballpoint pen, numbered 57/60 in pencil, published by Marlborough Graphics,
London, the full sheet, in good condition, framed
two etchings and aquatints with hand-colouring, 2002-03, on handmade wove

paper, each initialled and dated in pencil, numbered 11/40 and 31/40 respectively
(there were also four printers proofs), co-published by the Elton John AIDS
Foundation, London and Alan Cristea Gallery, London, 2003, the full sheets, each
in good condition, in the original artists frames
(2)
800-1,200
$1,200-1,800
1,200-1,700
2,000-3,000
LITERATURE:
$3,000-4,500
2,900-4,200
Bowness & Lambertini 22

LITERATURE:
Heenk 118
79
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
l154
JOAN MIR (1893-1983)
Georges Duthuit
etching with aquatint in colours, 1976, on watermarked Arches laid paper, signed
in pencil, numbered IV H.C/XXV, an hors commerce impression, aside form the
standard edition of 100, published by Flammarion, Paris, the full sheet, with a
deckle edge on one side, spot glued in four places to a supporting sheet, other
minor surface defects
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:
154
Dupin 934
VARIOUS PROPERTIES
l155
JOAN MIR (1893-1983)
La Commedia dellArte I
etching and aquatint in colours, 1979, on watermarked Arches paper, signed in
pencil, numbered 24/30, published by Maeght diteur, Paris, the full sheet, in
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
Dupin 1106
155
l156
JOAN MIR (1893-1983)
One plate, from: Espriu-Mir
etching with aquatint and carborundum in colours, 1975, on Guarro paper,
signed in pencil, numbered 33/50, published by Sala Gaspar, Barcelona, with
their blindstamp, the full sheet, with minor surface defects, otherwise in good
condition
1,500-2,500
LITERATURE:
Dupin 870
156
80
$2,300-3,700
2,200-3,500
157
158
159
160
*157
l158
l159
*160
ZAO WOU-KI (1920-2013)
JOAN MIR (1893-1983)
JOAN MIR (1893-1983)
ZAO WOU-KI (1920-2013)
Fort Perdu
Chevauche - Vert Violet

Brun
Lillettr - Vert et Violet
La Hune - Exhibition Poster
lithograph in colours, 1969, on

partially watermarked Rives paper,
signed in pencil, numbered 46/75,
published by Maeght diteur, Paris,
printed to the edges of the full sheet,
minor scuffing at the sheet edges,
otherwise in good condition, framed
lithograph in colours, 1956, on wove

paper, unsigned and unnumbered (as
issued), there was also a signed and
numbered edition of 12 before text,

watermarked BFK Rives paper,
signed and dated in pencil, numbered
30/125, published by LOEuvre
Grave, Zurich, with their blindstamp,
the full sheet, pale time-staining
across the sheet, otherwise in good
condition
Lithograph: 615 x 480 mm., Sheet: 650
x 500 mm.

partially watermarked Rives paper,
signed in pencil, numbered 30/75,
published by Maeght diteur, Paris,
printed to the edges of the full sheet,
minor scuffing to the right of the
image, otherwise in good condition,
framed
2,500-3,000
1,500-2,500
$3,800-4,500
3,600-4,200
$2,300-3,700
2,200-3,500
1,500-2,500
LITERATURE:
gerup 95
Maeght 543
$1,100-1,500
990-1,400
PROVENANCE:

LITERATURE:
Maeght 550
LITERATURE:
$2,300-3,700
2,200-3,500
700-1,000
LITERATURE:
gerup 102
81
161
162
VARIOUS PROPERTIES
l161
l162
JOAN MIR (1893-1983)
JOAN MIR (1893-1983)
Trois Livres de Pomes Illustrs par Mir
Les Demeures dHypnos
etching with aquatint in colours, 1962, on watermarked Richard de Bas laid

paper, signed in pencil, numbered 38/125, published by Maeght diteur, Paris, full
sheet, a 65 mm. moisture stain at the lower right corner, pale scattered foxing,
time and mount staining, other minor defects
lithograph in colours, 1976, on wove paper, signed in pencil, numbered 90/99

(there was also an edition of 26 numbered A-Z and 10 hors commerce),
published by Editions de la Difference, Paris, the full sheet, in good condition,
framed
1,000-1,500
800-1,200
$1,500-2,200
1,500-2,100
LITERATURE:
LITERATURE:
Dupin 333
Maeght 1088
82
$1,200-1,800
1,200-1,700
163
164 (part lot)
163
*164
ZAO WOU-KI (1920-2013)
ZAO WOU-KI (1920-2013)
Untitled
Les Terrasses de Jade
lithograph in colours, 1956, on wove paper, signed and dated in pencil,

numbered 11/150, (there were also ten artists proofs), published by lOEuvre
Grave, Zurich, the full sheet, trimmed along the upper and lower sheet edge,
pale time-staining across the sheet, framed
the complete portfolio, 1962, on watermarked BFK Rives paper, including a set
of four etchings and aquatints in colours, title, text by Hubert Juin, signed in blue
ballpoint pen by the author on the justification, each plate numbered 52/60 in
pencil (there were also 10 impressions on Japan paper), inscribed A M. Abrioux
Zao Wou-Ki Paris Juin 1962 on the title page in blue ink, the etchings published
by Sources, Paris, and printed by Crommelynck, Paris, the full sheets, each
framed, in good condition, with the black folio case, in good condition
273 x 243 x 25 mm.(overall)
3,000-5,000
LITERATURE:
$4,500-7,500
4,300-7,100
3,500-4,000
gerup 100
$5,300-6,000
5,000-5,600
PROVENANCE:

LITERATURE:
gerup 133-136
83
165
166
l165
l166
Terracotta Vase
Red Jug and Lamp
screenprint in colours, 1975, on wove paper, signed in pencil, inscribed AP V/XIII,

an artists proof aside form the standard edition of 70, published by Waddington
Graphics, London, the full sheet, a 15 mm. tear at the extreme left sheet edge, a
282 mm. fold upper left sheet edge, other minor surface defects
Sheet: 773 x 1030 mm.
screenprint in colours, 1992, on wove paper, signed in pencil, inscribed AP,

one of 15 artists proofs aside from the standard edition of 150, published by
Waddington Graphics, London, the full sheet, in good condition
800-1,200
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:
LITERATURE:
Cristea 83
Cristea 44
Published for the Serpentine Gallery, London.
84
$1,200-1,800
1,200-1,700
167
169
168
l167
l168
169
AFTER PABLO PICASSO (18811973)
GEORGES BRAQUE (1882-1963)
LE CORBUSIER (1887-1965)
Nature Morte les Pommes, from: Si je

mourais l-bas
Nature Morte
Crne de chvre sur la table

aquatint in colours, 1950, on BFK Rives wove paper,
signed in pencil, numbered 144/150, published by R.
Lacourire, Paris, with his blindstamp, with margins,
in apparently good condition, unexamined out of
the frame
Plate: 507 x 650 mm.
wood-engraving in colours, 1962, on Japan nacr

paper, signed in pencil, numbered V/X (the total
edition was 180), published by Louis Broder,
Paris, with margins, in apparently good condition,
Block: 185 x 265 mm.
3,000-5,000
1,000-1,500
$4,500-7,500
4,300-7,100
LITERATURE:
Vallier 181
etching, 1930, on wove paper, signed in pencil,

numbered 65/100 with a dedication in pencil,
the full sheet, a 21 mm. tear at the lower sheet
edge, time and mount staining across the sheet,
1,000-1,500
$1,500-2,200
1,500-2,100
$1,500-2,200
1,500-2,100
LITERATURE:
Weber 20
85
l170
Fotheringhay, Northamptonshire: Medieval Stone,
from: A Retrospect of Churches
lithograph in colours, 1964, on wove paper, signed in pencil,
numbered 13/70, published by Marlborough Fine Art, London, the
sheet laid down, with margins, trimmed on each side, framed
700-1,000
$1,100-1,500
990-1,400
LITERATURE:
Levinson 135
170
l171
Ludlow Castle
screenprint in colours, 1972, on wove paper, signed in pencil,
numbered 2/100 (there were also ten artists proofs), published by
Marlborough Fine Art, London, with margins, apparently in good
1,000-1,500
$1,500-2,200
1,500-2,100
LITERATURE:
Levinson 213
171
l172
Welsh Landscape, Tretio
screenprint in colours, 1969, on wove paper, signed and dated 69 in
pencil, inscribed artists proof, aside from the standard edition of 70,
published by Marlborough Fine Art, London, the full sheet, laid down
to the backboard, soft creasing in image with resultant ink loss, other
defects, framed
700-1,000
LITERATURE:
Levinson 198
172
86
$1,100-1,500
990-1,400
173
174
*173
l174
ZAO WOU-KI (1920-2013)
BARBARA HEPWORTH (1903-1975)
Paysage au Soleil
Sun and Water, from: The Aegean Suite
etching and aquatint in colours, 1950, on watermarked BFK Rives paper, signed
in pencil, numbered 50/200, published by La Guilde Internationale de la
Gravure, Paris, the full sheet, in good condition
lithograph in colours, 1970-71, on wove paper, signed in pencil, numbered

48/60, co-published by Curwen Studio, London and CCA, London, with their
blindstamps, the full sheet, pale time-staining, otherwise in apparently good
2,000-3,000
$3,000-4,500
2,900-4,200
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:
gerup 39
87
l175
JAMES ENSOR (1860-1949)
Prise dune ville trange (Capture of a strange Town)
etching extensively hand-coloured with watercolour and touches of zinc white,
1888, on simili-Japan paper, Eleshs fourth (final) state, signed, dated, titled, and
dedicated Epreuve teint de mes couleurs/ pour mon grand ami de France/
Albert Croquez./ James Ensor in pencil, countersigned and titled by the artist
and inscribed by Croquez Epreuve colorie par J. Ensor en aot 1930 in pencil
verso, with wide margins, some soft creasing in the margins, remains of old tape
at lower left verso, faintly showing through recto, otherwise in good condition
5,000-7,000
$7,500-10,000
7,100-9,900
PROVENANCE:
175
Albert Croquez (1886-1949), Paris; a gift from the artist in 1930.

Mira Jacob Wolfovska (1912-2004), Paris, with her blindstamp (not in Lugt).
EXHIBITED:
James Ensor - Oeuvre grav Collection Mira Jacob, Editions Les Muse de la Ville,
Strasbourg/ Kunstmuseum Basel, 1995-96, no. 40.
LITERATURE:
Delteil, Croquez, Taevernier, Elesh 33
l176
LEstacade Ostende (The Breakwater at Ostend)
drypoint printed with tone, 1887, on simili-Japan paper, a fine, toned impression
of Eleshs second state (of three), printing with much burr, signed in pencil,
countersigned in pencil verso, with margins, remains of old paper tape at the
sheet edges verso, the sheet possibly slightly reduced
1,000-1,500
$1,500-2,200
1,500-2,100
PROVENANCE:
EXHIBITED:
176
Bateau Lavoir, Paris, 1978, no. 14.

Strasbourg/Basel, 1995-96, no. 17.
LITERATURE:
l177
La kermesse au moulin (Village Fair at the Windmill)
etching extensively hand-coloured with watercolour, 1889, on China paper,
signed, dated and titled in pencil, with wide margins, in good condition
2,000-3,000
$3,000-4,500
2,900-4,200
PROVENANCE:
Mira Jacob Wolfovska (1912-2004), Paris, without her blindstamp.

LITERATURE:
177
88
J. Janssens, James Ensor, Bonfini Press Corporation, Naefels, Switzerland, Paris, p. 42

(this impression illustrated).
178
179
*178
*179
ZAO WOU-KI (1920-2013)
ZAO WOU-KI (1920-2013)
LEscalier
Voiles la mer
etching in colours, 1951, on watermarked Rives paper, signed in pencil, inscribed

H.C. 8/8, an hors commerce impression aside from the standard edition of 50,
printed by Georges Leblanc, Paris, the full sheet, in good condition
lithograph in colours, 1953, on BFK Rives paper, signed and dated in pencil,
inscribed epreuve dartiste I/V, one of five artists proofs printed in two colours
(gerup records two artists proofs in two colours), aside from that standard
edition on 120 in five colours, published by La Hune, Paris, the full sheet, in good
condition
3,500-4,000
$5,300-6,000
5,000-5,600
2,500-3,000
PROVENANCE:
$3,800-4,500
3,600-4,200

PROVENANCE:
LITERATURE:
gerup 66
LITERATURE:
gerup 81
89
l180
GIORGIO MORANDI (1890-1964)
Paesaggio (Chiesanuova)
etching, 1924, on wove paper, second state (of three), signed and dated in pencil,
an impression aside from the numbered edition of 15 (Vitali records some other
unnumbered impressions of this state); together with, Paesaggio di Grizzana,
etching, 1932, on Japan paper, an unsigned and unnumbered impression of
the first state (of two), posthumously published, with the Eredita Morandi 1996
Estate blindstamp, each sheet, with minor surface defects, otherwise in good
condition
Plate: 158 x 155 mm., Sheet: 230 x 334 mm. (and similar)
(2)
3,000-5,000
$4,500-7,500
4,300-7,100
PROVENANCE:
V. 24 with Libreria Prandi, Reggio Emilia (with their blindstamp).

LITERATURE:
Vitali 24 & 95
180
VARIOUS PROPERTIES
181
IAIN MACNAB (1890-1967)
A Southern Landscape
wood engraving, circa 1941, on laid paper, signed, titled and numbered 7/100 in
pencil, with margins, taped to the backboard, scattered foxing in the margins,
other minor defects, framed
1,200-1,800
$1,800-2,700
1,700-2,500
181
l*182
JAMES MCBEY (1883-1959)
A Collection of Twentieth Century British Prints
etchings with drypoint, circa 1920, including: La Giudecca, The Doorway, A
Fortune Leaving Venice, Bightlingsea and A Flood in the Fens, each signed in
black ink, on various papers, some with watermarks, with some mount-staining
in the margins; together with, Robin Tanner (1904-1988), Full Moon and The Old
Road, etchings, 1977, on watermarked BFK Rives paper, each signed in pencil,
published by Robin Garton, London, the sheets, loose, from the bound edition
of British Etchers 1850-1940 by Kenneth M. Guichard, with uneven left margins,
(7)
1,800-2,200
182
90
$2,700-3,300
2,600-3,100
l183
LYONEL FEININGER (1871-1956)
Pariser Huser (Hohe Huser in Paris)
woodcut, 1920, on tissue-thin Japan paper, signed in pencil, from the
unnumbered (as issued) edition of circa 30-35 impressions, the second (final)
state, with margins, in good condition, framed
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
Prasse W. 199 II
183
l184
KARL SCHMIDT-ROTTLUFF (1884-1976)
Palmengruppe
lithograph, circa 1953/54, on wove paper, signed in pencil, numbered XX/13, the
full sheet, time-staining around the image, nicks at the sheet edges, otherwise in
good condition
700-1,000
$1,100-1,500
990-1,400
LITERATURE:
Schapire L. 43
184
l185
KARL SCHMIDT-ROTTLUFF (1884-1976)
Haus mit Pappeln, from: Die Schafenden
woodcut, 1920, on buff wove paper, signed in pencil, from the edition of
unknown size, published in Die Schaffenden, with their blindstamp, pale timestaining around the image, otherwise in good condition
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
Schapire H. 118
185
91
186
187
l*186
l*187
MARC CHAGALL (1887-1985)
Les Monstres de Notre-Dame, from: Derrire Le Mirroir
Le ciel bleu
lithograph in colours, 1954, on thick wove paper, signed in pencil, numbered

75/75, published by Maeght diteur, Paris, the full sheet, with time and mount
staining, otherwise in good condition

numbered 90/90, published by Maeght diteur, Paris, the full sheet, mount
staining in all margins, otherwise in good condition, framed
4,000-6,000
6,000-8,000
$6,000-9,000
5,700-8,500
LITERATURE:
LITERATURE:
Mourlot 101
Mourlot 409
92
$9,000-12,000
8,500-11,000
188
189
190 (part lot)
l188
l189
l190
EDWARD ALEXANDER
WADSWORTH (1889-1949)
BERNARD BUFFET (1928-1999)
MAURICE UTRILLO (1883-1955)
Lglise St. Pierre de Montmartre
Paris Capitale
drypoint, 1968, on watermarked BFK Rives paper,

signed in pencil, numbered 74/100, the full sheet,
staining at the sheet edges, otherwise in good
condition
the set of ten lithographs in colours, 1955, on Japan

paper, unsigned (as issued) one of 25 deluxe
editions on Japan paper, each with additional
remarques, lacking the text and justification pages,
printed by Joseph Fort, the full sheets, in good
condition
Signals
lithograph in colours, 1942, on wove paper,
unsigned (as issued), published by the Council for
the Encouragement of Music and the Arts, printed
to the edges of the full sheet, a tear in the upper
left image, soft handling creases, otherwise in good
condition
1,000-1,500
$1,500-2,200
1,500-2,100
1,000-1,500
$1,500-2,200
1,500-2,100
2,000-3,000
LITERATURE:
$3,000-4,500
2,900-4,200
Sorlier 65
LITERATURE:
LITERATURE:
Garton 531
Greenwood W/C 43
Fabris 20
93
l191
Moses and the Angel
lithograph, 1970, on wove paper, signed in pencil, numbered 6/30 (there were
also five artists proofs), with margins, apparently in good condition, unexamined
out of the frame
1,000-1,500
$1,500-2,200
1,500-2,100
LITERATURE:
Mourlot 613
191
l*192
AFTER MARC CHAGALL (1887-1985)
Le Rabbin
etching in colours, circa 1920, with chine-coll, on Japan paper, signed in pencil,
numbered 87/100, published by ditions Apollo, Paris, the sheet, previously
folded along all four sheet edges, with other surface defects
3,000-5,000
$4,500-7,500
4,300-7,100
192
l*193
GEORGES ROUAULT (1871-1958)

Christ et Disciples, from: The Passion
aquatint in colours, 1936, on laid Montval paper, the second (final) state, from
the standard edition of 270, together with: Bon lecteur, from: Rincarnations
du Pre Ubu, etching and aquatint, 1928, on laid paper, the fifth (final) state, from
the standard edition of 305, together with; Chinois Inventa, Dit-on, La Pordre
Canon. Nous en Fit Don, from: Miserere, aquatint, 1926, on laid watermarked
Arches paper, the second (final) state, from the edition of 450 with Ambroise
Vollard watermark, each signed in the plate, each sheet, with minor surface
Plate: 577 x 418 mm., Sheet: 653 x 500 mm. (and smaller)
(3)
700-1,000
LITERATURE:
193
94
Chapon & Rouault: 12e, 91b & 272b
$1,100-1,500
990-1,400
l194
Elijah Carried to Heaven, from: The Bible
etching with hand-colouring, 1958, on wove paper, initialled in pencil, numbered
11/100, published by Triade diteur, Paris, with margins, trimmed above, mount
staining in the margins, other minor defects, framed
4,000-6,000
$6,000-9,000
5,700-8,500
LITERATURE:
see Cramer books 30
194
l195
Le Visage dIsral, from: Dessins pour la Bible
lithograph in colours, 1960, on partially watermarked Arches paper, signed in
pencil, numbered 37/50, published by Triade diteur, Paris, the full sheet, in
1,500-2,500
$2,300-3,700
2,200-3,500
LITERATURE:
Mourlot 231
see Cramer books 42
195
l196
One Plate, from: Sur la Terre des Dieux
numbered 38/75 (there were also 25 artists proofs), published by Alain C.
Mazo, Paris, the full sheet, soft creasing in the lower margin, otherwise in good
condition, framed
1,200-1,800
$1,800-2,700
1,700-2,500
LITERATURE:
Mourlot 535
see Cramer books 72
196
95
197
198
199
PROPERTY FROM A PRIVATE ENGLISH

COLLECTION
l197
MARIE LAURENCIN
(1883-1956)
Charlotte Bront, from:
The Bront Sisters
lithograph in colour, 1930, on
thin wove paper, signed in pencil,
numbered 22/115, with margins, minor
skinning in the upper right image,
taped to the backboard on all sides,
pale mount staining, other minor
defects, framed
700-1,000
$1,100-1,500
990-1,400
200
VARIOUS PROPERTIES
l198
PAUL DELVAUX
(1897-1994)
Chapeau 1900
lithograph in colours, 1972, on wove
paper, signed in pencil, numbered
28/75, with margins, time-staining
across the sheet, otherwise
in apparently good condition,
3,000-5,000
LITERATURE:
Jacob 62
$4,500-7,500
4,300-7,100
199
l*200
JIM DINE (B. 1935)
HENRI MATISSE
(1869-1954)
The Picture of Dorian Gray

the complete portfolio of 22 lithographs
and etchings in colours, with the
additional suite of six lithographs, 1968,
on watermarked Arches paper, twelve
lithographs and four etchings bound (as
issued), with title, text and justification,
signed in red crayon, inscribed Edition A,
A/P (one of 25 artists proofs aside from
the standard edition of 200), published
by Petersburg Press, London, bound
in a red velvet cover with the title in
silver and black slip case, in overall good
condition
462 x 327 x 28 mm. (overall)
(2)
1,500-2,000
LITERATURE:
Marchesseau 144
LITERATURE:
Galerie Mikro, 47 A-J
96
$2,300-3,000
2,200-2,800
Visage Triangulaire
etching, 1946, on wove paper, with
stamped initials (as issued), stamp
numbered 2/25 (as issued) (there
were also six artists proofs), the
full sheet, with a 15 mm. tear to the
lower sheet edge, otherwise in good
condition
1,000-1,500
LITERATURE:
Duthuit 301
$1,500-2,200
1,500-2,100
l201
AFTER PABLO PICASSO (1881-1973)
Mother and Child with Shawl, from: Barcelona Suite
offset lithograph in colours, 1966, on watermarked Arches paper, signed in
pencil, numbered 23/60, published by the Museu Picasso, Barcelona, the full
sheet, with pale time-staining around all four sheet edges, otherwise in good
condition
2,500-3,500
$3,800-5,200
3,600-4,900
LITERATURE:
Czwiklitzer 231
Rodrigo 149
201
l202
Anticipation, from: Barcelona Suite
pencil, numbered 20/60, published by Museu Picasso, Barcelona, the full sheet,
with time-staining, otherwise in good condition
3,000-5,000
$4,500-7,500
4,300-7,100
LITERATURE:
Czwiklitzer 233
Rodrigo 147
202
l*203
PABLO PICASSO (1881-1973)
La Chute dIcare
the portfolio, 1972, including text, justification, seven reproductions and the
original etching with drypoint, on watermarked BFK Rives paper, signed in
pencil, numbered 43/125 (there were also ten in Roman numerals plus 15 artists
proofs), published by Albert Skira, Geneva, the full sheet, in good condition, loose
in the original grey canvas-covered folio, some wear at the spine
714 x 550 x 25 mm. (overall)
4,000-6,000
$6,000-9,000
5,700-8,500
LITERATURE:
Bloch 2016
203
97
l204
Sala Gaspar
lithograph in colours, 1961, on wove paper, signed in pencil, numbered 44/50,
published by Fernand Mourlot, Paris, the full sheet, with pale scattered foxing
across the sheet, otherwise in good condition, framed
1,000-1,500
$1,500-2,200
1,500-2,100
LITERATURE:
Bloch 1018
Mourlot 338
204
l205

Profil
lithograph in colours, 1987, on watermarked Rives paper, signed in pencil,
inscribed H.C., an hors commerce impression aside from the standard edition of
100, published by Erker-Presse, St. Gallen, with their blindstamp, the full sheet, in
700-1,000
$1,100-1,500
990-1,400
LITERATURE:
Galfetti 1132
205
l206
HENRY MOORE (1898-1986)
Head
lithograph in colours, 1975, on Japan nacr paper, signed in pencil, numbered
10/50, published by Henry Moore & Flia Lal, Paris, together with; Two
Figures at a Table, lithograph in colours, 1975, on wove paper, signed in pencil,
numbered VI/X, an artists proof aside from the edition of 50, published by Harry
N. Abrams, New York, each sheet, apparently in good condition, unexamined out
of their frames
Lithograph: 437 x 356 mm. (and smaller)
(2)
700-1,000
$1,100-1,500
990-1,400
PROVENANCE:
Christies, London, Prints by Henry Moore, 19th July 2000, Lot 165 & 171
LITERATURE:
206
98
Cramer 364 & 370
l207
Gregory Evans
lithograph in colours, 1976, on wove paper, signed and dated in pencil,
numbered 6/90 (there were also 31 artists proofs), published by Gemini G.E.L.,
Los Angeles, with their blindstamps and inkstamp verso, the full sheet, timestaining at the extreme sheet edges, otherwise in good condition, framed
Sheet: 1054 x 749 mm.
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:

Tokyo 165
207
l208
The Beginning, Plate 9, from: Illustrations for Fourteen Poems
by C. P. Cavafy
etching, 1966, on Crisbrook handmade paper, signed and dated in pencil,
numbered 3/75, (there were a further 45 signed impressions and an unsigned
book edition of 550), published by Editions Alecto, London, 1967, with their
inkstamp verso, the full sheet, pale time-staining around the image, pinpoint
foxing across the sheet, otherwise in good condition
Plate: 350 x 220 mm., Sheet: 570 x 404 mm
1,000-1,500
$1,500-2,200
1,500-2,100
LITERATURE:
209
208
BRUCE NAUMAN (B. 1941)

Untitled, from: Fingers and Holes
lithograph, 1994, on watermarked BFK Rives paper, signed and dated in pencil,
numbered 50/50 (there were also eight artists proofs), published by Gemini
G.E.L., Los Angeles, with their blindstamps, and their inkstamp verso, printed to
the edges of the full sheet, in good condition
2,500-3,500
$3,800-5,200
3,600-4,900
LITERATURE:
Gemini 1631
209
99
l210
Portrait de Hector Denis
etching, 1890, on simili-Japan paper, second (final) state, signed, dated and titled
in pencil, countersigned in pencil verso, with wide margins, the left sheet edge
irregularly trimmed, otherwise in good condition
500-700
$750-1,000
710-990
PROVENANCE:
EXHIBITED:
Bateau Lavoir, Paris, 1978, no. 81.

Strasbourg/Basel, 1995-96, no. 94.
LITERATURE:
Delteil 80
Croquez, Taevernier, Elesh 82
210
211
WALTER TITTLE (1883-1966)
Portrait of George Bernard Shaw
drypoint, 1931, on wove paper, signed in pencil, from the edition of unknown size,
with margins, pale mount staining, otherwise in good condition, framed
1,000-1,500
$1,500-2,200
1,500-2,100
211
*212
LOVIS CORINTH (1858-1926)
Dame im Gartenstuhl
etching and drypoint, 1911, on wove paper, signed and inscribed probedruck in
pencil, a trial proof of the second, final state, with the darkening of the hair, from
an unpublished edition, with margins, soft creasing the lower margin, otherwise
700-1,000
LITERATURE:
Schwarz 76
212
100
$1,100-1,500
990-1,400
213
JEAN-MILE LABOUREUR (1877-1943)
La Vranda
woodcut, 1902, on watermarked Arches laid paper, signed in pencil,
numbered seven from the edition of 42 lifetime impressions (there were a
further 14 posthumous impressions, the full sheet, repaired paper splits in
the upper and lower margins, minor moisture staining below, otherwise in
good condition
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
Loyer 609
213
214
JEAN-MILE LABOUREUR (1877-1943)
A Collection
six etchings, 1914-1930, on various papers, including: Lle Dserte (Loyer
135), La jolie marchande de volailles (L.154), Lhtel des voyageurs (L. 313),
Le Ruisseau sous bois (L. 353), Lcaillre (L. 357) and Chaumires dans les
marais (L. 422), each signed in pencil, in generally good condition
(6)
2,000-3,000
$3,000-4,500
2,900-4,200
214
215
EDGAR CHAHINE (1874-1947)
A Collection of Twentieth Century Prints
17 etchings and drypoints, 1906-1931, on various papers, 16 signed,
depicting Venetian and Parisian scenes, each with wide margins, minor
pinpoint foxing on three impressions, otherwise in generally good
condition
Plate: 202 x 334 mm., Sheet: 335 x 505 mm.(and smaller)
(17)
1,500-2,000
$2,300-3,000
2,200-2,800
215
101
216
217
l216
l*217
HERMANN MAX PECHSTEIN (1881-1955)
ERICH HECKEL (1883-1970)
Fischerkopf XI
In der Muschestube II
woodcut, 1912, on tissue-thin laid Japan paper, signed and dated in pencil, from
the edition of 20, published for Gurlitt, with margins, a skilfully repaired diagonal
tear in the lower margin, otherwise in good condition, framed
lithograph, 1916, on laid paper, after the removal of the inscription in the lower
part of the subject, signed and dated in pencil, with wide margins, light-staining,
otherwise in good condition, framed
1,500-2,000
800-1,200
$2,300-3,000
2,200-2,800
LITERATURE:
LITERATURE:
Krger H. 127
Dube 229
102
$1,200-1,800
1,200-1,700
219
218
l*218
l*219
KTHE KOLLWITZ (1867-1945)
KTHE KOLLWITZ (1867-1945)
Mutter mit Kind auf dem Arm
Kleines Selbstbildnis
etching and drypoint, 1910, on heavy wove paper, signed in pencil, numbered
27/50, countersigned by the printer Otto Felsing, the full sheet, in good
condition; with, berfahren (Kn. 110), etching and aquatint, 1910, on wove paper,
signed in pencil, the full sheet; with, Die Pflger, from: Bauernkrieg (Kn. 99)
etching, drypoint and aquatint, 1907, on wove paper, signed in pencil, the full
sheet; with, Ende, from: Weberaufstand (Kn. 38) etching and aquatint, 1897, on
wove paper, unsigned, the full sheet, each in generally good condition
(4)
lithograph, 1920, on tissue-thin Japan paper, signed in pencil, from the

unnumbered (as issued) edition of 50, with margins, unevenly trimmed at the
sheet edges; together with, Weberzug, from: Ein Weberaufstand (Kn. 36) etching,
1893-97, on wove paper, signed in pencil, with margins; also with, Bewaffnung
in einem Gewlbe (Kn.VII b), etching and aquatint, 1906, on heavy wove paper,
signed in pencil, the full sheet, creasing and nicks at sheet edges, otherwise in
good condition, with, Aufruhr (Kn 46) etching and aquatint, 1899, on wove paper,
unsigned, each the sheet, generally in good condition
(4)
2,000-3,000
$3,000-4,500
2,900-4,200
1,800-2,500
$2,700-3,700
2,600-3,500
LITERATURE:
Knesebeck 114 IV d
LITERATURE:
Knesebeck 162
103
220
221
l220
l221
Inspiration
Self-portrait
lithograph in colours, 1963, on wove paper, initialled in pencil, numbered 125/150,

published by Andr Sauret diteur, Paris, the full sheet, in good condition,
framed
lithograph in colours, 1960, on partially watermarked Arches paper, signed in

pencil, numbered 31/40, with margins, sheet unevenly trimmed along all sheet
edges, taped to a mount on all sides verso, the sheet toned, other minor defects
800-1,200
2,000-3,000
$1,200-1,800
1,200-1,700
LITERATURE:
LITERATURE:
Mourlot 398
Mourlot 282
222 No Lot
104
$3,000-4,500
2,900-4,200
l*223
Le Peintre
offset-lithograph printed in colours, 1957, on wove paper, signed in thick blue
crayon, numbered 244/350 in pencil, published by Guy Spitzer, Paris, with his
blindstamp and inkstamp verso, the inkstamp numbered 244 in blue ballpoint
pen, the full sheet, foxing in all margins, sheet slightly cockled, other minor
defects, framed
5,000-7,000
$7,500-10,000
7,100-9,900
223
l224
Painter and Model
lithograph, 1963, on wove paper, signed and initialled in pencil, numbered
125/150 (there were also 40 artists proofs with margins), published by Andr
Sauret diteur, Paris, the full sheet, with the justification signed by the artist and
publisher in pencil glued to the verso, otherwise in good condition, framed
700-1,000
$1,100-1,500
990-1,400
LITERATURE:
Mourlot 403
224
l225
Le peintre la palette
linocut, 1963, on watermarked Arches paper, signed in pencil, numbered 147/150
(there were also approximately 30 artists proofs), the full sheet, soft handling
creases in the right margin, otherwise in good condition
5,000-7,000
$7,500-10,000
7,100-9,900
LITERATURE:
Bloch 1153
Baer 1342
225
105
226
228
227
PROPERTY FROM AN IMPORTANT PRIVATE
COLLECTION
VARIOUS PROPERTIES
l226
l227
l228
PABLO PICASSO
Rembrandt la palette, from:

La Suite Vollard
LAtelier
Figure in a Room
lithograph, 1948, on Arches paper, a proof aside

from the signed and numbered edition of 50,
published by Fernand Mourlot, Paris, the full sheet,
minor staining from adhesive occasionally visible
recto, framed
lithograph in colours, 1977, on T. H. Saunders

wove paper, signed in pencil, numbered VIII/XV
an artists proof aside from the standard edition of
50, published by Curwen Ltd., London, 1978, with
margins, trimmed on all sides, taped to the mount
verso, framed
etching, 1934, on Picasso watermarked Montval

laid paper, signed in pencil, from the edition of 260
(there was also an edition of 50 impressions with
wider margins), published by Ambroise Vollard,
Paris, 1939, the full sheet, a diagonal crease across
the sheet, some pinpoint foxing, otherwise in good
condition
4,000-6,000
LITERATURE:
Bloch 208
Baer 406
106
$6,000-9,000
5,700-8,500
1,000-1,500
$1,500-2,200
1,500-2,100
800-1,200
LITERATURE:
Bloch 576
Mourlot 125
LITERATURE:
Cramer 451
$1,200-1,800
1,200-1,700
229
231
230
COLLECTION
VARIOUS PROPERTIES

COLLECTION
l229
l230
l231
Jeune Femme au Lit, Clestine et

Gentilhomme, from: Sries 347
Artist and Nude Equestrienne Eating

Grapes, from: Sries 156
Vieux Peintre avec une Adolescente,

from: Sries 347

published by Galerie Louise Leiris, Paris, 1969, the
etching, 1970, on wove paper, from the posthumous

edition, stamp signed (as issued), numbered 6/50 in
pencil (there were also 18 artists proofs), together
with; Painter and Nude Picking Flowers, from:
Sries 156 , etching, 1970, on wove paper, from
the posthumous edition, stamp signed (as issued),
numbered 10/50 in pencil (there were also 18 artists
proofs), each published by Galerie Louise Leiris,
Pairs, 1978, the full sheets, each in good condition
(2)

published by Galerie Louise Leiris, Paris, 1969, the
600-800
LITERATURE:
Bloch 1802
Baer 1819 B.b.1
$900-1,200
850-1,100
1,500-2,000
$2,300-3,000
2,200-2,800
1,000-2,000
$1,500-3,000
1,500-2,800
LITERATURE:
Bloch 1747
Baer 1766 B.b.1
LITERATURE:
Bloch 1910 & 1911
107
l232
Raphal et la Fornarina VIII, from: Sries 347
etching, 1968, on wove paper, signed in pencil, numbered 18/50 (there
were also 17 artists proofs), published by Galerie Louise Leiris, Paris, 1969,
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
Bloch 1783
Baer 1800 B.b.1
232
l233
Raphal et la Fornarina IX: Le Pape arriv, from: Sries 347
etching, 1968, on watermarked Rives paper, signed in pencil, numbered
37/50 (there were also 17 artists proofs), published by Galerie Louise Leiris,
Paris, 1969, the full sheet, with minor surface defects, otherwise in good
condition
1,500-2,000
$2,300-3,000
2,200-2,800
LITERATURE:
Bloch 1785
Baer 1802 B.b.1
233
l234
Raphal et la Fornarina XI, from: Sries 347
etching, 1968, on wove paper, signed in pencil, numbered 8/50 (there were
also 17 artists proofs), published by Galerie Louise Leiris, Paris, 1969, the
1,000-1,500
LITERATURE:
Bloch 1786
Baer 1803 B.b.1
234
$1,500-2,200
1,500-2,100
VARIOUS PROPERTIES
235
PAUL GAUGUIN (1848-1903)
Mahna No Varua Ino (The Devil Speaks)
woodcut printed in red, yellow and black with touches of hand-colouring in red watercolour, 1893-94,
on heavy Japan paper, an impression of the fourth, final state, from the edition of approximately 25-35
impressions printed by Louis Roy, Paris, 1894, the sheet reduced by circa 130 mm. into the subject at right,
otherwise trimmed to the subject, a tiny paper loss at the left sheet edge
6,000-8,000
$9,000-12,000
8,500-11,000
LITERATURE:
Gurin, Mongan, Kornfeld 19.IV.D
109
l236
MAX LIEBERMANN (1847-1935)
Badende Jungen
lithograph, 1909, on watermarked Strothmore Japan paper, signed in
pencil, from the edition of unknown size, the only state, with margins,
pale time-staining around the image, otherwise in good condition,
framed
700-1,000
$1,100-1,500
990-1,400
LITERATURE:
Schiefler 101
236
l237
HERMANN MAX PECHSTEIN (1881-1955)
Am Strand, from: Die Schafenden
etching and drypoint, 1922, on wove paper, signed in pencil,
unnumbered (as issued), from the edition of 100 (there were also 25
on Japan paper), the full sheet, soft creasing at the sheet edge, pale
unobtrusive foxing across the sheet, otherwise in good condition
700-1,000
$1,100-1,500
990-1,400
LITERATURE:
Krger R. 134
237
l*238
Bacchanal
aquatint, circa 1960, on watermarked Marais paper, signed in pencil,
numbered 116/250, published by Atelier Crommelynck, Paris, with
their blindstamp, with margins, foxing across the image, time-staining
around the image, framed
3,000-5,000
238
$4,500-7,500
4,300-7,100
239
240
241
COLLECTION
l239
l240
l241
Maternit
The Lovers Heaven
Le Sauvetage, II
the complete set of five etchings with drypoint,

1926, on watermarked Lafuma de Voiron paper,
hors-texte, with title, text in French, numbered 290
on the justification, from the total edition of 960,
published by Au Sans Pareil, Paris, the full sheets,
with pale time-staining, bound (as issued) within the
red leather covered boards, with scuffing at all four
corners, otherwise in good condition
215 x 165 x 10 mm. (overall)

initialled in pencil, numbered 125/150, published by
Andr Sauret diteur, Paris, the full sheet, in good
condition, framed
etching, 1932, on partially watermarked Arches laid

paper, signed in pencil, numbered 17/50, published
by Galerie Louise Leiris, Paris, 1962, the full sheet,
taped to the mount along the upper and lower
sheet edge, pale time-staining, otherwise in good
condition
800-1,200
$1,200-1,800
1,200-1,700
3,000-5,000
LITERATURE:
1,000-1,500
LITERATURE:
$1,500-2,200
1,500-2,100
$4,500-7,500
4,300-7,100
Mourlot 393
LITERATURE:
Bloch 245
Baer 273
Kornfeld 65-9
see Cramer books 5
111
242
243
244
VARIOUS PROPERTIES
l242
l243
l244
HENRI MATISSE (1869-1954)
Femme aux Fleurs et portrait de Barbu,

avec Degas de Profil, from: Sries 156
Danseuse allonge, Tte accoude,

from: Dix danseuses
Black reclining Figure III and IV
etching, 1971, on wove paper, from the posthumous

edition, stamp signed (as issued), numbered 19/50
(there were also 15 artists proofs), published by
Galerie Louise Leiris, Pairs, 1978, the full sheet, in
lithograph, 1927, on wove paper, signed in pencil,

numbered 87/130 (the total edition was 150 on
various papers), full sheet, unobtrusive foxing
across the sheet, taped to a mount verso, otherwise
in good condition
Lithograph: 155 x 416 mm., Sheet: . 330 x 503 mm.
two lithographs, 1974, on wove paper, each signed

in pencil, each numbered V/V, artists proofs aside
from the standard edition of 20, published by
Raymond Spencer Company for The Henry Moore
Foundation, Much Hadham, each sheet, apparently
in good condition, unexamined out of their frames
Lithograph: 242 x 322 mm. (and similar)
(2)
2,000-3,000
2,000-3,000
1,200-1,800
$3,000-4,500
2,900-4,200
$3,000-4,500
2,900-4,200
$1,800-2,700
1,700-2,500
LITERATURE:
LITERATURE:
PROVENANCE:
Bloch 1959
Baer 1968
Duthuit 486
Christies, London, Prints by Henry Moore, 19th July

2000, Lot 181 & 182.
LITERATURE:
Cramer 380 & 381
112
l*245
The Reclining Figure Album
the album, 1977-78, including eight etchings and aquatints hors-texte, and
an etching for the title page, on various papers (as issued), with title and text,
lacking the justification page, from the Louisiana Edition (the total edition was
of 50), co-published by Ganymed Original Editions Ltd., London and Louisiana
Museum of Modern Art, Humblebaek, 1978, each print signed in pencil and
numbered L15/25, the full sheets, pale time-staining around the image, otherwise
in good condition, each framed, lacking the linen covered presentation box
8,000-12,000
$13,000-18,000
12,000-17,000
PROVENANCE:

LITERATURE:
Cramer 471-479
113
246
247
l246
l*247
Seated Mother and Child
Seven Sculpture Ideas I
lithograph in colours, 1976, on wove paper, signed in pencil, numbered VIII/X,

an artists proof aside from the standard edition of 75, published by Polgrafa,
Barcelona, 1977, with margins, apparently in good condition, unexamined out of
the frame
etching, aquatint and roulette in colours, 1982, on watermarked Arches paper,

signed in pencil, numbered XI/XXV, an artists proof aside from the standard
edition of 50, published by The Raymond Spencer Company Ltd., Much
Hadham, the full sheet, in good condition, framed
800-1,200
500-700
$1,200-1,800
1,200-1,700
PROVENANCE:
LITERATURE:
Christies, London, Prints by Henry Moore, 19th July 2000, Lot 219
Cramer 589
LITERATURE:
Cramer 437
114
$750-1,000
710-990
l*248
Mother and Child
the complete set of eight etchings in colour, 1983, on wove paper, each signed and inscribed with the plate number in
pencil, numbered 23/50 (there were also 15 artists proofs and ten hors commerce), with title page, also numbered on
the justification, published by Raymond Spencer Company Ltd., Much Hadham, 1987, printed by James Collyer and
John Crossley, London, with their blindstamps, the full sheets, in good condition, loose (as issued) within the brown silk
covered portfolio case, in good condition
7,000-10,000
$11,000-15,000
9,900-14,000
LITERATURE:
Cramer 701-708
115
249
JIM DINE (B. 1935)

Double Venus in the Sky at Night
screenprint and lithograph in colours, 1984, on watermarked William Morris
Nonesuch laid paper, signed and dated in pencil, numbered 44/50 (there
were also 6 artists proofs), published by Pace Editions Inc., New York, the full
sheet, time-staining across the sheet, soft handling creases, otherwise in good
condition, framed
4,000-6,000
$6,000-9,000
5,700-8,500
LITERATURE:
DOench & Feinberg 166
249
*250
VARIOUS ARTISTS
Six plates, from: Ten Commandments
six lithographs in colours, 1987, on wove paper, three signed in pencil, artists
proofs aside from the standard edition of 84, comprised of works by: Vito
Acconci, Richard Bosman, Nancy Spero, April Gornick, Jane Dickson and
Robert Kushner, printed to the edges of the full sheets, each in generally good
condition
(6)
3,000-5,000
$4,500-7,500
4,300-7,100
250
l*251
Two Reclining Figures in Yellow and Red, from: Meditations on
the Efigy
lithograph in colours, 1967, on Japan nacr paper, numbered 36/50 (there
were also ten artists proofs), published by Marlborough Fine Art Ltd, London,
together with; Violet Torso on Orange Stripes, lithograph in colours, 1967,
on Japan nacr paper, lettered B/E one of five artists proofs aside from the
standard edition of 180, co-published by Rembrandt Verlag GmbH, Berlin, each
signed and dated 67 in pencil, the full sheets, each in good condition
Lithograph: 343 x 298 mm. (and similar)
(2)
1,200-1,800
PROVENANCE:

LITERATURE:
251
116
Cramer 73 & 86
$1,800-2,700
1,700-2,500
l*252
GIACOMO MANZ (1908-1991)
Amanti I, III, IV and V
four etchings and aquatints in colours, 1978, I, III and IV on Magnani paper, plate
V on Fabriano Rosaspina paper, each signed in pencil, numbered 38/52, 16/52,
16/50 and 38/50 respectively, published by 2RC Edizioni dArte, Rome, with their
blindstamp and the artists blindstamp, the full sheets, with pale time-staining
around all sheet edges and soft handling creases in the margins, otherwise in
good condition
(4)
1,800-2,200
$2,700-3,300
2,600-3,100
252
l*253
GIACOMO MANZ (1908-1991)
A Collection of Five Prints
five etchings and aquatints in colours, 1978, comprised of Donna con Sedia,
Donna Sdraiata, La Danza di Orfeo, Donna con Bambino and Figura, on wove
paper, each signed in pencil, numbered 12/31, 21/25, 18/45, 18/52 and 28/52
respectively, published by 2RC Edizioni dArte, Rome, with their blindstamp, the
full sheets, with minor surface defects
(5)
2,000-3,000
$3,000-4,500
2,900-4,200
253
254
MAN RAY (1890-1976)
Kiki
etching and aquatint in colours, 1971, on wove paper, signed in pencil, numbered
86/100, together with; Le Pont Neuf, lithograph in colours, 1970, on wove paper,
initialled in pencil, inscribed preuve dartiste, an artist proof aside from the
standard edition of 90, also with; LAvventura, aquatint in colours, 1972, signed
in pencil, inscribed H.C., an hors commerce impression aside from the standard
edition of 100, each sheet, each in apparently good condition, unexamined out
of their frames
Plate: 497 x 404 mm. (and similar)
(3)
1,800-2,200
$2,700-3,300
2,600-3,100
LITERATURE:
Anselmino 6, 19 & 36
254
117
255
256
l255
l*256
ELISABETH FRINK (1930-1993)
The Grey Rider
Preface, from: Elephant Skull Album
lithograph in colours, 1970, on watermarked T.H. Saunders paper, signed in

pencil, numbered 319/500 (there were also 15 artists proofs), published by L.
Waddington Prints Ltd., London, with margins, the upper and lower sheet edges
trimmed, pale time-staining across the sheet, framed
four etchings en-texte, 1969, on wove paper, unsigned (as issued) with the
justification page, signed in black ink, lacking the text and 28 full page etchings,
published by Grald Cramer, Geneva, 1970, the full sheets, in good condition,
with the linen covered album
1,000-1,500
700-1,000
$1,500-2,200
1,500-2,100
LITERATURE:
PROVENANCE:
Wiseman 39

LITERATURE:
Cramer 110-113
118
$1,100-1,500
990-1,400
l257
Animals in the Zoo
nine plates from the set of ten (lacking plate VI) and the three additional
etchings printed on the title and text pages, 1980-1981, on Arches paper, each
etching signed in pencil and numbered 31/65, justification signed in pencil
and numbered 31 from the edition of 65 (there were also 15 copies in Roman
numerals), published by Raymond Spencer Company Ltd. for The Henry
Moore Foundation, Much Hadham, 1983, the full sheets, each in good condition,
presented in the original brown silk covered folio case
3,000-5,000
$4,500-7,500
4,300-7,100
LITERATURE:
Cramer 631-646 & 648
119
258
259
l258
l*259
GRAHAM SUTHERLAND (1903-1980)
GRAHAM SUTHERLAND (1903-1980)
Form in a desert - Brown and Yellow and Red and Yellow
Pupa I, II, III: Yellow
two etchings and aquatints in colours, 1973-74, on wove paper, signed in pencil,
numbered 10/90 and 9/90 respectively (there were also 25 artists proofs),
published by 2RC Edizioni dArte, Rome, with their blindstamps, the full sheets,
with minor surface defects, otherwise in good condition
(2)
three etchings and aquatints in colours, 1977, on Fabriano paper, each signed in
pencil, numbered 64/75 (the standard edition of 75 was printed in three colours,
1-25 black, 26-50 green, 51-75 yellow, there were also 15 artists proofs), published
by 2RC Edizioni dArte, Rome, with their blindstamp, the full sheets, with minor
soft handling creases predominantly in the upper and lower margins, otherwise
in good condition
(3)
1,000-1,500
$1,500-2,200
1,500-2,100
800-1,200
LITERATURE:
Tassi 144
LITERATURE:
Tassi 195-197
120
$1,200-1,800
1,200-1,700
PROPERTY FROM A DECEASED ESTATE
l260
Le Crapaud
lithograph, 1949, on watermarked Arches paper, signed in red crayon, numbered
9/50 in pencil (there were also six artists proofs), the full sheet, time-staining
across the sheet, creasing with associated ink loss in the upper left image, other
minor defects, framed
Lithograph: 495 x 640 mm,. Sheet: 500 x 655 mm.
6,000-8,000
$9,000-12,000
8,500-11,000
LITERATURE:
Bloch 585
Mourlot 144
121
261
262
l262
VARIOUS PROPERTIES
l261
Le tobogan, plate XX, from: Jazz
Le lagon, plate XVII, from: Jazz

pochoir in colours, 1947, on watermarked Arches paper, unsigned (as issued)
from the edition of 250 published by Triade diteur, Paris, the full sheet, pale
time-staining across the sheet, pinpoint foxing across the sheet, otherwise in
good condition
1,500-2,500
LITERATURE:
Duthuit-Garnaud, 22
122
$2,300-3,700
2,200-3,500
pochoir in colours, 1947, on watermarked Arches paper, unsigned (as issued)

from the edition of 250 published by Triade diteur, Paris, printed with text
(as issued), the full sheet, with moisture staining and time-staining, other minor
defects
1,000-1,500
LITERATURE:
Duthuit-Garnaud 22
$1,500-2,200
1,500-2,100
l263
Carnaval 1967
linocut in colours, 1967, on watermarked Arches paper, signed in pencil,
numbered 102/160, published by Le Patriote, Nice, the full sheet, soft creasing in
the lower left corner, otherwise in good condition
5,000-7,000
$7,500-10,000
7,100-9,900
LITERATURE:
Bloch 1242
Baer 1852
123
l*264
GEORGES ROUAULT (1871-1958)
Amazone, from: Cirque
aquatint in colours, 1930, on wove paper, unsigned (as issued) from the
unnumbered (as issued) total edition of 270, published by Ambroise Vollard,
Paris, the full sheet, with time and mount staining, otherwise in good condition
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
Chapon and Rouault 198
264
l265
Circus Rider with Bouquet
lithograph in colours, 1963, on wove paper, signed in pencil, numbered 125/150
(there were also 40 artists proofs with wide margins), published by Andr Sauret
diteur, Paris, the full sheet, in good condition, framed
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:
Mourlot 404
265
l266
Danseuse Naine, from: Barcelona Suite
pencil, numbered 19/60, published by the Museu Picasso, Barcelona, the full
sheet, with minor surface defects, otherwise in good condition
2,000-3,000
LITERATURE:
Czwiklitzer 234
Rodrigo 148
266
124
$3,000-4,500
2,900-4,200
267
268
l267
l*268
BERNARD BUFFET (1928-1999)
Harlequin, from: Barcelona Suite
Le Clown Jojo, from: Mon Cirque

pencil, numbered 28/60, published by Museu Picasso, Barcelona, the full sheet,
foxing in all margins, pale time-staining at sheet edges, otherwise in good
condition
lithograph in colours, 1968, on wove paper, signed in black ink, numbered 84/120
(there were also a few artists proofs), published by Fernand Mourlot, Paris, with
full margins, a pale red mark at the extreme right sheet edge, otherwise in good
condition, framed
2,500-3,500
800-1,200
$3,800-5,200
3,600-4,900
LITERATURE:
LITERATURE:
Czwiklitzer 230
Rodrigo 151
Sorlier 184
$1,200-1,800
1,200-1,700
125
269
HENRI DE TOULOUSE-LAUTREC (1864-1901)
La Passagre du 54 - Promenade en Yacht
lithograph in colours, 1896, on thin wove, Wittrocks third, final state, with the
additional lettering for the poster edition of unknown size, printed by Bourgerie
et Cie., Paris, printed to or close to the edges of the full sheet as published, with
time and light-staining, unobtrusive pale foxing, creasing and cockling where
backed along the right sheet edge verso, occasional minor backed tears and
losses at the sheet edges, framed
6,000-8,000
PROVENANCE:
Edmond-Honor Sagot (1857-1917), diteur, Paris (Lugt 2253)

LITERATURE:
Delteil 366
Adriani 137
Wittrock P. 20
126
$9,000-12,000
8,500-11,000
270
Divan Japonais
lithograph in colours, 1892-93, on thin wove paper, printed by Ancourt, Paris,
printed to or close to the full sheet as issued, the colours strong, a vertical and
horizontal central fold, with time and light-staining, various backed tears mostly
along the central folds and sheet edges, handling creases, framed
5,000-7,000
$7,500-10,000
7,100-9,900
LITERATURE:
Delteil 341
Adriani 8
Wittrock P. 11
127
272
271
273
*271
272
*273
HENRI DE TOULOUSE-LAUTREC
(1864-1901)
(1864-1901)
(1864-1901)
Lender et Auguez dans La Chanson de

Fortunio
Dbauche (deuxime planche)
Femme au Plateau - Petit Djeuner,

from: Elles
lithograph printed in olive-green, 1895, on fine,

thin wove paper, from the unnumbered edition
of 25 (Wittrock mentions that more than half
the edition were numbered), with an erroneous
pencil inscription at the lower left preuve dessai,
published by E. Kleinmann, Paris, with full margins,
pale residual mount-staining, slight cockling to the
sheet, otherwise in good condition, framed

Wittrocks second (final) state, from the second
edition of 100 with text, published by Arnould, Paris,
with margins, time and mount staining across the
sheet, otherwise in good condition, framed
3,000-5,000
$4,500-7,500
4,300-7,100
lithograph printed in sanguine, 1896, on wove

paper, watermark G. Pellet/T. Lautrec, from the
edition of 100, published by Gustave Pellet, with
his stamp (L. 1193), the full sheet, pale time-staining,
otherwise in very good condition, framed
3,000-5,000
LITERATURE:
4,000-6,000
LITERATURE:
Delteil 108
Wittrock 108
Adriani 120
128
$6,000-9,000
5,700-8,500
Delteil 178
Adriani 187
Wittrock 167
PROVENANCE:
Ross Collection (not in Lugt)
$4,500-7,500
4,300-7,100
*274
La Modiste, Rene Vert
lithograph in colours, 1893, on wove paper, Wittrocks second (final) state, from
the edition of 25 on this paper (there were also 25 on Japan paper), with margins,
pale mount and time-staining, one small hole in the upper image, laid down to
board (with associated glue stains in the margins and several creases in the
image), framed
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:
Delteil 13
Adriani 13
Wittrock 4
274
275
FERNAND KHNOPFF (1858-1921)
Des grelots (Une coifure grelots)
drypoint with additional hand-colouring, 1905, on Japan paper, signed, dedicated
and dated Madame de Weert hommage de Fernand Khnopff 1913 in pencil,
published by la Socit des Aquafortistes belges, with margins, apparently in
good condition, unexamined out of the frame
Plate: 198 x 148 mm.
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:
Delevoy 414
275
PROPERTY FROM A PRIVATE ENGLISH COLLECTION
276
Edme Lescot, from: Le Caf Concert
lithograph, 1893, on wove paper, from the standard edition of 500 (there was
also a deluxe edition of 50 on Japan paper), with margins, the sheet trimmed,
time-staining around the image, adhesive tape above, other defects, framed
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:
Delteil 32
Wittrock 22
Adriani 20
276
129
278
277
VARIOUS PROPERTIES
l277
l278
Vallauris 1956 Exposition
Jaime Sabarts, A Los Toros, Andr Sauret diteur,

Monte Carlo, 1961
linocut in colours, 1956, on watermarked Arches paper, signed in blue crayon,

a proof aside from the standard edition of 200, published by the Association
des Potiers de Vallauris, Vallauris, with margins, the lower margin trimmed, pale
mount staining, framed
4,000-6,000
LITERATURE:
$6,000-9,000
5,700-8,500
the set of four lithographs (one in colours), hors-texte, with title page and text in
French, on wove paper, from an edition of unknown size, the full sheets, bound
(as issued), in good condition, green cloth-covered boards with a reproduction
after a drawing by Picasso on the front, red paper-covered slipcase with a
reproduction after a drawing by Picasso, minor surface defects, otherwise in
good condition
265 x 334 x 30 mm. (overall)
1,000-1,500
Bloch 1271
Baer 1042
LITERATURE:
Bloch 1014-17
Mourlot 346, 348-50
130
$1,500-2,200
1,500-2,100
l279
Char Romain Mont par un Athlte Fminin, avec Amour
et Vieillards, from: Sries 347
etching, 1968, on wove paper, signed in pencil, numbered 40/50 (there were
also 17 artists proofs), published by Galerie Louise Leiris, Paris, 1969, the full
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
Bloch 1534
Baer 1550 B.b.1
279
l280
Le torero bless
lithograph, 1956, on watermarked Arches paper, signed in pencil, numbered
5/50, the full sheet, time-staining around the image, otherwise in good condition
2,500-3,500
$3,800-5,200
3,600-4,900
LITERATURE:
Bloch 799
Mourlot 276
280
l281
La Danse des Faunes
lithograph, 1957, on watermarked Arches Mourlot paper, with the artists
stamped signature (as issued), from the unsigned edition of 1,000 (there was
also a signed and numbered edition of 200), published in Cannes, for
Le Patriote, the full sheet, pale time and mount staining across the sheet,
soft creasing in the upper margin, otherwise in good condition
800-1,200
$1,200-1,800
1,200-1,700
LITERATURE:
Bloch 830
Mourlot 291
281
131
*282
FRANCISCO DE GOYA Y LUCIENTES (1746-1828)
Two Plates, from: La Tauromaquia
two etchings with aquatint and drypoint, 1816, from the complete set of 40, on
watermarked Arches paper, from Harris third edition, the full sheets, pinpoint
foxing across the sheets, minor paper loss (H. 212), time-staining around the
images, otherwise in good condition
(2)
1,000-1,500
$1,500-2,200
1,500-2,100
LITERATURE:
Harris 208 & 212
282
283
FRANCISCO DE GOYA Y LUCIENTES (1746-1828)
Eleven plates, from: Los Caprichos
etchings with burnished aquatint, drypoint and engraving, 1799, on wove paper,
without watermarks, Harris sixth state (of twelve), with margins, minor surface
(11)
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
Harris: 39, 49, 68, 74, 88, 89, 97, 102, 106, 111 & 114
283
PROPERTY FROM A PRIVATE CENTRAL EUROPEAN COLLECTION
284
AFTER ALBRECHT DRER (1471-1528)
A Turkish Horseman
woodcut, circa 1530, on laid paper without watermark, with small margins, an
area of skinning in the lower left sheet verso, otherwise in good condition
700-1,000
PROVENANCE:
Richard Leendertz (L. 1708).

LITERATURE:
Dodgson 359
Schoch, Mende & Scherbaum A. 48.1
284
132
$1,100-1,500
990-1,400
VARIOUS PROPERTIES
285
ALBRECHT DRER (1471-1528)
Coat of Arms of the Empire and of the City of Nuremberg,
from The Reformation of the City of Nuremberg
woodcut, 1521, on laid paper without watermark, a very good Meder a impression
of this rare print, aside from the book edition without text verso, trimmed to the
borderline, backed to tissue-thin Japan paper, an unobtrusive tear in the upper
left image, minor staining across the sheet, otherwise in good condition
Block and Sheet: 241 x 170 mm.
700-1,000
$1,100-1,500
990-1,400
LITERATURE:
Bartsch 162
Meder, Hollstein 285
Schoch, Mende & Scherbaum 273
285
286
The Holy Trinity
woodcut, 1511, on laid paper without watermark, a Meder b/c impression,
trimmed to the borderline, fully laid down, several short tears at sheet edges,
other minor defects
Block, Sheet: 392 x 285 mm.
1,500-2,500
$2,300-3,700
2,200-3,500
LITERATURE:
Bartsch 122
286
287
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
The Virgin and Child in the Clouds
etching, 1641, on laid paper without watermark, New Hollsteins second (final)
state, trimmed just inside the platemark, a 2 mm. adhesive spot in the lower left
image, with pale discoloration, other minor defects, framed
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
Bartsch, Hollstein 61
Hind 186
New Hollstein 188
287
133
288
289
PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTOR
*288
*289
SALVATOR ROSA (1615-1673)
LUCAS CRANACH THE ELDER (1472-1553)
The Fall of the Giants
The Judgement of Paris
etching with drypoint, circa 1663, on sturdy laid paper with watermark Shield
with a Warrior holding a small Fleur-de-Lys, a very good, strong impression
of the second (final) state, with irregular small margins, with the usual two
horizontal central folds, further vertical folds, with other minor surface defects,
woodcut, 1508, on laid paper with an unidentified Coat of Arms watermark, a

good but slightly later impression, with a central drying crease, pen additions
to the border in places, a repaired paper split in the upper image, otherwise in
good condition
1,000-1,500
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:
LITERATURE:
Bartsch 21
Wallace 115
134
Bartsch 114
Hollstein 104
$1,500-2,200
1,500-2,100
VARIOUS PROPERTIES
290
The Artist Drawing from the Model
etching and drypoint, circa 1639, on sturdy laid paper without watermark, a good
but later impression, New Hollsteins fourth (final) state, with 3-4 mm. margins on
all sides, together with; Christ Seated Disputing with the Doctors [Luke 2: 42-51],
etching, 1654, on laid paper without a watermark, a good impression of the only
state, with touches of pen and ink and grey wash in the denser areas of shadow,
with 2-3 mm. margins on all sides, each sheet with surface defects, otherwise in
good condition
(2)
3,000-5,000
$4,500-7,500
4,300-7,100
LITERATURE:
Hind 23
New Hollstein 176
290
291
Naked Woman on a Mound
etching, circa 1631, on laid paper with an unidentified countermark, second (final)
state, the plate showing wear in places, with small margins, otherwise in good
condition, framed
2,000-3,000
$3,000-4,500
2,900-4,200
LITERATURE:

Hind 43
New Hollstein 88
291
135
292
294
293
PROPERTY FROM A DISTINGUISHED PRIVATE
COLLECTOR
292
*293
*294
WENCESLAUS HOLLAR
(1607-1677)
REMBRANDT HARMENSZ. VAN RIJN

(1606-1669)
Portrait of Lady Margaret Butts
A Hurdy-Gurdy Player followed by

Children at the Door of a house
(The Schoolmaster)
etching, 1649, on laid paper, a good impression of

the first state, of two, the sheet, trimmed up to or
just outside the platemark, with a nick at the left
sheet edge, otherwise in good condition
800-1,200
$1,200-1,800
1,200-1,700
etching, 1641, on laid paper without watermark, New

Hollsteins first state, of four, a later impression,
trimmed to or just within the platemark, a soft
horizontal crease in the lower image, brown ink
annotation in the upper right corner, otherwise in
good condition
Sheet: 92 x 62 mm.
Cardinal Albrecht of Brandenburg

(the Small Cardinal)
engraving, 1519, on laid paper without watermark, a
good but slightly later Meder b impression, trimmed
to the border, skinning in the upper left image
visible recto, pinpoint foxing in the lower and upper
right image, other minor defects
1,000-1,500
PROVENANCE:
A. Firmin-Didot (1790-1876), Paris (L. 119)
1,500-2,000
LITERATURE:
New Hollstein 1067.I

Pennington 1553.I
ODonoghue 2
136
LITERATURE:
Bartsch, Hollstein128
Hind 192
New Hollstein 191
$2,300-3,000
2,200-2,800
LITERATURE:
Bartsch 102
$1,500-2,200
1,500-2,100
295
297
296
VARIOUS PROPERTIES
*295
296
297
ADRIAEN JANSZ VAN OSTADE

(1610-1685)
FRANCISCO DE GOYA Y LUCIENTES

(1746-1828)
AFTER PARMIGIANINO
(1503-1540)
Two Gossips
Ten plates, from: Los Caprichos
etching, circa 1642, on laid paper without watermark,

the fifth (final) state, trimmed on or close to
borderline, the sheet stuck to a support sheet, a
paper loss in the upper left image, remnants of
moisture staining, other minor defects, framed
Sheet: 102 x 90 mm.
etchings with burnished aquatint, drypoint and

engraving, 1799, on white wove paper, without
watermarks, very good impressions of Harris
second edition, of twelve, printed at the Calcografa
for the Real Academia, Madrid, circa 1855, with
margins, loose, some with binding holes at left, all in
good condition
Plate: 216 x 151 mm., Sheet: 316 x 217 mm. (each)
(10)
Varii Disegni inventati dal celebre

Francesco Mazzuola detto Il
Parmigianino tratti dalla Raccolta
Zanettiana incisi in Rame da Antonio
Faldoni e novamente Pubblicati Venezia
MDCCLXXXVI
500-700
$750-1,000
710-990
4,000-6,000
LITERATURE:
$6,000-9,000
5,700-8,500
LITERATURE:
Harris 87, 94, 96, 97, 102, 103, 106, 109, 110 & 114
portfolio including fifteen engravings printed in

sepia, 1723-35, on laid paper, various sheets with VA
watermark or Triple Crescent with lettering Imperial
watermark, with title page, published by A. Zanetti,
Venice, 1786, the full sheets, generally in good
condition, bound (as published) within the original
paper covered boards with leather spine, showing
some wear and surface defects
1,000-1,500
$1,500-2,200
1,500-2,100
PROPERTY FROM A PRIVATE CENTRAL EUROPEAN COLLECTION
298
Student at a Table by Candlelight
etching, circa 1642, on laid paper initials CR in Arms watermark, a later
impression of New Hollsteins first state, of two, with margins, an area of skinning
verso, otherwise in good condition
1,500-2,000
$2,300-3,000
2,200-2,800
LITERATURE:

Hind 202
New Hollstein 213
298
*299
Clement de Jonghe, Printseller
etching and drypoint, 1651, on laid paper without watermark, New Hollsteins
eighth state (of ten), printing with a light, even platetone, narrow margins, a small
rustmark at right, a small repair and a few nicks at the upper right, otherwise in
1,000-1,500
$1,500-2,200
1,500-2,100
LITERATURE:

Hind 251
New Hollstein 264
VARIOUS PROPERTIES
299
300
Jan Asselijn, Painter
etching, circa 1647, on partially watermarked laid Fleur-de-Lys paper (not in Holl.),
New Hollsteins seventh, final state, a worn, posthumous impression, enhanced
with pen and ink, with small margins, otherwise in good condition; together with,
Clemente de Jonghe, Printseller, etching, 1651, on laid paper without watermark,
New Hollsteins eighth state (of ten), a later impression, trimmed inside the
platemark and just within the subject above, repaired paper splits in the upper
subject, scattered foxing, each framed
(2)
1,500-2,000
PROVENANCE:
(NH 236) J. Michelin (1815-1870), Paris (see L. 1490).

(NH 236) N. D. Goldsmid (1814-1875), The Hague (L. 1962).
(NH 236) C. Delanglade (died 1870), Marseilles (L. 660).
LITERATURE:
300
138
Bartsch, Hollstein 272, 277

Hind 227, 251
New Hollstein 236, 264
$2,300-3,000
2,200-2,800
*301
Abraham Francen, Apothecary
etching and engraving, circa 1657, on laid paper without watermark, New
Hollsteins twelfth, final state, a good impression, trimmed to, or just within the
platemark, in good condition, framed
1,200-1,800
$1,800-2,700
1,700-2,500
LITERATURE:

Hind 291
New Hollstein 301
*302
301

Jan Uytenbogaert (the Goldweigher)
etching and drypoint, 1639, on laid paper, without watermark, New Hollsteins
third, final state, a later impression, with the rework, trimmed on or to the
platemark; with The Strolling Magicians (B. Holl. 119; H. 142; New Holl. 141 ),
etching, circa 1635, on laid paper, without watermark, New Hollsteins second
state (of three), with small margins, an indistinct ink inscription in the lower
margin; with Albrecht Drer, Willibald Pirckheimer (B. 106; M., Holl. 103; S.M.S.
99), engraving, 1524, on laid paper without watermark, a Meder e impression,
trimmed to the platemark, other minor defects
Sheet: 250 x 205 mm. (and smaller)
(3)
2,000-3,000
$3,000-4,500
2,900-4,200
PROVENANCE:
The Strolling Musicians with an unidentified stamp, letters in a rectangle in purple ink
(not in Lugt).
LITERATURE:

Hind 167
New Hollstein 172
302
PROPERTY FROM THE COLLECTION OF NATHAN AND JOAN LIPSON
*303
Jan Lutma, Goldsmith
etching with drypoint and engraving, 1656, on laid paper with an indistinct
watermark, a good impression of Hollsteins second state, of three, re-margined
at left and right edges, thread margins at top and below, a short repaired tear at
the upper left corner, various repaired paper splits at the upper right corner, with
other surface defects, framed
5,000-7,000
$7,500-10,000
7,100-9,900
PROVENANCE:
Lugt 2529: K. F. F. von Nagler (1770-1846), Berlin

Lugt 1606, 2398: Kupferstichkabinett, Staatliche Museen, Berlin
LITERATURE:

Hind 290
New Hollstein 293
303
139
304
305
VARIOUS PROPERTIES
PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION
*304
*305
ATTRIBUTED TO BATTISTA FRANCO

(CIRCA 1510-1561), AFTER TITIAN (CIRCA 1488-1576)
Landscape with a Horseman and his Groom
The landscape with the canon
etching, probably after 1554, on laid paper without watermark, a good, clear
impression of this rare print, second, final state, with the inscription Ticianus
Manu propria, with a central vertical fold, several repaired tears, re-margined, the
borderline made up with pen and ink in places, framed
etching, 1518, on watermarked thin laid paper, Doubled-Headed with Letters SZ

(M.219), probably Meder d-e, printing with many rustmarks, with thread margins
below, trimmed inside the platemark but just outside the borderline elsewhere,
a few rust spots, small thin patches at the upper corners, generally in good
condition
1,800-2,200
1,500-2,500
$2,700-3,300
2,600-3,100
LITERATURE:
LITERATURE:
Bartsch 8
The Genius of Venice 1500-1600, Royal Academy of Arts, London, 1983-84, no. P44.
Bartsch 99
Meder, Hollstein 96
140
$2,300-3,700
2,200-3,500
VARIOUS PROPERTIES
306
TIZIANO VECELLIO, CALLED TITIAN (CIRCA 1485/90-1576)
Nine plates, from: The Submersion of Pharaohs Army in the Red Sea
nine woodcuts from the set of 12, circa 1515-49, on laid paper, eight sheets with watermark Pilgrim with a
Staff in a Circle surmounted by a Star (cf. Briquet 7578, circa 1573), one sheet with watermark Fleur de Lys
in a Circle surmounted by a Crown (cf. Briquet 7113, circa 1570), lacking three plates, printed after the edition
of 1549 published by Domenico dalle Grache, the blocks with some cracks, wormholes and gaps in the
borderline, printing somewhat unevenly, dry in places, with drying creases, some tears and minor paper
losses, remains of a cardboard backing verso; with facsimiles of the three missing plates (illustrated in grey)
Sheet: 410 x 560 mm. (and similar).
(9)
4,000-6,000
$6,000-9,000
5,700-8,500
LITERATURE:
Passavant VI, p. 223, 4

Mauroner 27
Dreyer 4
Muraro and Rosand 8b
Chiari VIII
END OF SALE
141
Glossary of Cataloguing Terms

AQUATINT
An etching process in which tone is created by
treating a plate with ne particles of acid-resistant
material (like powdered resin) and then placing the
plate in an acid bath. The acid bites into the plate
between the grains of resin and, when printed, the
mass of tiny spots produces a textured area with
tonal effects similar to watercolor wash.
ARTISTS PROOF/EPREUVE DARTISTE
Impressions printed especially for the artist and
excluded from the numbering of an edition, but
exactly like the editioned prints in every other
respect. Usually appears as A.P. or E.A.
BLINDSTAMP/CHOP
The embossed, inked, or stamped symbol used by
printers and print workshops, usually in the margin
of the paper as a mark of identication.
BON TIRER/RIGHT TO PRINT
The proof approved by the artist which establishes
the standard for all of the other prints in the edition.
BURR
When using a drypoint needle or other engraving
tool to draw directly into a metal plate, small, ne
pieces of metal are raised up on both sides of the
scored line. This burr holds additional ink during
the printing process and gives the lines a velvety or
fuzzy texture. Burr is very delicate and consequently
is easily worn down during the pressures of the
printing process. Early pulls or impressions taken
from such plates are characterized by rich burr. In
the case of Old Master prints especially, the quantity
and evidence of burr can sometimes be used as an
aid in determining how early the impression was
pulled.
CANCELLATION PROOF
When the edition is complete, the matrix a block,
plate, stone, mylar or other is effaced, crossed out
or otherwise cancelled.
An impression is then taken from this matrix,
showing that the plate has been cancelled. This
ensures that no further uncancelled impressions can
be pulled.
CARBORUNDUM
The trade name for silicon carbide, carborundum
began its use in printmaking as an abrasive which
was used in effacing lithographic stones. The
particles, when mixed together with glue, can also
be used to draw on a platesometimes creating
a raised surfacewhich is then inked and printed
with the ink being held in the spaces between the
particles. The resulting prints are often textured due
to the raised areas of the printing surface.
CATALOGUE RAISONN
A scholarly catalogue which should include all the
known works by an artist at the time of publication.
Essential information by which works are identied
is included.
CHINE APPLIQU/CHINE COLL
A method of adhering a thin paper, sometimes of
a different color or texture, onto a larger, heavier
sheet during the printing process using glue or water
to dampen and coat the papers.
COLOPHON/JUSTIFICATION
A note, usually at the end of a book or portfolio
of prints, giving all or some of the following
information: name of work, author, printer, place of
printing, date, size of edition.
ETCHING
An intaglio process in which a plate is treated with
an acid-resistant ground. The artist then draws
through the ground with various tools to expose the
metal. The plate is then immersed in an acid bath
where the acid bites or chemically dissolves the
exposed lines. The metal plate is therefore carved
or etched by the acid rather than by a tool directly
in the metal.
FOUL-BITING
When the acid-resistant ground on a metal plate
does not keep the acid entirely out, irregularities can
appear. These bitten areas will, when the plate
is printed, catch ink and appear as spots or oddly
inked areas.
FRONTISPIECE
Illustration in a book opposite the title page.
DECKLE EDGE
The natural, untrimmed edge of handmade paper
usually slightly uneven and sometimes slightly
thinner than the rest of the sheet.
HELIOGRAVURE
A method of making a photo-etched or
photogravure plate using an aquatint texture directly
on the plate to create tone.
DRYPOINT
An intaglio process in which a plate is marked or
incised directly with a needle. The drypoint line can
look very much like an etched line but is usually
lighter and characterized by the existence of burr.
HORS-COMMERCE/H.C.
Meaning outside of the commercial edition,
these proofs, not originally intended for sale, are
excluded from the numbering of an edition, but are
otherwise exactly like the editioned prints in every
other respect.
EDITION
The total number of impressions pulled off a single
image or set of images from the same matrix. To
this number the artist usually authorizes the addition
of a small number of artists, printers, publishers
and other proofs.
EMBOSSING
A process used to create a raised surface or raised
element, but printed without ink.
142
ENGRAVING
An intaglio process in which a plate is marked or
incised directly with a burin or other metal-marking
tool. No acid is used in this process since the design
is dug out by hand. An engraved line can range
from very deep and wide, to lighter and thinner and
is often characterized by a pointed end signaling the
exit of the v shaped burin from the metal.
INTAGLIO
All matrices which have either been cut into or
bitten into. The resulting dug out lines are
printed. Intaglio processes include etching, aquatint,
engraving, mezzotint and metal engravings, among
others.
LINOCUT/LINOLEUM CUT
A relief process, like a woodcut, where the artist
carves the design out of the linoleum or linoleum
mounted onto wood. What remains is printed,
rather than what is cut away.
Glossary of Cataloguing Terms

LITHOGRAPHY
A planographic printing process where a drawing
is made directly on a stone or other smooth matrix
with greasy materials such as lithographic crayon.
The surface is then dampened with water, which
is repelled by the greasy areas. The surface is then
rolled with greasy printing ink which adheres only
to the greasy areas and is itself repelled by the areas
which have water. The drawn image is then printed.
MASTER PRINTER
A highly skilled printer who works very closely
with the artist to produce the edition.
MATRIX
The base from which the print is made. This can
be anything a standard metal plate or lithographic
stone, a potato or vinyl record,
a stencil anything from which you print.
MEZZOTINT
An intaglio method in which the entire surface of
the plate is roughened by a spiked tool (rocker)
so that, if inked, the entire plate would print in
solid black. The artist then works from black to
white by scraping (or burnishing) out areas to
produce lighter tones.
MONOTYPE
A unique image printed from an unworked,
smooth, metal or glass surface painted in ink by
the artist.
MONOPRINT
A print which has as its base an etching, lithograph
or woodcut and which is then uniquely altered by
monotype coloring, unique inking, or choices in
paper color.
OFFSET PRINTING
Method of printing in which the inked image from
a lithographic stone, a metal plate or other matrix is
rst transferred to an intermediary such as a rubber
cylinder or blanket and then to paper, thus creating
an image in the same direction as the original.
PHOTO-ETCHING/PHOTOGRAVURE
An intaglio process in which an image is produced
on an etching plate by photographic means. (See
also Heliogravure)
PHOTO-LITHOGRAPH
A process in which an image is produced on a
lithographic plate by photographic means.
PLANOGRAPHIC PRINT
Printing from a flat surface. Planographic processes
include lithography and some forms of commercial
printing.
PLATE MARK
The imprint in the paper resulting from the edge
of a metal plate being pushed into it during the
pressure of the printing process.
PLATE TONE
A veil of ink intentionally left on the surface of the
plate during printing which creates delicate areas of
tone or shading.
POCHOIR
A printing process using stencils, originally used to
simulate hand-coloring.
PRINTERS PROOFS
Impressions printed especially for the printer(s)
and excluded from the numbering of an edition,
but exactly like the editioned prints in every other
respect. Usually appears as P.P.
PROGRESSIVE PROOFS
Series of proofs taken to show each individual color
plate and each combination of them culminating in
the nal, complete version.
PUBLISHER
The person or entity who subsidizes and often
initiates the making of a print edition or portfolio
and who also disseminates the prints.
RELIEF PRINTING
When the image is printed from the raised or
uncarved portion of the matrix. Relief processes
include woodcuts and linocuts, among others.
STATE
An impression taken from the plate at a particular
moment or stage of development and distinguished
from impressions taken at other times during that
process. The nal State is the state from which
editions are generally pulled, although some artists
pull several impressions in each state.
STEEL FACING
When a metal intaglio plate is covered with a thin
deposit of steel using electrolysis creating a much
harder surface which can accommodate larger
numbers of printings before wear becomes evident.
TRIAL PROOF
An early proof, often incorporating artists revisions
and changes and generally not identical to the
numbered, editioned prints. Also referred to as
Working Proof.
TUSCHE
Grease in stick or liquid form used principally for
drawing in lithography.
WATERMARK
Design in the paper seen when held against the
light. A manufacturers mark, it is used to trace the
origin and date of the paper.
WAXTYPE
A process like screenprinting where pigmented
beeswax is used rather than traditional printers ink.
WOODCUT
A relief technique where the image or design is left
raised above what is carved out of the wood. What
is not carved is printed.
SCREENPRINT/SILKSCREEN
A printing process using stencils to block out areas
which are then printed through silk, other fabric or
metal mesh.
SOFT-GROUND ETCHING
An etching technique where a soft ground is laid
on the metal plate. The artist draws onto a piece
of paper which is laid down on top of the ground.
The ground adheres to the paper where the pencil
or other tool has pressed down into it through the
paper and pulls away when the paper is lifted. The
resulting marked plate is placed in an acid-bath
where the acid bites into the more exposed areas
where the ground has been lifted.
The line created is often soft and grainy.
143
INDEX
A
Arp, H., 123
B
Bacon, F., 77, 78
Banksy, 64, 65, 121
Baselitz, G., 76
Beuys, J., 67, 84, 91, 93
Blake, P., 37
Bonalumi, A., 63
Braque, G., 27, 168
Buffet, B., 189, 268
Burri, A., 23, 34, 41, 42
C
Castellani, E., 62
Caulfield, P., 10, 19, 52, 165, 166
Chagall, M., 186, 187, 191, 194, 195, 196,
220, 221, 224, 239, 240, 265
Chagall, M. (After), 192
Chahine, E., 215
Chen, T., 9
Chillida, E., 5, 11
Christo, 57, 58, 59, 60, 61
Corinth, L., 212
Cranach, L., 289
Cruz-Diez, C., 17, 20
Cucchi, E., 54
D
Delvaux, P., 198
Dibbets, J., 87
Dine, J., 199, 249
Dumas, M., 69, 79, 80
Drer, A., 285, 286, 294, 305
Drer, A. (After), 284
E
Ensor, J., 175, 176, 177, 210
Estve, M., 114
F
Fairey, S., 70
Feininger, L., 183
Fontana, L., 14, 16
Francis, S., 112, 116, 124
Franco, B. (attributed to) Titian (after), 304
Freud, L., 74
Frink, E., 255
G
Gauguin, P., 235
Giacometti, A., 75
Gilbert & George, 102
Goya, F., 282, 283, 296
144
H
Hamilton, R., 15
Haring, K., 96
Heckel, E., 217
Hepworth, B., 174
Herman, A., 104
Hirst, D., 1, 35, 36, 43, 105
Hockney, D., 81, 103, 207, 208
Hodgkin, H., 125, 127, 153
Hollar, W., 292
I
Indiana, R., 39, 40, 100, 101
J
Jones, A., 99
K
Kandinsky, W., 146
Kelly, E., 26
Khnopff, F., 275
Kollwitz, K., 218, 219
Koons, J., 7, 8
Kusama, Y., 94
L
Laboureur, J., 213, 214
Laing, G., 71
Laurencin, M., 197
Le Corbusier, 122, 169
Lger, F. (After), 113
LeWitt, S., 2, 3, 21
Lichtenstein, R., 73
Liebermann, M., 236
Liu, Y., 32
M
MacNab, I., 181
Man Ray, 254
Manz, G., 252, 253
Marini, M., 51
Matisse, H., 200, 243, 261, 262
Matta, R., 144
McBey, J., 182
Meireles, C., 86
Mir, J., 31, 117, 119, 126, 129, 130, 131, 138,
139, 140, 154, 155, 156, 158, 159, 161, 162
Moore, H., 206, 228, 244, 245, 246, 247,
248, 251, 256, 257
Morandi, G., 180
Murakami, T., 22, 28, 29, 30
Murakami, T., Grotjahn. M., 25
N
Nauman, B., 68, 209
Negri, M., 107, 108
O
Oldenburg, C., 118
P
Parmigianino (After), 297
Pasmore, V., 33, 148, 150, 151, 152
Pechstein, H., 216, 237
Picasso, P., 203, 204, 225, 226, 227, 229,
230, 231, 232, 233, 234, 241, 242, 260,
263, 277, 278, 279, 280, 281
Picasso, P. (After), 167, 201, 202, 223,
238, 266, 267
Piper, J., 111, 170, 171, 172
Pistoletto, M., 89
Poliakoff, S., 12
Polke, S., 38, 88, 90, 92
Pomodoro, A., 44
R
Rego, P., 66
Reinhardt, A., 13
Rembrandt, 290, 303
Rembrandt
Durer, A., 302
Rembrandt, H., 287, 291, 293, 298, 299,
300, 301
Richter, G., 53
Riley, B., 18
Rosa, S., 288
Rosenquist, J., 48, 49, 50
Rouault, G., 193, 264
S
Saura, A., 115
Schmidt-Rottluff, K., 184, 185
Segal, G., 45, 46, 47
Serra, R., 120
Severini, G., 110
Soulages, P., 6, 55, 56
Stella, F., 4
Sutherland, G., 258, 259
T
Tpies, A., 128, 141, 142, 143, 145, 147, 149, 205
Titian, 306
Tittle, W., 211
Toulouse-Lautrec, H., 269, 270, 271, 272,
273, 274, 276
Tuttle, R., 24
U
Utrillo, M., 190
V
Valds, M., 95
Van Ostade, A., 295
Various, 85, 109
Various Artists, 97, 250
W
Wadsworth, E., 188
Warhol, A., 72, 106
Wesselmann, T., 98
Wou-Ki, Z., 132, 133, 134, 135, 136, 137, 157,
160, 163, 164, 173, 178, 179
CONDITIONS OF SALE BUYING AT CHRISTIES

CONDITIONS OF SALE
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out
the terms on which we offer the lots listed in this
catalogue for sale. By registering to bid and/or
by bidding at auction you agree to these terms so
you should read them carefully before doing so.
You will find a glossary at the end explaining the
meaning of the words and expressions coloured
in bold.
Unless we own a lot, marked with a symbol ,
Christies acts as agent for the seller.
A BEFORE THE SALE
1 DESCRIPTION OF LOTS
(a) Certain words used in the catalogue description
have special meanings. You can find details of
these on the page headed Important Notices and
Explanation of Cataloguing Practice which forms
part of these terms. You can find a key to the
Symbols found next to certain catalogue entries
under the section of the catalogue called Symbols
Used in this Catalogue.
(b) Our description of any lot in the catalogue,
any condition report and any other statement
made by us (whether orally or in writing) about
any lot, including about its nature or condition,
artist, period, materials, approximate dimensions
or provenance are our opinion and not to be
relied upon as a statement of fact. We do not carry
out in-depth research of the sort carried out by
professional historians and scholars. All dimensions
and weights are approximate only.
2 OUR RESPONSIBILITY FOR OUR
DESCRIPTION OF LOTS
We do not provide any guarantee in relation to
the nature of a lot apart from our authenticity
warranty contained in paragraph E2 and to the
extent provided in paragraph I below.
3 CONDITION
(a) The condition of lots sold in our auctions
can vary widely due to factors such as age, previous
damage, restoration, repair and wear and tear. Their
nature means that they will rarely be in perfect
condition. Lots are sold as is, in the condition
they are in at the time of the sale, without any
representation or warranty or assumption of liability
of any kind as to condition by Christies or by the
seller.
(b) Any reference to condition in a catalogue
entry or in a condition report will not amount to a
full description of condition, and images may not
show a lot clearly. Colours and shades may look
different in print or on screen to how they look
on physical inspection. Condition reports may be
available to help you evaluate the condition of a
lot. Condition reports are provided free of charge
as a convenience to our buyers and are for guidance
only. They offer our opinion but they may not refer
to all faults, inherent defects, restoration, alteration
or adaptation because our staff are not professional
restorers or conservators. For that reason they are
not an alternative to examining a lot in person
or taking your own professional advice. It is your
responsibility to ensure that you have requested,
received and considered any condition report.
4 VIEWING LOTS PRE-AUCTION
(a) If you are planning to bid on a lot, you should
inspect it personally or through a knowledgeable
representative before you make a bid to make sure
that you accept the description and its condition.
We recommend you get your own advice from a
restorer or other professional adviser.
(b) Pre-auction viewings are open to the public
free of charge. Our specialists are available to
answer questions at pre-auction viewings or by
appointment.
5 ESTIMATES
Estimates are based on the condition, rarity,
quality and provenance of the lots and on
prices recently paid at auction for similar property.
Estimates can change. Neither you, nor anyone
else, may rely on any estimates as a prediction
or guarantee of the actual selling price of a lot or
its value for any other purpose. Estimates do not
include the buyers premium or any applicable
taxes.
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,
report for any item which does not have a report if the but not limited to completing any anti-money
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.
9 LOCAL BIDDING LAWS

You agree that when bidding in any of our sales
that you will strictly comply with all local laws and
regulations in force at the time of the sale for the
relevant sale site.
D
THE BUYERS PREMIUM, TAXES

AND ARTISTS RESALE ROYALTY
1 THE BUYERS PREMIUM
In addition to the hammer price, the successful
bidder agrees to pay us a buyers premium
on the hammer price of each lot sold. On all
lots we charge 25% of the hammer price up
to and including %50,000, 20% on that part of
the hammer price over %50,000 and up to and
including %1,000,000, and 12% of that part of the
hammer price above %1,000,000.
2 TAXES
The successful bidder is responsible for any applicable
tax including any VAT, sales or compensating use
tax or equivalent tax wherever they arise on the
hammer price and the buyers premium. It is
the buyers responsibility to ascertain and pay all
taxes due. You can find details of how VAT and
VAT reclaims are dealt with in the section of the
catalogue headed VAT Symbols and Explanation.
VAT charges and refunds depend on the particular
circumstances of the buyer so this section, which
is not exhaustive, should be used only as a general
guide. In all circumstances EU and UK law takes
precedence. If you have any questions about VAT,
please contact Christies VAT Department on +44
(0)20 7389 9060 (email: VAT_london@christies.
com, fax: +44 (0)20 3219 6076).
3 ARTISTS RESALE ROYALTY
In certain countries, local laws entitle the artist or
the artists estate to a royalty known as artists resale
right when any lot created by the artist is sold. We
identify these lots with the symbol next to the
lot number. If these laws apply to a lot, you must
pay us an extra amount equal to the royalty. We
will pay the royalty to the appropriate authority on
the sellers behalf.
The artists resale royalty applies if the hammer
price of the lot is 1,000 euro or more. The total
royalty for any lot cannot be more than 12,500
euro. We work out the amount owed as follows:
Royalty for the portion of the hammer price
(in euros)
4% up to 50,000
3% between 50,000.01 and 200,000
1% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000
over 500,000, the lower of 0.25% and 12,500 euro.
We will work out the artists resale royalty using the
euro to sterling rate of exchange of the European
Central Bank on the day of the auction.
E
WARRANTIES
1 SELLERS WARRANTIES
For each lot, the seller gives a warranty that the
seller:
(a) is the owner of the lot or a joint owner of
the lot acting with the permission of the other
co-owners or, if the seller is not the owner or a joint
owner of the lot, has the permission of the owner to
sell the lot, or the right to do so in law; and
(b) has the right to transfer ownership of the lot
to the buyer without any restrictions or claims by
anyone else.
If either of the above warranties are incorrect, the
seller shall not have to pay more than the purchase
price (as defined in paragraph F1(a) below) paid
by you to us. The seller will not be responsible to
you for any reason for loss of profits or business,
expected savings, loss of opportunity or interest,
costs, damages, other damages or expenses. The
seller gives no warranty in relation to any lot
other than as set out above and, as far as the seller
is allowed by law, all warranties from the seller
to you, and all other obligations upon the seller
which may be added to this agreement by law, are
excluded.
2 OUR AUTHENTICITY WARRANTY
We warrant, subject to the terms below, that the lots in
our sales are authentic (our authenticity warranty).
If, within five years of the date of the auction, you
satisfy us that your lot is not authentic, subject to the
terms below, we will refund the purchase price paid
by you. The meaning of authentic can be found in
the glossary at the end of these Conditions of Sale. The
terms of the authenticity warranty are as follows:

(a) It will be honoured for a period of five years
from the date of the auction. After such time, we
will not be obligated to honour the authenticity
warranty.
(b) It is given only for information shown in
UPPERCASE type in the first line of the
catalogue description (the Heading). It does
not apply to any information other than in the
Heading even if shown in UPPERCASE type.
(c) The authenticity warranty does not apply
to any Heading or part of a Heading which
is qualified. Qualified means limited by a
clarification in a lots catalogue description or
by the use in a Heading of one of the terms listed
in the section titled Qualified Headings on the
page of the catalogue headed Important Notices
and Explanation of Cataloguing Practice. For
example, use of the term ATTRIBUTED TO
in a Heading means that the lot is in Christies
opinion probably a work by the named artist but no
warranty is provided that the lot is the work of the
named artist. Please read the full list of Qualified
Headings and a lots full catalogue description
before bidding.
(d) The authenticity warranty applies to the
Heading as amended by any Saleroom Notice.
(e) The authenticity warranty does not apply
where scholarship has developed leading to a change
in generally accepted opinion. Further, it does not
apply if the Heading either matched the generally
accepted opinion of experts at the date of the sale or
drew attention to any conflict of opinion.
(f) The authenticity warranty does not apply if
the lot can only be shown not to be authentic by
a scientific process which, on the date we published
the catalogue, was not available or generally
accepted for use, or which was unreasonably
expensive or impractical, or which was likely to
have damaged the lot.
(g) The benefit of the authenticity warranty
is only available to the original buyer shown on
the invoice for the lot issued at the time of the
sale and only if the original buyer has owned the
lot continuously between the date of the auction
and the date of claim. It may not be transferred to
anyone else.
(h) In order to claim under the authenticity
warranty you must:
(i) give us written details, including full supporting
evidence, of any claim within five years of the date
of the auction;
(ii) at Christies option, we may require you to
provide the written opinions of two recognised
experts in the field of the lot mutually agreed by
you and us in advance confirming that the lot is
not authentic. If we have any doubts, we reserve
the right to obtain additional opinions at our
expense; and
(iii) return the lot at your expense to the saleroom
from which you bought it in the condition it was
in at the time of sale.
(i) Your only right under this authenticity
warranty is to cancel the sale and receive a refund
of the purchase price paid by you to us. We
will not, in any circumstances, be required to pay
you more than the purchase price nor will we
be liable for any loss of profits or business, loss of
opportunity or value, expected savings or interest,
costs, damages, other damages or expenses.
(j) Books. Where the lot is a book, we give an
additional warranty for 14 days from the date of
the sale that if on collation any lot is defective in
text or illustration, we will refund your purchase
price, subject to the following terms:
(a) This additional warranty does not apply to:
(i) the absence of blanks, half titles, tissue guards
or advertisements, damage in respect of bindings,
stains, spotting, marginal tears or other defects not
affecting completeness of the text or illustration;
(ii) drawings, autographs, letters or manuscripts,
signed photographs, music, atlases, maps or
periodicals;
(iii) books not identified by title;
(iv) lots sold without a printed estimate;
(v) books which are described in the catalogue as
sold not subject to return; or
(vi) defects stated in any condition report or
announced at the time of sale.
(b) To make a claim under this paragraph you must
give written details of the defect and return the lot
to the sale room at which you bought it in the same
condition as at the time of sale, within 14 days of
the date of the sale.
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;
(ii) we can cancel the sale of the lot. If we do this,

we may sell the lot again, publicly or privately on
such terms we shall think necessary or appropriate,
in which case you must pay us any shortfall between
the purchase price and the proceeds from the
resale. You must also pay all costs, expenses, losses,
damages and legal fees we have to pay or may suffer
and any shortfall in the sellers commission on the
resale;
(iii) we can pay the seller an amount up to the net
proceeds payable in respect of the amount bid by
your default in which case you acknowledge and
understand that Christies will have all of the rights
of the seller to pursue you for such amounts;
(iv) we can hold you legally responsible for the
purchase price and may begin legal proceedings
to recover it together with other losses, interest,
legal fees and costs as far as we are allowed by law;
(v) we can take what you owe us from any amounts
which we or any company in the Christies Group
may owe you (including any deposit or other partpayment which you have paid to us);
(vi) we can, at our option, reveal your identity and
contact details to the seller;
(vii) we can reject at any future auction any bids
made by or on behalf of the buyer or to obtain a
deposit from the buyer before accepting any bids;
(viii) to exercise all the rights and remedies of
a person holding security over any property in
our possession owned by you, whether by way
of pledge, security interest or in any other way
as permitted by the law of the place where such
property is located. You will be deemed to have
granted such security to us and we may retain such
property as collateral security for your obligations
to us; and
(ix) we can take any other action we see necessary
or appropriate.
(b) If you owe money to us or to another
Christies Group company, we can use any
amount you do pay, including any deposit or other
part-payment you have made to us, or which we
owe you, to pay off any amount you owe to us
or another Christies Group company for any
transaction.
5 KEEPING YOUR PROPERTY
If you owe money to us or to another Christies
Group company, as well as the rights set out in F4
above, we can use or deal with any of your property
we hold or which is held by another Christies
Group company in any way we are allowed to
by law. We will only release your property to you
after you pay us or the relevant Christies Group
company in full for what you owe. However, if we
choose, we can also sell your property in any way
we think appropriate. We will use the proceeds of
the sale against any amounts you owe us and we will
pay any amount left from that sale to you. If there is
a shortfall, you must pay us any difference between
the amount we have received from the sale and the
amount you owe us.
G COLLECTION AND STORAGE
1 COLLECTION
Once you have made full and clear payment, you
must collect the lot within seven days from the date
of the auction.
(a) You may not collect the lot until you have
made full and clear payment of all amounts due to
us.
(b) If you have paid for the lot in full but you do
not collect the lot within 90 calendar days after
the sale, we may sell it, unless otherwise agreed in
writing. If we do this, we will pay you the proceeds
of the sale after taking our storage charges and any
other amounts you owe us and any Christies
Group company.
(c) Information on collecting lots is set out on
an information sheet which you can get from the
bidder registration staff or Christies Cashiers +44
(0)20 7839 9060.
2 STORAGE
(a) If you have not collected the lot within seven
days from the date of the auction, we or our
appointed agents can:
(i) charge you storage fees while the lot is still at
our saleroom; or
(ii) remove the lot at our option to a warehouse
and charge you all transport and storage costs
(b) Details of the removal of the lot to a warehouse,
fees and costs are set out at the back of the catalogue
on the page headed Storage and Collection. You
may be liable to our agent directly for these costs.
H TRANSPORT AND SHIPPING

1
TRANSPORT AND SHIPPING
We will enclose a transport and shipping form
with each invoice sent to you. You must make all
transport and shipping arrangements. However,
we can arrange to pack, transport and ship your
property if you ask us to and pay the costs of doing
so. We recommend that you ask us for an estimate,
especially for any large items or items of high value
that need professional packing. We may also suggest
other handlers, packers, transporters or experts
if you ask us to do so. For more information,
please contact Christies Art Transport on +44
(0)20 7389 9060. See the information set out at
www.christies.com/shipping or contact us at
arttransport_london@christies.com. We will take
reasonable care when we are handling, packing,
transporting and shipping a lot. However, if we
recommend another company for any of these
purposes, we are not responsible for their acts,
failure to act or neglect.
2 EXPORT AND IMPORT
Any lot sold at auction may be affected by laws
on exports from the country in which it is sold
and the import restrictions of other countries.
Many countries require a declaration of export
for property leaving the country and/or an import
declaration on entry of property into the country.
Local laws may prevent you from importing a lot
or may prevent you selling a lot in the country you
import it into.
(a) You alone are responsible for getting advice
about and meeting the requirements of any laws or
regulations which apply to exporting or importing
any lot prior to bidding. If you are refused a licence
or there is a delay in getting one, you must still
pay us in full for the lot. We may be able to help
you apply for the appropriate licences if you ask
us to and pay our fee for doing so. However, we
cannot guarantee that you will get one. For more
information, please contact Christies Art Transport
Department on +44 (0)20 7389 9060. See the
information set out at www.christies.com/
shipping or contact us at arttransport_london@
christies.com.
(b) Lots made of protected species
Lots made of or including (regardless of the
percentage) endangered and other protected species
of wildlife are marked with the symbol ~ in the
catalogue. This material includes, among other
things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and
Brazilian rosewood. You should check the relevant
customs laws and regulations before bidding on any
lot containing wildlife material if you plan to import
the lot into another country. Several countries
refuse to allow you to import property containing
these materials, and some other countries require
a licence from the relevant regulatory agencies in
the countries of exportation as well as importation.
In some cases, the lot can only be shipped with
an independent scientific confirmation of species
and/or age and you will need to obtain these at
your own cost. If a lot contains elephant ivory, or
any other wildlife material that could be confused
with elephant ivory (for example, mammoth ivory,
walrus ivory, helmeted hornbill ivory), please see
further important information in paragraph (c) if
you are proposing to import the lot into the USA.
We will not be obliged to cancel your purchase and
refund the purchase price if your lot may not be
exported, imported or it is seized for any reason by
a government authority. It is your responsibility
to determine and satisfy the requirements of any
applicable laws or regulations relating to the export
or import of property containing such protected or
regulated material.
(c) US import ban on African elephant ivory
The USA prohibits the import of ivory from the
African elephant. Any lot containing elephant
ivory or other wildlife material that could be
easily confused with elephant ivory (for example,
mammoth ivory, walrus ivory, helmeted hornbill
ivory) can only be imported into the US with results
of a rigorous scientific test acceptable to the US
Fish & Wildlife Service, which confirms that the
material is not African elephant ivory. Where we
have conducted such rigorous scientific testing on a
lot prior to sale, we will make this clear in the lot
description. In all other cases, we cannot confirm
whether a lot contains African elephant ivory,
and you will buy that lot at your own risk and be
responsible for any scientific test or other reports
required for import into the USA at your own cost.
If such scientific test is inconclusive or confirms the
material is from the African elephant, we will not

be obliged to cancel your purchase and refund the
purchase price.
(d) Lots containing material that originates
from Burma (Myanmar)
Lots which contain rubies or jadeite originating in
Burma (Myanmar) may not generally be imported
into the United States. As a convenience to US
buyers, lots which contain rubies or jadeite of
Burmese or indeterminate origin have been marked
with the symbol in the catalogue. In relation to
items that contain any other types of gemstones
originating in Burma (e.g. sapphires) such items may
be imported into the United States provided that the
gemstones have been mounted or incorporated into
jewellery outside of Burma and provided that the
setting is not of a temporary nature (e.g. a string).
(e) Lots of Iranian origin
Some countries prohibit or restrict the purchase and/
or import of Iranian-origin works of conventional
craftsmanship (works that are not by a recognised
artist and/or that have a function, for example:
carpets, bowls, ewers, tiles, ornamental boxes). For
example, the USA prohibits the import of this
type of property and its purchase by US persons
(wherever located). Other countries, such as Canada,
only permit the import of this property in certain
circumstances. As a convenience to buyers, Christies
indicates under the title of a lot if the lot originates
from Iran (Persia). It is your responsibility to ensure
you do not bid on or import a lot in contravention
of the sanctions or trade embargoes that apply to you.
(f) Gold
Gold of less than 18ct does not qualify in all
countries as gold and may be refused import into
those countries as gold.
(g) Jewellery over 50 years old
Under current laws, jewellery over 50 years old
which is worth %34,300 or more will require an
export licence which we can apply for on your
behalf. It may take up to eight weeks to obtain the
export jewellery licence.
(h) Watches
(i) Many of the watches offered for sale in
this catalogue are pictured with straps made of
endangered or protected animal materials such as
alligator or crocodile. These lots are marked with
the symbol ~ in the catalogue. These endangered
species straps are shown for display purposes only
and are not for sale. Christies will remove and
retain the strap prior to shipment from the sale
site. At some sale sites, Christies may, at its sole
option, make the displayed endangered species strap
available to the buyer of the lot free of charge if
collected in person from the sale site within one
year of the date of the sale. Please check with the
department for details on a particular lot.
(ii) The importation of luxury watches such as
Rolex into the United States is highly restricted.
Such watches may not be shipped to the United
States and can only be imported personally.
Generally, a buyer may import only one watch into
the United States at a time. In this catalogue, these
watches have been marked with a . This will not
affect your responsibility to pay for the lot. For
further information please contact our specialists in
charge of the sale.
For all symbols and other markings referred to in
paragraph H2, please note that lots are marked as a
convenience to you, but we do not accept liability
for errors or for failing to mark lots.
I
OUR LIABILITY TO YOU
(a) We give no warranty in relation to any
statement made, or information given, by us or our
representatives or employees, about any lot other
than as set out in the authenticity warranty and,
as far as we are allowed by law, all warranties and
other terms which may be added to this agreement
by law are excluded. The sellers warranties
contained in paragraph E1 are their own and we
do not have any liability to you in relation to those
warranties.
(b) (i) We are not responsible to you for any reason
(whether for breaking this agreement or any other
matter relating to your purchase of, or bid for, any
lot) other than in the event of fraud or fraudulent
misrepresentation by us or other than as expressly set
out in these Conditions of Sale; or
(ii) give any representation, warranty or guarantee
or assume any liability of any kind in respect of
any lot with regard to merchantability, fitness
for a particular purpose, description, size, quality,
condition, attribution, authenticity, rarity,
importance, medium, provenance, exhibition
history, literature, or historical relevance. Except as
required by local law, any warranty of any kind is
excluded by this paragraph.
(c) In particular, please be aware that our written

and telephone bidding services, Christies LIVEG,
condition reports, currency converter and
saleroom video screens are free services and we
are not responsible to you for any error (human or
otherwise), omission or breakdown in these services.
(d) We have no responsibility to any person other
than a buyer in connection with the purchase of any
lot.
(e) If, in spite of the terms in paragraphs (a) to (d)
or E2(i) above, we are found to be liable to you for
any reason, we shall not have to pay more than the
purchase price paid by you to us. We will not be
responsible to you for any reason for loss of profits
or business, loss of opportunity or value, expected
savings or interest, costs, damages, or expenses.
to those proceedings), we agree we will each try to

settle the dispute by mediation following the Centre
for Effective Dispute Resolution (CEDR) Model
Mediation Procedure. We will use a mediator affiliated
with CEDR who we and you agree to. If the dispute is
not settled by mediation, you agree for our benefit that
the dispute will be referred to and dealt with exclusively
in the courts of England and Wales. However, we will
have the right to bring proceedings against you in any
other court.
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
VAT SYMBOLS AND EXPLANATION

You can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of
the catalogue headed Conditions of Sale
VAT payable
Symbol
No
Symbol
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 , 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.
VAT refunds: what can I reclaim?

If you are:
A non VAT registered
UK or EU buyer
UK VAT registered
buyer
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 , 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 , 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 , 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
1. We CANNOT offer refunds of VAT

amounts or Import VAT to buyers who do
not meet all applicable conditions in full. If
you are unsure whether you will be entitled
to a refund, please contact Client Services at
the address below before you bid.
2. No VAT amounts or Import VAT
will be refunded where the total refund is
under %100.
3. In order to receive a refund of VAT
amounts/Import VAT (as applicable) nonEU buyers must:
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 , symbol). Subject to HMRCs rules,
you can then reclaim the VAT charged through your own VAT return.
We will refund the VAT amount in the buyers premium.
, 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.
(a) have registered to bid with an address

outside of the EU; and
(b) provide immediate proof of correct
export out of the EU within the required
time frames of: 30 days via a controlled
export for * and lots. All other lots
must be exported within three months of
collection.
4. Details of the documents which you
must provide to us to show satisfactory proof
of export/shipping are available from our
VAT team at the address below.
We charge a processing fee of %35.00

per invoice to check shipping/export
documents. We will waive this processing
fee if you appoint Christies Shipping
Department to arrange your export/
shipping.
5. If you appoint Christies Art Transport
or one of our authorised shippers to arrange
your export/shipping we will issue you
with an export invoice with the applicable
VAT or duties cancelled as outlined above.
If you later cancel or change the shipment
in a manner that infringes the rules outlined

above we will issue a revised invoice
charging you all applicable taxes/charges.
6. If you ask us to re-invoice you under
normal UK VAT rules (as if the lot had
been sold with a , symbol) instead of under
the Margin Scheme the lot may become
ineligible to be resold using the Margin
Schemes. You should take professional
advice if you are unsure how this may
affect you.
7. All reinvoicing requests must be

received within four years from the date
of sale.
If you have any questions about VAT
refunds please contact Christies Client
Services on info@christies.com
Tel: +44 (0)20 7389 2886.
Fax: +44 (0)20 7839 1611.
SYMBOLS USED IN THIS CATALOGUE

The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed
Conditions of Sale
Christies has a direct financial interest in the
lot. See Important Notices and Explanation of
Cataloguing Practice.
Owned by Christies or another Christies

Group company in whole or part. See Important
Notices and Explanation of Cataloguing Practice.
Christies has a direct financial interest in the lot

and has funded all or part of our interest with the
help of someone else. See Important Notices and
Explanation of Cataloguing Practice.
Artists Resale Right. See Section D3 of the

Conditions of Sale.
Lot offered without reserve which will be sold

to the highest bidder regardless of the pre-sale
estimate in the catalogue.
~
Lot incorporates material from endangered
species which could result in export restrictions.
See Section H2(b) of the Conditions of Sale.
Lot which may not be able to be shipped to the

US. See Section H2(h)of the Conditions of Sale.
Lot containing jadeite and rubies from Burma or

of indeterminate origin. See Section H2(d) of the
Conditions of Sale.
?, *, , , #,
See VAT Symbols and Explanation.
See Storage and Collection Pages on South

Kensington sales only.
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.
IMPORTANT NOTICES AND EXPLANATION

OF CATALOGUING PRACTICE
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which it
owns in whole or in part. Such property is identified in
the catalogue with the symbol next to its lot number.
On occasion, Christies has a direct financial interest in
lots consigned for sale, which may include guaranteeing a
minimum price or making an advance to the consignor that
is secured solely by consigned property. Where Christies
holds such financial interest on its own we identify such lots
with the symbol next to the lot number. Where Christies
has financed all or part of such interest through a third party
the lots are identified in the catalogue with the symbol
. When a third party agrees to finance all or part of
Christies interest in a lot, it takes on all or part of the
risk of the lot not being sold and will be remunerated in
exchange for accepting this risk based on a fixed fee if the
third party is the successful bidder or on the final hammer
price in the event that the third party is not the successful
bidder. The third party may also bid for the lot. Where it
does so, and is the successful bidder, the remuneration may
be netted against the final purchase price. If the lot is not
sold, the third party may incur a loss. Please see http://
www.christies.com/financial-interest/ for a more
detailed explanation of minimum price guarantees and
third party financing arrangements.
Where Christies has an ownership or financial interest
in every lot in the catalogue, Christies will not designate
each lot with a symbol, but will state its interest at the
front of the catalogue.
POST 1950 FURNITURE
All items of post-1950 furniture included in this sale are
items either not originally supplied for use in a private home
or now offered solely as works of art. These items may not
comply with the provisions of the Furniture and Furnishings
(Fire) (Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations). Accordingly, these items should not
be used as furniture in your home in their current condition.
If you do intend to use such items for this purpose, you must
first ensure that they are reupholstered, restuffed and/or
recovered (as appropriate) in order that they comply with the
provisions of the Regulations.
EXPLANATION OF
CATALOGUING PRACTICE
The following expressions with their accompanying
explanations are used by Christies as standard
cataloguing practice. Our use of these expressions does
not take account of the condition of the lot or of the
extent of any restoration.
Buyers are recommended to inspect the property
themselves. Written condition reports are usually
available on request.
Name(s) or Recognised Designation of an Artist
without any Qualification
In Christies opinion a work by the artist.
*Attributed to
In Christies qualified opinion probably a work by the
artist in whole or in part.
*Studio of /Workshop of
In Christies qualified opinion a work executed in the
studio or workshop of the artist, possibly under his
supervision.
*Circle of
In Christies qualified opinion a work of the period of
the artist and showing his influence.
*Follower of
artists style but not necessarily by a pupil.
*Manner of
artists style but of a later date.
*After
In Christies qualified opinion a copy (of any date) of a
work of the artist.
Signed /Dated /
Inscribed
In Christies qualified opinion the work has been signed/
dated/inscribed by the artist.
With signature /With date /
With inscription
In Christies qualified opinion the signature/
date/inscription appears to be by a hand other than that

of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate date
when prefixed with circa) on which the matrix was
worked and not necessarily the date when the impression
was printed or published.
Prints
The date given for Prints is the date (or approximate
date when prefixed with ca) on which the matrix was
worked and not necessarily the date when the impression
was printed or published. Measurements are taken where
possible, from the platemark (P), otherwise they record
the size of the sheet (S) or the borderline of the subject
(L).

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

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

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

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

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

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
28/10/14
WORLDWIDE SALEROOMS
AND EUROPEAN OFFICES
AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
+43 (0)1 533 881214

Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

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

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

Carmen Schjaer
+972 (0)3 695 0695

Roni Gilat-Baharaff
MADRID
+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
PARIS
+33 (0)1 40 76 85 85
GERMANY
DSSELDORF
+49 (0)21 14 91 59 352

Arno Verkade
FRANKFURT
+49 (0)173 317 3975

Anja Schaller
(Consultant)
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
ITALY
MILAN
+39 02 303 2831

ROME
+39 06 686 3333

Marina Cicogna
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+31 (0)20 57 55 255

NORWAY
OSLO
+47 975 800 78

Katinka Traaseth
(Consultant)
PEOPLES REPUBLIC
OF CHINA
BEIJING
+86 (0)10 8572 7900

HONG KONG
+852 2760 1766

SHANGHAI
+86 86 (0)21 6355 1766

Jinqing Cai
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
SWEDEN
STOCKHOLM
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise DyhlRn
(Consultant)
SWITZERLAND
GENEVA
+41 (0)22 319 1766

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

Dr. Bertold Mueller
TURKEY
ISTANBUL
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
UNITED ARAB EMIRATES
DUBAI
+971 (0)4 425 5647
+44 (0)20 7839 9060
+44 (0)20 7930 6074

NORTH AND
NORTHEAST
+44 (0)20 7752 3004

Thomas Scott
NORTHWEST AND
WALES
+44 (0)20 7752 3004

Jane Blood
SOUTH
+44 (0)1730 814 300

Mark Wrey
SCOTLAND
+44 (0)131 225 4756

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

CHANNEL ISLANDS
+44 (0)1534 485 988

Melissa Bonn
(Consultant)
IRELAND
+353 (0)59 86 24996

Christine Ryall
(Consultant)
UNITED STATES
NEW YORK
+1 212 636 2000
PORTUGAL
LISBON
+351 919 317 233

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

For a complete salerooms & offices listing go to christies.com
EMA I L info@christies.com
16/02/15
151
CHRISTIES SPECIALIST DEPARTMENTS AND SERVICES
DEPARTMENTS
AMERICAN FURNITURE
NY: +1 212 636 2230

AMERICAN INDIAN ART
NY: +1 212 606 0536

AMERICAN PICTURES
NY: +1 212 636 2140

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CARPETS
KS: +44 (0)20 7389 2370

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

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

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

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

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

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

FURNITURE
KS: +44 (0)20 7389 2482

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

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

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

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

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

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

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

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

SK: +44 (0)20 7389 2502
London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com
Tel: +44 (0)20 7389 2548

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

Fax: +44 (0)20 7389 2204
HERITAGE AND
TAXATION
New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu
Tel: +44 (0)20 7389 2101

Fax: +44 (0)20 7389 2300
Email:rcornett@christies.
com
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES
Tel: +44 (0)20 7389 2343

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

Email: llindsay@christies.
com
New York
+1 212 974 4570
newyork@cfass.com
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.
com
CHRISTIES
INTERNATIONAL
REAL ESTATE
PRIVATE SALES
US: +1 212 636 2034

Fax: +1 212 636 2035
New York
Tel +1 212 468 7182
Fax +1 212 468 7141
VALUATIONS
Tel: +44 (0)20 7389 2464

Fax: +44 (0)20 7389 2038
Email: mwrey@christies.
com
info@christiesrealestate.com
London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
KS: +44 (0)20 7389 2468

SK: +44 (0)20 7752 3257
WATERCOLOURS AND
DRAWINGS
WINE
POST-WAR ART
CHRISTIES EDUCATION
VICTORIAN PICTURES
PHOTOGRAPHS
SK: +44 (0)20 7752 3275
CORPORATE
COLLECTIONS
Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
KS: +44 (0)20 7389 2257

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

KS: +44 (0)20 7389 2292
AUCTION SERVICES
SK: +44 (0)20 7752 3208
KS: +44 (0)20 7752 3366
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
06/11/14
152
Contemporary Editions
London, South Kensington 17 September 2015
Viewing
Contact
1216 September
85 Old Brompton Road
London SW7 3LD
Alexandra Gill
agill@christies.com
+44 (0)20 7752 3109

Mickey
Screenprint with glaze, 2009, on wove paper, signed in pencil, numbered
82/250, published by Other Criteria, London, with their blindstamp
15,000 20,000

Lithograph of Water Made of Thick and Thin Lines, a Green Wash, a Light Blue Wash, and a Dark Blue Wash
lithograph in colors, 1978-80, on TGL handmade paper
Image: 20 x 27 in. (508 x 699 mm.) Sheet: 25 x 34 in. (657 x 864 mm.)
$25,000-35,000
DAVID HOCKNEY / TYLER GRAPHICS LTD.
Prints & Multiples

New York 23-24 April 2015
Viewing
Contact
1822 April
20 Rockefeller Plaza
New York, NY 10020
Richard Lloyd
rlloyd@christies.com
+1 212 636 2290
christies.com
PRINTS AND MULTIPLES

FIRST IMPRESSION
WEDNESDAY 22 APRIL 2015
AT 10.30 AM AND 2.00 PM
85 Old Brompton Road, London SW7 3LD

CODE NAME: ATHENS
SALE NUMBER: 10554
(Dealers billing name and address must agree with tax

exemption certificate. Invoices cannot be changed after
they have been printed.)
BID ONLINE FOR THIS SALE AT CHRISTIES.COM
Written Bids Form

Christies South Kensington
Written bids must be received at least 24 hours before the auction begins.
Christies will confirm all bids received by fax by return fax. If you have not received
confirmation within one business day, please contact the Bid Department.
Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com
10554
Client Number (if applicable)
Sale Number
Billing Name (please print)
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
by UK50s
UK1,000 to UK2,000
by UK100s
UK2,000 to UK3,000
by UK200s
UK3,000 to UK5,000
by UK200, 500, 800

(eg UK4,200, 4,500, 4,800)
UK5,000 to UK10,000
by UK500s
UK10,000 to UK20,000
by UK1,000s
UK20,000 to UK30,000
by UK2,000s
UK30,000 to UK50,000
by UK2,000, 5,000, 8,000

(eg UK32,200, 35,000,
38,000)
UK50,000 to UK100,000
by UK5,000s
UK100,000 to UK120,000
by UK10,000s
Above UK200,000
at auctioneers discretion
Address
Post Code
Daytime Telephone
Evening Telephone
Fax (Important)
Email
Please tick if you prefer not to receive information about our upcoming sales by e-mail
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.
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.
PLEASE PRINT CLEARLY

Lot number
(in numerical order)
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Lot number
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Please quote number below:
Auction Results: +44 (0)20 7839 9060
06.02.15
155
PHOTOGRAPHS, POSTERS & PRINTS
expert knowledge beautifully presented
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
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09/03/15
aMatisseSoulagesKoonsCaulfieldPolliakoffFontanaHamil
oroRosenquistDrerLaingPiperRouaultDumasMariniSega
eyBeuysTpiesPolkeManzLichtensteinCastellaniSchmidt
tTuttleLegerPistolettoValdsHaringToulouse-LautrecRosaEs
everiniFrancisBurriPicassoMirChagallBaconChristoWarh
LiebermannChillidaMatisseSoulagesKoonsCaulfieldPollia
olkeIndianaPomodoroRosenquistDrerLaingPiperRouaul
mettiBaselitzHockneyBeuysTpiesPolkeManzLichtenste
GeorgeHodgkinBuffetTuttleLegerPistolettoValdsHaringT
ermanMooreWesselmannSeveriniFrancisBurriPicassoMir
HirstCruz-DiezLeWittStellaLiebermannChillidaMatisseS
oMirChagallBaconChristoWarholRileyRembrandtHepwo
isseSoulagesKoonsCaulfieldPolliakoffFontanaHamiltonK
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BeuysTpiesPolkeManzLichtensteinCastellaniSchmidt
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lmannSeveriniFrancisBurriPicassoMirChagallBaconCh
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asmoreBlakePolkeIndianaPomodoroRosenquistDrerL
egoDibbetsGiacomettiBaselitzHockneyBeuysTpiesPo
u-KiFreudJonesGilbert&GeorgeHodgkinBuffetTuttleLeg
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aselitzHockn
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85 Old Brompton Road London SW7 3LD
(0)20 7930 6074 telephone +44 (0)20 7389 2869 facsimile
DineWadsworthHermanMooreWesselmannSeveriniFran

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20/21 P R I N T S & M U LT I P L E S

SPECIALISTS FOR THIS AUCTION

First initial followed by last name @christies.com

INTERNATIONAL AUCTION CALENDAR 2015

PRINTS & MULTIPLES

STORAGE AND COLLECTION

Wednesday 22 April 2015

Please refer to the important notice

AUCTION CODE AND NUMBER

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Morning Session - Nicolas Martineau

Tel: +44 (0)20 7752 3225

Tel: +44 (0)20 7839 9060

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SOL LEWITT (1928-2007)

SOL LEWITT (1928-2007)

FRANK STELLA (B. 1936)

One plate, from: Open Cube in Colour on Colour

Conway, from: Eccentric Polygons

linocut in colours, 2003, on Somerset wove paper, signed in pencil, numbered

EDUARDO CHILLIDA (1924-2002)

PIERRE SOULAGES (B. 1919)

screenprint in colours, 1994, on wove paper, signed in pencil, numbered 14/100,

JEFF KOONS (B. 1955)

JEFF KOONS (B. 1955)

Balloon dog (Blue)

Balloon Dog (Red)

metallic porcelain multiple, 2002, numbered 265/2300 on the printed label

metallic porcelain multiple, 2002, numbered 1940/2300 on the printed label

CHEN TINGSHIH (1916-2002)

PATRICK CAULFIELD (1936-2005)

Vacation of the Stars # 4

screenprint in colours, 1978, on wove paper, signed in pencil, inscribed PP, a

From the Collection of Gilles A. Abrioux.

EDUARDO CHILLIDA (1924-2002)

SERGE POLIAKOFF (1900-1969)

Composition in Green and Yellow

etching, 1973, on watermarked BFK Rives paper, signed in pencil, numbered

lithograph in colours, 1966, on watermarked BFK Rives paper, signed in pencil,

Poliakof & Schneider 60

From the Collection of Gilles A. Abrioux.

Ruh & Rigo S-18

RICHARD HAMILTON (1922-2011)

Ruh & Rigo U-3

BRIDGET RILEY (B. 1931)

PATRICK CAULFIELD (1936-2005)

screenprint in colours, 1982, on watermarked BFK Rives paper, signed, titled

screenprint in colours, 1972, on wove paper, signed in pencil, numbered 25/72

From the archives of the publisher.

Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

TAKASHI MURAKAMI (B. 1962)

ELLSWORTH KELLY (B. 1923)

GEORGES BRAQUE (1882-1963)

Prints & Multiples: First Impression

Prints & Multiples: First Impression