Impressionist/Modern Works on Paper

THURSDAY 5 FEBRUARY 2015

IMPRESSIONIST/MODERN WORKS ON PAPER

4

INTERNATIONAL IMPRESSIONIST, 20TH CENTURY, MODERN BRITISH AND CONTEMPORARY ART AUCTIONSAUCTION CALENDAR 2015TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE. CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.

Subject to change

22/12/14

4 FEBRUARYIMPRESSIONIST/MODERN ART EVENING AUCTIONLONDON, KING STREET

4 FEBRUARYART OF THE SURREAL EVENING AUCTIONLONDON, KING STREET

5 FEBRUARYIMPRESSIONIST/MODERN WORKS ON PAPER AUCTIONLONDON, KING STREET

5 FEBRUARYIMPRESSIONIST/MODERN ART DAY AUCTIONLONDON, KING STREET

6 FEBRUARYIMPRESSIONIST/MODERN ART AND PICASSO CERAMICSLONDON, SOUTH KENSINGTON

11 FEBRUARYPOST-WAR AND CONTEMPORARY ART EVENING AUCTIONLONDON, KING STREET

12 FEBRUARYPOST-WAR AND CONTEMPORARY ART DAY AUCTIONLONDON, KING STREET

18 MARCHINTERNATIONAL MODERN ARTDUBAI

18 MARCHPRINTS & MULTIPLESLONDON, KING STREET

19 MARCHMODERN BRITISH & IRISH ARTLONDON, SOUTH KENSINGTON

24 MARCHIMPRESSIONIST/MODERN ARTPARIS

25 MARCHEXCEPTIONAL WORKS ON PAPER FROM THE TRITON COLLECTION FOUNDATIONPARIS

26 MARCHMODERN WORKS ON PAPERPARIS

26 MARCHFIRST OPEN LONDON, SOUTH KENSINGTON

14 & 15 APRILPOST-WAR AND CONTEMPORARY ARTAMSTERDAM

17 APRIL - 1 MAYPICASSO CERAMICS ONLINE ONLYNEW YORK

22 APRILPRINTS & MULTIPLESLONDON, SOUTH KENSINGTON

24 APRILSHANGHAI SALESSHANGHAI

28 & 29 APRILMILAN MODERN & CONTEMPORARYMILAN

4 MAYSWISS ARTZURICH

TBDIMPRESSIONIST/MODERN ART EVENING AUCTIONNEW YORK

TBDIMPRESSIONIST/MODERN WORKS ON PAPER AUCTIONNEW YORK

TBDIMPRESSIONIST/MODERN ART DAY AUCTIONNEW YORK

2 & 3 JUNEART D’APRÈS-GUERRE ET CONTEMPORAINPARIS

16 JUNEMODERN ARTAMSTERDAM

22 JUNEMODERN BRITISH & IRISH ART EVENING AUCTIONLONDON, KING STREET

23 JUNEMODERN BRITISH & IRISH ART DAY AUCTIONLONDON, KING STREET

23 JUNEIMPRESSIONIST/MODERN ART EVENING AUCTIONLONDON, KING STREET

24 JUNEIMPRESSIONIST/MODERN WORKS ON PAPER AUCTIONLONDON, KING STREET

24 JUNEIMPRESSIONIST/MODERN ART DAY AUCTIONLONDON, KING STREET

25 JUNEPICASSO CERAMICSLONDON, SOUTH KENSINGTON

26 JUNEIMPRESSIONIST/MODERN ARTLONDON, SOUTH KENSINGTON

30 JUNEPOST-WAR AND CONTEMPORARY ART EVENING AUCTIONLONDON, KING STREET

1 JULYPOST-WAR AND CONTEMPORARY ART DAY AUCTIONLONDON, KING STREET

15 JULYMODERN BRITISH & IRISH ARTLONDON, SOUTH KENSINGTON

15 OCTOBERPOST-WAR AND CONTEMPORARY ART EVENING AUCTIONLONDON, KING STREET

15 OCTOBERTHE ITALIAN SALELONDON, KING STREET

16 OCTOBERPOST-WAR AND CONTEMPORARY ART DAY AUCTIONLONDON, KING STREET

22 & 23 OCTOBERIMPRESSIONIST/MODERN ARTPARIS

23 OCTOBERSHANGHAI SALESSHANGHAI

3 NOVEMBERIMPRESSIONIST/MODERN ART EVENING AUCTIONNEW YORK

4 NOVEMBERIMPRESSIONIST/MODERN WORKS ON PAPER AUCTIONNEW YORK

4 NOVEMBERIMPRESSIONIST/MODERN ART DAY AUCTIONNEW YORK

25 NOVEMBERMODERN BRITISH & IRISH ART EVENING AUCTIONLONDON, KING STREET

26 NOVEMBERMODERN BRITISH & IRISH ART DAY AUCTIONLONDON, KING STREET

7 DECEMBERSWISS ARTZURICH

8 DECEMBERMODERN ARTAMSTERDAM

8 & 9 DECEMBERART D’APRÈS-GUERRE ET CONTEMPORAINPARIS

10 DECEMBEROLD MASTER, MODERN & CONTEMPORARY PRINTSLONDON, SOUTH KENSINGTON

11 DECEMBERMODERN BRITISH & IRISH ARTLONDON, SOUTH KENSINGTON

AUCTION

Thursday 5 February 2015

at 10.30 am (lots 201-300)

8 King Street, St. James’s

London SW1Y 6QT

VIEWING

Friday 30 January 10.ooam - 4.30pm

Saturday 31 January 12.00 noon - 5.00pm

Sunday 1 February 12.00 noon - 5.00pm

Monday 2 February 9.ooam - 4.30pm

Tuesday 3 February 9.ooam - 4.30pm

Wednesday 4 February 9.ooam - 3.30pm

AUCTIONEER

Andreas Rumbler

AUCTION CODE AND NUMBER

In sending absentee bids or making

enquiries, this sale should be referred

to as JEVGENIJA-10335

AUCTION RESULTS

UK: +44 (0)20 7839 9060

US: +1 212 703 8080

christies.com

CONDIT IONS OF SALE

This auction is subject to

Important Notices,

Conditions of Sale and

to reserves.

[30]

PROPERTIES FROM THE

COLLECTION OF

Dr Carl Hagemann

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IMPRESSIONIST/MODERNWORKS ON PAPER

THURSDAY 5 FEBRUARY 2015

7

4 Calendar of Auctions

5 Auction Information

8 Christie’s International Impressionist, 20th Century, Modern British

and Contemporary Art Departments

9 Specialists and Services for this Auction

10 Property for Sale

130 Important Notices and Explanation of Cataloguing Practice

131 Buying at Christie’s

132 Storage and Collection

133 Conditions of Sale and Limited Warranty

135 Salerooms and Offices Worldwide

137 Christie’s Specialist Departments and Services

143 Absentee Bids Form

144 Catalogue Subscriptions

IBC Index

f r o n t c o v e r :

Lot 271 © Succession Picasso/DACS, London 2014

i n s i d e f r o n t c o v e r :

Lot 216

p a g e t w o - t h r e e :

Lot 224 & 232

o p p o s i t e : Lot 218

i n s i d e b a c k c o v e r :

Lot 242

b a c k c o v e r :

Lot 250 © Successió Miró/ADAGP, Paris and DACS London 2014

christies.com

CONTENTS

8

INTERNATIONAL IMPRESSIONIST, 20TH CENTURY, MODERN BRITISH AND CONTEMPORARY ART DEPARTMENTS

Email. First initial followed by last [email protected] (eg. Martha Baer = [email protected])

22/12/14

INTERNATIONAL DIRECTORSMartha Baer (Post-War and Contemporary Art)Tel: +1 212 636 2071Mariolina Bassetti(Post-War and Contemporary Art)Tel: +39 06 686 33 30Giovanna Bertazzoni (Impressionist/Modern Art)Tel: +44 (0)20 7389 2542Olivier Camu (Impressionist/Modern Art)Tel: +44 (0)20 7389 2450Cyanne Chutkow (Impressionist/Modern Art)Tel: +1 212 636 2089Brett Gorvy (Post-War and Contemporary Art)Tel: +1 212 636 2342Loic Gouzer(Post-War and Contemporary Art)Tel: +1 212 636 2248Marianne Hoet(Post-War and Contemporary Art)Tel: +32 2 289 13 39Conor Jordan (Impressionist/Modern Art)Tel: +1 212 636 2074Sharon Kim (Impressionist/Modern Art)Tel: +1 212 636 2068Brooke Lampley (Impressionist/Modern Art)Tel: +1 212 636 2091John Lumley (Impressionist/Modern Art)Tel: +44 (0)20 7389 2055Robert Manley(Post-War and Contemporary Art)Tel: +1 212 636 2381Adrien Meyer (Impressionist/Modern Art)Tel: +1 212 636 2056Francis Outred(Post-War and Contemporary Art)Tel: +44 (0)20 7389 2270Laura Paulson (Post-War and Contemporary Art)Tel: +1 212 636 2134Jussi PylkkOnen (Impressionist/Modern Art)Tel: +44 (0)20 7389 2452Andreas Rumbler (Impressionist/Modern Art)Tel: +41 (0)44 268 10 17Jay Vincze (Impressionist/Modern Art)Tel: +44 (0)20 7389 2536Barrett White(Post-War and Contemporary Art)Tel: +1 212 636 2358

HONORARY CHAIRMAN, AMERICASChristopher BurgeTel: +1 212 636 2910

CHAIRMAN, AMERICASImpressionist/Modern ArtDerek GillmanTel: +1 212 636 2050

INTERNATIONAL MANAGING DIRECTORSImpressionist/Modern ArtErem Kassim-LakhaTel: +44 (0)20 7389 2701

Post-War and Contemporary ArtLori HotzTel: +1 212 707 5915

MANAGING DIRECTORSImpressionist/Modern Art, EMERITara RastrickTel: +44 (0)20 7389 2193

Impressionist/Modern ArtJulie KimTel: +1 212 636 2317

BUSINESS DIRECTORSPost-War and Contemporary Art AmericasCara WalshTel: +1 212 484 4849

Post-War and Contemporary Art EMERIVirginie MelinTel: +33 1 40 76 84 32

Post-War and Contemporary Art UKZoe AinscoughTel: +44 (0)20 7389 2958

SENIOR BUSINESS MANAGERSImpressionist/Modern ArtNina FooteTel: +44 (0)20 7389 2675

Impressionist/Modern ArtEileen BrankovicTel: +1 212 636 2198

BUSINESS MANAGERSPost-War and Contemporary Art, AmericasSarah WendellTel: +1 212 707 5901

Post-War and Contemporary Art, UKAstrid MascherTel: +44 (0)20 3219 6451

Impressionist/Modern Art, EuropeAoife LeachTel: +44 (0)20 7389 2109

ART ADVISORY ASIAN CLIENTSRebecca WeiXin LiTel: +852 2978 6796

PRIVATE SALESImpressionist/Modern ArtNew YorkAdrien MeyerTel: +1 212 636 2056

LondonLibertL NutiTel: +44 (0)20 7389 2441

New York Stefan Kist, Senior Business Director Tel: +1 212 636 2205

Post War and Contemporary ArtNew YorkAlexis Klein Tel: +1 212 641 3741

LondonBeatriz OrdovasTel: +44 (0)20 7389 2920

WORLDWIDE

AMSTERDAM IMPRESSIONIST/MODERN ARTJetske Homan van der HeideOdette van GinkelBenthe Tupker Tel: +31 (0)20 575 5281

POST-WAR AND CONTEMPORARY ARTPeter van der GraafJetske Homan van der HeideNina KretzschmarElvira JansenTel: +31 (0)20 575 5957

AUSTRIAAngela BaillouTel: +43 1 533 88 12 14

BARCELONACarmen SchjaerTel: +34 93 487 82 59

BEIJINGSalome Tan BoTel: +86 (0)10 8572 7900

BRUSSELSMarianne HoetThibault StockmannTel: +32 2 289 13 35

DUSSELDORFArno VerkadeHerrad SchornTel: +49 (0)211 491 593 20

GENEVANadja Scribante AmstutzEveline de ProyartAnne LamuniereTel: +41 (0)22 319 17 13

HONG KONGEric ChangElaine HoltJilly DingTel: +852 2978 9985

LONDON (KING STREET)IMPRESSIONIST/MODERN ARTGiovanna BertazzoniOlivier CamuJay VinczeLibertL NutiJason CareyCornelia SvedmanMichelle McMullanAdrienne Everwijn-DumasKeith GillAntoine LebouteillerOttavia MarchitelliAnnie WallingtonAnna PovejsilovaTel: +44 (0)20 7389 2641

POST-WAR AND CONTEMPORARY ARTFrancis Outred Hugues JoffreLeonie MoschnerDina AminDarren LeakAlice de RoquemaurelBeatriz OrdovasRosanna WidenLeonie GraingerKatharine Arnold Tom Best Cristian Albu Jacob Uecker Alexandra Werner Alessandro Diotallevi Paola Fendi Tel: +44 (0)20 7389 2221

MODERN BRITISH & IRISH ARTAndre ZlatingerNick OrchardTel: +44 (0)20 7389 2681

LONDON (SOUTH KENSINGTON)IMPRESSIONIST/MODERN ARTNatalie RadziwilImogen KerrAlbany BellTel: +44 (0)20 7389 2137Tel: +44 (0)20 7389 2137

POST-WAR AND CONTEMPORARY ARTBianca Chu Zoe KlemmeTel: +44 (0)20 7389 2502

MODERN BRITISH & IRISH ARTAngus GranlundTel: +44 (0)20 7752 3107

MADRIDGuillermo CidTel: +34 91 532 6627

MILANBarbara GuidottiElena ZaccarelliTel: +39 02 303 283 30

MUNICHJutta Nixdorf Tel: +49 89 2420 9680

NEW YORKIMPRESSIONIST/MODERN ARTBrooke Lampley Cyanne ChutkowConor JordanSharon KimAdrien MeyerJessica FertigDavid Kleiweg de ZwaanMorgan OsthimerVanessa FuscoSarah El-Tamer Allegra BettiniEmma Hanley Alexander BerggruenAlyssa Ovadis Isabel EllimanTel: +1 212 636 2050

POST-WAR AND CONTEMPORARY ARTLoic GouzerBarrett WhiteAndy MassadJonathan LaibMartha BaerIngrid DudekKoji InoueSara FriedlanderJennifer YumAlexis KleinAmelia ManderscheidSaara PritchardMichael GumenerEdouard BenvenisteEdward TangAna Maria CelisTel: +1 212 636 2100

PARIS IMPRESSIONIST/MODERN ARTAnika GuntrumTudor DaviesPierre Martin-VivierTatiana Ruiz SanzFanny SaulayOlivia de FayetThomas MorinTel: +33 (0)1 40 76 85 91

POST-WAR AND CONTEMPORARY ARTEdmond Francey Laetitia BauduinChristophe Durand-RuelPaul NyzamEtienne SallonEkaterina KlimochkinaTel: +33 (0)1 40 76 84 34

ROMEMariolina BassettiRenato PennisiTel: +39 06 686 33 30

SYDNEYRonan SulichTel: +612 93 26 14 22

TEL AVIVRoni Gilat-BaharaffTel: +97 23 695 0695

TOKYOChie BantaGen Ogo+ 81 (0)3 6267 1766

ZURICHAndreas Rumbler Hans-Peter KellerRene LahnPhilippe DavidJacqueline RiedererTel: +41 (0)44 268 10 12

9

AUCTION ADMINISTRATOR

Laetitia Pot

Tel: +44 (0)20 7389 2052

Department Fax: +44 (0)20 7839 8326

BUSINESS MANAGER

Aoife Leach

Tel: +44 (0)20 7389 2109

SENIOR BUSINESS MANAGER

Nina Foote

Tel: +44 (0)20 7389 2675

EUROPEAN MANAGING DIRECTOR

Tara Rastrick

Tel: +44 (0)20 7389 2193

INTERNATIONAL MANAGING DIRECTOR

Erem Kassim-Lakha

Tel: +44 (0)20 7389 2701

RESEARCH

Robert Brown

Fiammetta Luino

Annabel Matterson

SERVICES

ABSENTEE AND TELEPHONE BIDS

Tel: +44 (0)20 7389 2658

Fax: +44 (0)20 7930 8870

Web: www.christies.com

CLIENT SERVICES

Tel: +44 (0)20 7839 9060

Fax: +44 (0)20 7389 2869

Email: [email protected]

AUCTION RESULTS

UK: +44 (0)20 7839 9060

US: +1 212 703 8080

Web: www.christies.com

CATALOGUES ONLINE

www.christies.com

PAYMENT

Buyers

Tel: +44 (0)20 7839 9060

Fax: +44 (0)20 7389 2869

Consignors

Tel: +44 (0)20 7389 2586

Fax: +44 (0)20 7581 5295

SHIPPING

Tel: + 44 (0)20 7389 2712

Fax: +44 (0)20 7389 2869

STORAGE AND COLLECTION

Tel: + 44 (0)20 7839 9060

Fax: +44 (0)20 7389 2869

For assistance and further information about this sale

please contact the following on Tel: +44 (0)207 8389 2641

SPECIALISTS FOR THIS SALE, LONDON

Cornelia Svedman

Antoine Lebouteiller

Thibault Stockmann

Annie Wallington

COPYRIGHT NOTICE

No part of this catalogue may be reproduced,

stored in a retrieval system or transmitted by any

form or by any means, electronic, mechanical,

photocopying, recording or otherwise, without

the prior written permission of Christie’s.

© COPYRIGHT, CHRISTIE, MANSON & WOODS

LTD. (2014)

SPECIALISTS IN CHARGE

AND SERVICES FOR THIS AUCTION

EMAIL

First initial followed by last name@

christies.com

(e.g. Cornelia Svedman = csvedman@

christies.com).

For general enquiries about this auction,

emails should be addressed to the Auction

Administrator(s).

Cornelia SvedmanAssociate Director, Head of Sale

Tel: +44 (0)20 7389 [email protected]

Antoine LebouteillerAssociate Specialist


Laetitia PotAdministrator

Tel:+44 (0)20 7389 [email protected]

Thibault StockmannSpecialist

Tel: +44 (0)20 7389 2781 Tel: +32 (0)2 289 1338

[email protected]

Annie WallingtonJunior Specialist


PRIVATE SALES

Christie’s Private Sales supports buyers and sellers on a variety of collecting needs—from acquiring a specific work

to buying or selling outside the auction timeline.

Drawing upon our international network of specialists, our deep knowledge of the art market, and our access to the

world’s most active collectors, we are able to connect clients swiftly and seamlessly with the art they love. Please contact

our international private sales experts to find out more.

Adrien Meyer +1 212 636 2056 [email protected]

LibertL Nuti +44 (0)20 7389 2441 [email protected]

10

THE PROPERTY OF A LADY

l202

AUGUSTE ELISÉE CHABAUD (1882-1955)

Le grand café

signed with the initials ‘A.C.’ (lower left)

gouache, brush and pen and India ink on paper

3 ¡ x 5 2/8 (8.5 x 13.4 cm.)

Executed in 1909

£500-700 $790-1,100

€630-880

PROVENANCE:

Galerie Hopkins-Thomas, Paris.

Acquired from the above by the present owner

in 1989.

Patrice Leoni-Chabaud has confrmed the

authenticity of this work.

THE PROPERTY OF A LADY

l201

AUGUSTE ELISÉE CHABAUD (1882-1955)

La lampe et le damier

stamped with the initials ‘AC’ (lower right)

gouache, brush and India ink and pencil on paper

5 ¿ x 7 º (13 x 18.4 cm.)

Executed circa 1900

£400-600 $630-940

€510-760

PROVENANCE:


Acquired from the above by the present owner

in 1989.

Patrice Leoni-Chabaud has confrmed the


type=external_link&url=http://www.christies.com/LotFinder/lot_details_proxy.aspx?saleroom=CKS&sale=10335&lot=0201


11

THE PROPERTY OF A GENTLEMAN

l203

PABLO PICASSO (1881-1973)

Danseur espagnole

black crayon and pencil on paper

5 x 8 Ω in. (12.7 x 21.7 cm.)

Drawn in Madrid in 1901

£35,000-45,000 $56,000-71,000

€45,000-57,000

PROVENANCE:

The artist’s estate.

Marina Picasso, by descent from the above (with her collector’s stamp on

the reverse).

Anonymous sale, Sotheby’s, London, 28 November 1995, lot 195.

EXHIBITED:

Munich, Haus der Kunst, Pablo Picasso, Werke aus der Sammlung Marina

Picasso, February – April 1981, no. 16.12 (illustrated p. 207; dated ‘Madrid

1901’); travelling exhibition.

LITERATURE:

The Picasso Project (ed.), Picasso’s Paintings, Watercolors, Drawings

and Sculpture, Turn of the Century, 1900 – 1901, San Francisco, 2010,

no. 1900/01-016, p. 93 (illustrated; dated ‘1900/1901’).

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

Claude Picasso has confrmed the authenticity of this work.

This drawing stems from Carnet 96, a sketch book of 24 dawings that

the artist executed in Madrid in 1901. Returning from Paris where he

had spent the autumn of 1900, the infuence of Toulouse-Lautrec and

Picasso’s adventures in the demi-monde of Montmartre is evident in

the artist’s treatment of typically Spanish subjects, including a woman

in a mantilla, a torero and the present work, a famenco dancer.



l204


Homme et femme

signed ‘Picasso’ (lower right)

charcoal and pencil on paper

25 º x 19 ¡ in. (64.1 x 49 cm.)

Executed circa 1923

£200,000-300,000 $320,000-470,000

€260,000-380,000

PROVENANCE:

Galerie Louise Leiris, Paris (nos. 17220 & 6H953).

Galerie Paul Rosenberg (no. PP605).

Galerie Cazeau-Bèraudière, Paris.

Acquired from the above by the present owner in 2003.

EXHIBITED:

New York, C&M Arts, Picasso, The Classical Period, no. 17 (n.p.).



Animated by a gentle sense of hesitation, Homme et femme depicts a

mannered, restrained embrace. A woman distractively leans against the leg

of a man, who timidly poses one of his hands on her arm, encircling her

from behind with a protective intent. Picasso frst sketched the two fgures

in pencil, gaging the relationship of the two bodies in space: the man

was frst drawn in a more domineering pose, towering over the woman

more prominently. Picasso then adjusted his composition with incredible

assurance, outlining the fgures with a single charcoal line, harmoniously

determining their pose and mass. Although apparently simple, the pose

of Homme et femme achieves the sophisticated harmony characteristic of

Classical Antiquity. Juxtaposed at the centre of the sheet, the bent legs of

the fgures create a muscular arabesque, symmetrically fanked by the two

standing legs and crowned by the mirroring pose of the arms. Although

colossal in their stature, these man and woman display the grace and

elegance of Classical statuary, attaining in their idealistic perfection a sense

of universality.

The Classical spirit of Homme et femme and the monumental simplicity of

Picasso’s lines situate the drawing in the early 1920s, at the time when the

artist was exploring a ‘Neo-Classical’ style. Moving away from Synthetic

Cubism, the artist had resorted to weighty, sculptural fgures, bearing the

serious stare and dignifed elegance of the Classical Age. Questioned as to

why he had stopped dedicating himself wholeheartedly to Cubism, Picasso

had replied:

A man does not live by, cannot live by a single invention, a single

discovery. It’s not that he could not make do with it, but exhaustion

would rapidly create public indifference. And it’s not necessarily that

he actively wants to make new progress in the researches he has

undertaken; it is, on the contrary, that anyone of above-average

sensibility is driven by the propensity to renew himself. Only

mediocrity can endure a succession of days which are all the same.

(quoted in E. Cowling, Picasso: Style and Meaning, New York, 2002,

p. 392-393).

Signalling a new departure in Picasso’s career, drawings such as Homme

et femme witness to the artist’s necessity to explore new paths and to his

growing interest in the human form that, in the 1920s, would absorb all

his attention.

In its style and subject matter, Homme et femme seems to relate to a

series of drawings Picasso executed in 1923, during a summer spent at

Antibes. The series explored the theme of a bucolic concert improvised

by Pan under the auspices of Cupid in honour of a couple, portrayed in

a pose similar to that illustrated in Homme et femme (Zervos, vol. 5, 114,

118-124 & 130). Picasso explored this subject over a number of drawings,

resorting to different graphic techniques. Relating to the group, Homme

et femme appears to be a focused study of the couple visible in those

compositions. Indeed, Picasso seemed to have explored the duo into two

further sheets (The Picasso Project, 23-178, 23-179), in which he tilted the

woman’s head towards the man to create a more conventional image of

amorous union.

Homme et femme seems thus to have been part of Picasso’s exploration

of a subject which, that same year, would culminate into the seminal

painting Jeune homme et joueur de fute de Pan (1923, Musée Picasso,

Paris). In that important work, which Picasso would keep with him until

the end of his life, the couple has actually disappeared, and so has

Cupid: Pan has been left playing to an impassive, vigorous young bather.

Discussing this change, William Rubin noted: ‘What makes The Pipes of

Pan unique among Picasso’s monumental paintings is that its initial idea –

an aubade, a lover’s serenade – entirely disappears in favour of a pastoral

scene, particularly at odds in terms both humour and meaning’ (William

Rubin, quoted in A. Baldassari, ‘Pompeian Fantasy: a Photographic Source

of Picasso’s Neoclassicism’, pp. 79-86, Picasso: The Italian Journey 1917–

1924, exh. cat., London, 1998, p. 82).

It has been hinted that – in the features of the woman depicted in the Pan’s

concert series – one could perceive the indirect portrait of Sara Murphy, a

joyous, interesting American who, according to Pierre Daix, ‘had provoked

a creative fever’ in Picasso that summer of 1923 in Antibes, signalling the

departure of Olga, from the artist’s art and, soon afterwards, from his

life too (P. Daix, Picasso: Life and Art, New York, 1993, p.183). Part of

an important series of drawings and perhaps commemorating Picasso’s

transitory fascination for Sara Murphy, Homme et femme commemorates

the Classical fugues the artist composed during the summer of 1923.


14


206

GEORGE BOTTINI (1874-1907)

La loge

signed and dated ‘George Bottini 1901’ (lower right)

gouache, watercolour, wax crayon and wash on paper

17 Ω x 12 Ω in. (44.5 x 31.8 cm.)

Executed in 1901

£1,500-2,000 $2,400-3,100

€1,900-2,500

PROVENANCE:

Galerie de la Scala, Paris.



205

HENRY SOMM (1844-1907)

Brune ou Blonde?

signed ‘Henry Somm’ (lower centre) and signed and inscribed ‘Au plus gobé

des présidents “Octave Pradels” Henry Somm’ (within the composition)

gouache, watercolour, brush and pen and India ink on paper

9 √ x 8 ¡ in. (25 x 21.2 cm.)

£1,500-2,000 $2,400-3,100

€1,900-2,500

PROVENANCE:

Emmanuel Moatti, Paris.

Acquired from the above by the present owner circa 1999.



15

l*208

EDVARD MUNCH (1863-1944)

Couple with dog

signed with the initials and dated ‘EM 86.’ (lower right; the date

possibly by another hand); with an inscription ‘Ingers poesialbum.’

(lower left; probably by the artist’s sister)

pen and ink on paper

7 ¡ x 4 ¬ in. (18.7 x 11.6 cm.)

Drawn circa 1885

£5,000-7,000 $7,900-11,000

€6,400-8,800

PROVENANCE:

Inger Munch, Oslo (the artist’s sister).

Mrs Berta Folkedal, Oslo and thence to her estate; her sale,

Christie’s, London, 1 July 1980, lot 124.

Nichido Gallery, Tokyo, 1981.

This work is registered in the archives of the Munch Museum in Oslo.


207

THÉOPHILE ALEXANDRE STEINLEN (1859-1923)

Autoportrait aux chats

signed with the artist’s monogram ‘St.’ (lower right) and inscribed

(lower centre)

gouache, watercolour and pen and brown ink on paper

6 √ x 4 æ in. (17.6 x 12 cm.)

£1,000-1,500 $1,600-2,400

€1,300-1,900

PROVENANCE:


Acquired from the above by the present owner in the 1980s.

Madame Claude Orset has confrmed the authenticity of this work.



16

209

HENRI LEBASQUE (1865-1937)

La joueuse de raquette

signed ‘H Lebasque’ (lower left)

gouache, watercolour and pencil on paper

11 Ω x 12 √ in. (29.1 x 32.5 cm.)

Executed in Saint-Jean-De-Monts circa 1919

£5,000-8,000 $7,900-13,000

€6,400-10,000

Christine Lenoir and Maria de la Ville Fromoit have confrmed the



*210

AUGUSTE RODIN (1840-1917)

Danseuse cambodgienne

gouache and watercolour on paper

11 √ x 7 √ in. (30 x 20 cm.)

Executed in 1906-1907

£20,000-30,000 $32,000-47,000

€26,000-38,000

PROVENANCE:

Acquired by the family of the present owner in Paris in the 1930s-1940s, and

thence by descent.

Christina Buley-Uribe will include this drawing in her forthcoming

August Rodin Catalogue raisonné des dessins et peintures.

According to Christina Buley-Uribe, the present watercolour belongs

to a small series of approximately six drawings of Cambodian dancers

wearing blue Sampot dress, the national garment of Cambodia, that

were completed by Rodin in 1906-1907. In July 1906 in the Pré-Catelan,

Paris, Rodin attended for the frst time a performance given by the Royal

Khmer Ballet. The dancers were accompanying King Sisowath on his

offcial visit to the Colonial Exhibition of Marseilles. During their stay in

France they spent a few days in Paris, where Rodin followed them. He

later told the art critic Louis Vauxcelles:

I contemplated and admired the dancers in their ecstasy. When they

fnished I was left feeling empty, in the shadow and cold. It was as

if they took the beauty of the world with them... I followed them to

Marseilles; I would have followed them to Cairo!


18

*211

PAUL GAUGUIN (1848-1903)

Te fare Hymenee (Copy for Monfreid)

watercolour on paper

3 Ω x 5 in. (8.7 x 12.7 cm.)

£40,000-60,000 $63,000-94,000

€51,000-76,000

PROVENANCE:

Georges Daniel de Monfreid, France, by whom acquired from the artist.

Galerie M. Rousso, Paris.

Dr. Harold S. Lipschutz, Illinois, and thence by descent to his estate.

Private Collection, Maryland, by whom acquired from the above.

This work will be included in the forthcoming Paul Gauguin catalogue

critique, currently being prepared under the sponsorship of the

Wildenstein Institute.

This work is the only recorded copy that Paul Gauguin executed of Te

fare Hymenee, or “The House of Songs”, the watercolour that the artist

included in the original manuscript for his travel journal Noa Noa, 1893-

1897 (p. 63; Musée du Louvre, Paris). Noa Noa was the artist’s account

of his time in Tahiti, consisting of writings and illustrations in different

media that he collated after returning to France from his frst journey to

the South Seas in 1893.

This visit to Tahiti was the inspiration for many of Gauguin’s fnest

paintings, and the watercolour included in the Noa Noa manuscript is

a study for the oil of the same title, painted there in 1892 (Wildenstein

no. 477; Christie’s, New York, 6 May, 2008, lot 28). The sleeping

fgure which is seen in both the oil and watercolour is also depicted in

the engraving Intérieur de Case, circa 1898-1899 (Mongan, Kornfeld,

Joachim no. 41).

Accompanying the watercolour in Noa Noa is a text by Gauguin

describing the scene it depicts of his neighbours on the island meeting

to sing the Tahitian songs, the “himenes”:

Sometimes in order to sing or converse they assemble in a sort of

communal hut. They always begin with a prayer. An old man frst recites

it conscientiously, and then all those present take it up like a refrain.

Then they sing, or tell humorous stories. The theme of these recitals is

very tenuous, almost unseizable. It is the details, broidered into the woof

and made subtle by their very naïveté, which amuse them. More rarely,

they discourse on serious questions or put forth wise proposals.

(P. Gauguin, Noa Noa, tr. O.F. Theis, New York, 1919, p. 37).

During his time in Tahiti, Gauguin sent sketches of his works in progress

to Georges Daniel de Monfried, a patron and fellow artist in Paris,

and he is also known to have executed a small number of copies of

his works. Referring to this practice, the correspondence between the

two records: “So I have fnished a philosophical Work on a theme

comparable to that of the Gospel. I think it is good; if I have the strength

I will copy it and send it to you” (The Letters of Paul Gauguin to Georges

Daniel de Monfreid, tr. R. Pielkovo, New York, 1922, no. 95). Originally

part of the Monfried collection, the present work is one of this small

group of copies.


Sometimes in order to sing or converse they assemble in a

sort of communal hut. They always begin with a prayer. An

old man frst recites it conscientiously, and then all those

present take it up like a refrain. Then they sing, or tell

humorous stories.

(P. Gauguin, Noa Noa, tr. O.F. Theis, New York, 1919, p. 37)

20

l213

JOAN MIRÓ (1893-1983)

Sans titre

signed and dated ‘Miró 1919’ (lower left)

pencil on paper

6 º x 7 ¡ in. (16 x 18.6 cm.)

Drawn in 1919

£3,500-4,500 $5,600-7,100

€4,500-5,700

LITERATURE:

Joan Sacs, ‘Vell I Nou’, L’Istil, vol. V, no. 92, Barcelona,

1 June 1919, pp. 209-214 (illustrated p. 213).

This work is sold with a photo-certifcate from

ADOM (Association pour la défense de l’oeuvre

de Joan Miró).

l212

CARLO CARRÀ (1881-1966)

La trapezista

signed and dated ‘C.Carrà 913’ (lower right)


6 ¬ x 4 in. (16.9 x 10.3 cm.)

Drawn in 1913

£5,000-7,000 $7,900-11,000

€6,400-8,800

PROVENANCE:

La Casa dell’Arte, Bologna.

Private collection, Milan.

LITERATURE:

F. Russoli & M. Carrá (ed.), Carrá, Disegni, Bologna, 1977,

no. 83, p. 57 (illustrated p. 148).



21

Dl214

HENRI MATISSE (1869-1954)

Portrait de Marguerite

signed with the initials ‘HM.’ (lower right)

pencil on paper

10Ω x 8º in. (26.8 x 21 cm.)

Drawn in Nice in 1922

£8,000-12,000 $13,000-19,000

€11,000-15,000

PROVENANCE:


Pierre Matisse, New York, by descent from the above.

Pierre-Noël Matisse, Paris, by descent from the above, and thence by descent.

Wanda de Guébriant has confrmed the authenticity of this work.


22

THE PROPERTY OF A PRIVATE SPANISH COLLECTOR

l215


Le mousquetaire

signed, dated, numbered and inscribed

‘25.10.71.I 6HS Ω pour le Dr. Stéhelin Picasso’ (upper right)

wax crayon, brush and ink and wash, felt-tip pen and pencil on paper

12 º x 9 æ in. (31.2 x 24.5 cm.)

Executed on 25 October 1971

£100,000-150,000 $160,000-240,000

€130,000-190,000

PROVENANCE:

Dr. Jean Stéhelin, Paris, a gift from the artist in 1971.

Anonymous sale, Sotheby’s, London, 23 June 1993, lot 349.

Acquired at the above sale by the present owner.

LITERATURE:

The Picasso Project (ed.), Picasso’s Paintings, Watercolors, Drawings and

Sculpture, The Final Years, 1970-1973, San Francisco, 2004, no. 71-328

(illustrated p. 231).



‘What fabulous monsters they are, these musketeers! Preposterous,

to be sure, yet quite as believable as Picasso’s most grimly distorted

portraits of real people. And distorted they are. Their wide-brimmed

hats hardly manage to contain faces in which giddy eyes dance under

eyebrows shaped like ears of corn, and a bearded chin is appended like

a tassel to a twisted nose’ (Gert Schiff, ‘The Musketeer and His Theatrum

Mundi’, pp. 11-69, in Picasso: The Last Years, 1963-1973, exh. cat.,

New York, 1983, p. 30).

Exuding that Baroque exuberance that characterised much of Picasso’s

work during the last triumphal years of his career, Le mousquetaire

conveys all the energy, humour and inventiveness the artist professed

at the time. At play in the drawing one fnds the two forces which

propelled Picasso’s colossal artistic output in the late 1960s and early

1970s: speed of execution and vigorous expression. Swirls, scribbles

and scrawls compellingly evoke the frills and curls of a Rembrandtesque

character, moustached and bearded. Picasso drew the fgure in a single

sweep of creativity, conjuring its features through his unmistakable

animated graphic style. The artist subsequently used a dark wash to

lend density to the work, evoking the dramatic sombre tones of offcial

Seventeenth Century portraiture. Picasso dedicated the work to his

friend, the Doctor Jean Stéhelin, to whom he would offer a number of

works at the time.

In its subject, Le mousquetaire belongs to a series of works – paintings,

etchings and drawings – that Picasso devoted to the ‘musketeer’. By

the late 1960s and early 1970s, this fgure had become an ubiquitous

character in the artist’s world. Overemphasized and comical, in Picasso’s

work the musketeer played an array of roles: voyeur and lover, artist

and pipe smoker, it expressed the energetic, intrepid spirit with which

Picasso’s approached his old age. The artist’s last wife Jacqueline Roque

later explained that Picasso had grasped the potential of the musketeer

fgure while perusing a Rembrandt book during a period of illness and

convalescence in 1965-1966.

The present drawing is dated ‘25-10-71’. At the time the artist was

ninety-one. The previous year he had baffed the world with a bold

exhibition at the Palais des Papes in Avignon, where he exhibited a

famboyant series of colourful, exuberant musketeers, which, hunging

together, seemed to propose a sort of Picassian, delirious version of

Rembrandt’s The Night Watch. Proposing a further exploration of a

theme that, at the end of his life, Picasso would turn into countless

renditions, Le mousquetaire captures the artistic vitality and fearless

comic inventions that would characterise his last great triumph.


24

THE PROPERTY OF A PRIVATE SCANDINAVIAN COLLECTOR

l216


Nu couché et tête d’homme

signed and dated ‘Picasso 13.1.70.’ (upper left)

pencil, wash and gouache on paper

8 √ x 11 √ (22.7 x 30.2 cm.)

Executed on 13 January 1970

£200,000-300,000 $320,000-470,000

€260,000-380,000

PROVENANCE:

Marlborough Gallery, Zurich.

Saidenberg Gallery, New York.

Anonymous sale, Christie’s, New York, 15 May 1986, lot 208.

Acquired by the present owner circa 1992.

EXHIBITED:

Paris, Galerie Louise Leiris, Picasso: Dessins en noir et en couleurs,

December 1969 – January 1971, no. 12 (illustrated p.14).

LITERATURE:

C. Zervos, Pablo Picasso, vol. 32, Oeuvres de 1970, Paris 1977, no. 23

(illustrated pl. 16).


Sculpture, The Final Years, 1970-1973, San Francisco, 2004, no. 70-024


‘Whenever I meet a friend, my frst reaction is to search in my pocket for

a pack of Gauloises, in order to offer him one, just as I always used to.

Even though I know very well that neither of us smoke anymore. In vain,

old age forces us to give up some things; the desire remains. It’s the

same with love. We can’t make love anymore, but the desire is still there.

I still reach into my pocket’ (Picasso, speaking with his biographer-friend

Pierre Cabanne (quoted in J. Hoffeld, ‘Picasso’s Endgame’, in Picasso,

The Late Drawings, exh. cat, New York, 1981, p. 13).

Depicting a scene of lustful contemplation, Nu couché et tête d’homme

exemplifes the lascivious imagery into which Picasso channeled, at the

end of his career, the extraordinary force of his creative inventiveness.

Lying over a geometric blanket, a woman seems to be offering herself

to the eager looks of a man: her sex prominently exhibited and her hand

holding one of her breast like some fragrant fruit, she appears as a willing

and enticing lover. The swelling lines and voluptuous curves that Picasso

used to describe the fgures sublimate their desire in visual terms, while

demonstrating the artist’s prodigious mastery of the medium. In 1970, at

the time Nu couché et tête d’homme was executed, Picasso was turning

ninety. Yet, nothing in the erotic joy expressed in the drawing and in the

consummated eloquence of its lines let us guess at the artist’s old age. On

the contrary, vigorous and energetic, the drawing rather appears as a bold

claim to youth, to its charm and to its pleasure.

It is not diffcult to guess, in the broad nose of the man and the

distinctive profle of the woman, the presence of Picasso and Jacqueline

themselves. At the time Nu couché et tête d’homme was executed,

Picasso had almost entirely retired in his villa Notre-Dame-de-Vie with

Jacqueline Roque, whom he had married in 1961. Forty-six years his

junior, Jacqueline would dominate the artist’s last years, providing

Picasso with comfort and support, but also with enduring inspiration.

Works such as Nu couché et tête d’homme abounded in Picasso’s late

years, and formed an ever-fowing narrative inhabited by sensually

awaken characters, spying on each other, embracing and making

love. These erotically more explicit works had followed from a large

series Picasso began in 1963 on the subject of the artist and the

model. Adopting a less ambiguous stance, works such as Nu couché

et tête d’homme have been interpreted as the artist’s desperate cry for

youth, force and pleasure. They served, Jeffrey Hoffeld would argue,

a sublimating role: ‘Contortionist sexual gymnastics, if only portrayed

rather than actually lived, vicariously restore confdence, relive despair,

and provide recollected moments of orgasmic oblivion’ (J. Hoffeld,

‘Picasso’s Endgame’, pp. 5-15, in Picasso: The Late Drawings, exh. cat.,

New York, 1988, p. 13). Above all, however, works such as Nu couché

et tête d’homme are moving declarations of a genius at ninety, affrming

in his art the ever-young force and power of his creative spirit.


Dr Carl Hagemann was born in Essen on 9 April 1867. After studying

chemistry in Tübingen, Hannover and then Leipzig, Hagemann began

his professional life at Bayer & Co. in Elberfeld (today Bayer Leverkusen).

Thanks to royalties from several patents Hagemann swiftly made his

fortune and started collecting art as early as 1903, turning his attention to

German Expressionism a decade later when he purchased his first works

by Emil Nolde. Hagemann had met Ernst Gosebruch, the Director of the

Kunstmuseum Essen, a few years earlier and the two men were to become

lifelong friends. It was Gosebruch who, together with Karl Ernst Osthaus,

the founder of the Museum Folkwang in Essen, and Kirchner's great friend

the art historian Botho Graef, introduced Hagemann to Ernst Ludwig

Kirchner and Erich Heckel, and later to Otto Müller and Karl Schmidt-

Rottluff. Hagemann corresponded regularly with these artists, especially

with Kirchner, to whom he made regular payments in return for his choice

of pictures and prints. Hagemann was a regular visitor to Kirchner in Davos and maintained a lifelong friendship, not, according to

contemporaries, an easy task with an artist who was highly sensitive and difficult at this stage of his life. One cannot imagine two

more contrasting personalities; the troubled, bohemian artist and the rather formal chemist and businessman. This personal and

prolonged contact with the artists themselves was a major factor in Hagemann’s success in creating such a coherent and cohesive

collection. At the time Hagemann was collecting these artists, few had attained the recognition they eventually would and the

bold avant-garde nature of his collection seems surprisingly at odds with his understated, retiring nature. There is no doubt that

Hagemann's vision and philanthropy in nurturing and supporting these artists, together with his influential position within the art

establishment both in Essen and Frankfurt, in no small way contributed to the growing reputation of these artists; throughout the

1920s and 1930s he showed an extraordinary willingness to loan major works from his collection.

Carl Hagemann retired in 1932, a year before his friend Gosebruch had to abandon his position at the Museum Folkwang,

under pressure from the Nazi party. Hagemann’s plans to donate his collection to a public museum had to be abandonned

due to the cultural policies of the Nazis, and

when Hagemann died on 20 November 1940,

his entire collection (some 90 paintings, 220

watercolours, 30 sculptures and 1500 drawings

and prints) was concealed from the Nazis in

the vaults of the Städel Museum in Frankfurt

at the suggestion of Ernst Holzinger, the then

Director. The Hagemann collection survived

the war intact and emerged to be exhibited

at the Städel in 1948. Since then many of the

outstanding works in the collection, including

the works offered in this sale, have been

loaned to major public collections in Germany

and works from the Hagemann Collection

continue to be celebrated and enjoyed in

the context in which Dr Hagemann originally

intended, most recently returning to the Städel

in Frankfurt in late 2004 before travelling on to

the Museum Folkwang, Essen.

the collection ofcarl hagemann

Poster for the Hagemann exhibition at the Städelmuseum, Frankfurt, 1948.

27

PROPERTY FROM THE COLLECTION OF CARL HAGEMANN

217ERNST LUDWIG KIRCHNER (1880-1938)

Unterhaltung

signed ‘EL Kirchner’ (lower right); signed and dated ‘Kirchner 1920’ (on the reverse)watercolour and wax crayon on paper23 x 17¡ (58.3 x 44.7 cm.)Executed in 1920

£50,000-80,000 $79,000-130,000

€64,000-100,000

PROVENANCE:

Dr Carl Hagemann, Frankfurt, by 1940, and thence by descent to

the present owner.


28


218

ERNST LUDWIG KIRCHNER (1880-1938)

Negertanz

signed and dated ‘EL Kirchner 09’ (upper right);

signed ‘EL Kirchne[r]’ (lower right)

watercolour and pencil on paper

14 º x 11 ¿ in. (36.2 x 28.2 cm.)

Executed circa 1911

£100,000-150,000 $160,000-240,000

€130,000-190,000

PROVENANCE:

Manfred Schames, Frankfurt.

Dr Carl Hagemann, by 1927, and thence by descent to the present owner.

EXHIBITED:

Frankfurt, Städelsches Kunstinstitut und Städtische Galerie, Sammlung

Hagemann, September 1948 – November 1948.

Executed circa 1911, long before the jazz craze swept through Europe in

the 1920s, this watercolour is a dramatic pictorial expression of the raw

energy and excitement that such music provoked and the wild, energetic

and thrilling dancing that it gave rise to. For the Die Brücke artists, as for

their philosophical mentor, Friedrich Nietzsche, dancing, as an elemental

and primordial human expression, was one of the most important of the

arts. As in painting, it was especially to tribal, folk and primitive forms of

dance, as opposed to overcomplicated, restrained and classically derived

forms of dance that these artists were drawn, for it was in these forms

that, as it was for Nietzsche, dance became a truly undiluted, joyous and

instinctive outward bodily expression of inner human emotion and was to

manifest itself in its true Dionysian form.

Formerly in the collection of Dr Carl Hagemann – one of the great patrons

of Die Brücke art – Negertanz is one of the earliest Expressionist depictions

of such dancing. Most probably painted in Berlin, it depicts two black

dancers wildly dancing in front of group of suited men, possibly members of

a band or orchestra. With its swiftly drawn lines and bold sweeps of colour

hastily rendered, the watercolour deliberately captures the atmosphere of

immediacy and excitement generated by the dance. Its composition is such

that it also seems to sway along with the music. Indeed so successful is the

composition of this work – which may well have grown from a sketch in

front of the spectacle into this watercolour rendering – that it is this work

that forms the blueprint for Kirchner’s large 1911 painting of the same

subject: the oil painting Negertanz now in the Kunstsammlung Nordrhein–

Westfalen in Dusseldorf.


30


l219

ERICH HECKEL (1883-1970)

Gruppe

signed, dated and inscribed ‘Gruppe Erich Heckel 25’ (lower right); inscribed

‘Herrn Dr. Hagemann zum 9. April 1937 in herzlicher Verbundenheit

gewidmet.’ (lower left)

gouache, watercolour and wax crayon on paper

26 x 20 æ in. (66 x 52.5 cm.)

Executed in 1925

£40,000-60,000 $63,000-94,000

€51,000-76,000

PROVENANCE:

Dr Carl Hagemann, Frankfurt, by whom acquired from the artist in 1937,

and thence by descent to the present owner.

Renate Ebner (Erich Heckel Estate, Hemmenhofen, Germany) has

confrmed the authenticity of this work.


31


l220

ERICH HECKEL (1883-1970)

Bucht

signed, dated and inscribed ‘Bucht Erich Heckel 21’ (lower right)

gouache, watercolour and pencil on paper

18 Ω x 23 ¬ in. (47 x 60 cm.)

Executed in 1921

£20,000-30,000 $32,000-47,000

€26,000-38,000

PROVENANCE:

Ludwig Schames, Frankfurt.

Dr Carl Hagemann, Frankfurt, by whom acquired in 1921, and thence by

descent to the present owner.

Renate Ebner (Erich Heckel Estate, Hemmenhofen, Germany) has



32


l221

EMIL NOLDE (1867-1956)

Phantasie

signed ‘Nolde.’ (lower right)

watercolour and pen and ink on Japan paper

17 æ x 23 æ in. (45 x 60.5 cm.)

£150,000-250,000 $240,000-390,000

€190,000-320,000

PROVENANCE:

Dr Carl Hagemann, Frankfurt, and thence by descent to the present owner.

EXHIBITED:

Frankfurt, Städelsches Kunstinstitut und Städtische Galerie,

Sammlung Hagemann, September 1948 – November 1948.

Essen, Museum Folkwang, Gemälde und Aquarelle aus Sammlung Hagemann,

October 1950.

This work is sold with a photo-certifcate from Professor Dr. Manfred

Reuther of the Nolde Stiftung, Seebüll.

On 13 May 1933 the President of the Prussian Academy of Arts called on

ten members, all elected as recently as 1931, to tender their voluntary

resignation. Emil Nolde was asked but refused, and from this time on

suffered censorship and persecution from the National Socialist Party.

During the period of the worst persecutions, when he was actually

forbidden to paint, he preserved his inner freedom by secretly executing

hundreds of watercolors in his studio in Seebüll. These he called his

Ungemalte Bilder, in which he used the technique of “wet on wet” as

in his earlier watercolors, allowing wet paint to fow over wet paper,

in order to create spontaneous, evocative images in fuid, transparent

colors. Most of these works resemble illustrations of some invented

story-line, spawned as they were from the artist’s fertile imagination.

Almost all are fgurative, including the cycle of Phantasien to which the

present work belongs.

Letting the brush freely merge and expand the colours on the paper,

in the Phantasien Nolde let chance guide his imagination. Images and

fgures would emerge from the iridescent surface of the watercolours,

evoking a world dominated by bizarre creatures, mysterious fgures

and stories from German folklore. Peter Selz writes, ‘By this time Nolde

had learned more about human relationships, and in this great cycle

he gave a passionate visual form to his wisdom. There are fgures that

appeal, reject, wail, smile and contemplate... This world is peopled

with beautiful and desirable young women, blindly groping old men,

grimacing gnomes and compassionate demons... The imagination

often here recalls the dramatis personae of The Tempest, Peer Gynt, or

Munch’s anxious fantasies, although it is much less perturbed than that

of Munch. Indeed, Nolde’s private world has been transfgured into a

serene realm of human actors whose chief function is their subservience

to the color which gave them birth’ (Emil Nolde, New York, 1963,

pp. 72-73).

A favorite theme of Nolde’s Phantasien is the relationship between men

and women. In the present work, the overlaying of the faces and the

blend of colors creates an extremely mystical conception. Through this

composition we can see how he developed the medium of watercolor,

making the most of its evocative qualities, creating unique images with

informality and spontaneity.


34


l222

KARL SCHMIDT-ROTTLUFF (1884-1976)

See und Wolken

signed with the artist’s initials and inscribed ‘Herrn Dr. Hagemann zum 9.4.39

mit herzlichem Glückwunsch SR’ (lower right)


21 º x 16 in. (54 x 40.5 cm.)

Executed in 1938

£10,000-15,000 $16,000-24,000

€13,000-19,000

PROVENANCE:

Dr Carl Hagemann, Frankfurt, by whom acquired directly from the artist

in 1939, and thence by descent to the present owner.

EXHIBITED:

Kiel, Kunstwerke aus Kieler Privatbesitz, Gemälde, Zeichnungen, Graphik,

Plastik, January – February 1955, no. 68 (n.p.).


35


l223

KARL SCHMIDT-ROTTLUFF (1884-1976)

Weckgläser

signed ‘S.Rottluff’ (upper right)


19 Ω x 25 ¡ in. (49.5 x 64.5 cm.)

Executed in 1928

£12,000-18,000 $19,000-28,000

€16,000-23,000

PROVENANCE:

Dr Carl Hagemann, Frankfurt, by 1940, and thence by descent to the

present owner.

EXHIBITED:

Amsterdam, Stedelijk Museum, Expressionisme, van Gogh tot Picasso,

July 1949 – September 1949, no. 153 (n.p.).


36

l224


Bildnis einer Südseeinsulanerin (en face)

signed ‘Nolde.’ (lower right)

gouache and watercolour on rice straw paper

19 ¿ x 13 ¡ in. (48.5 x 34 cm.)

Executed in New Guinea in 1914

£50,000-80,000 $79,000-130,000

€64,000-100,000

PROVENANCE:

Acquired by the grandparents of the present owner for Christmas 1921,

and thence by descent.

This work is sold with a photo-certifcate from Professor Dr. Manfred

Reuther of the Nolde Stiftung, Seebüll.

Das war Neuguinea: Du wildes, schönes Land!

(Nolde, Welt und Heimat, Die Südseereise 1913-1918, Cologne, 1936, p. 107)

The present work in a family photograph from Christmas 1921


38

PROPERTY FROM A EUROPEAN PRIVATE COLLECTION

*225

LESSER URY (1861-1931)

Unter den Linden im Regen

signed ‘L.Ury.’ (lower left)

pastel on board

14 x 20 in. (35.7 x 50.7 cm.)

Executed in the 1920s

£80,000-120,000 $130,000-190,000

€110,000-150,000

PROVENANCE:

Anonymous sale, Leo Spik, Berlin, 8-9 November 1956, lot 175 (illustrated).

Alfred Steeger, Berlin.

Private collection, Switzerland, by whom acquired from the above, and

thence by descent; their sale, Christie’s, London, 22 June 2011, lot 187.


This work is sold with a photo-certifcate from Dr. Sybille Gross.

The German Impressionist artist Lesser Ury found himself in rivalry

with fellow artist and president of the Berlin Academy of Art, Max

Liebermann, for most of his life. Having returned to Berlin after years

of studying in Dusseldorf, Brussels, Paris and Munich, Ury nevertheless

built a reputation as a painter of the sunlit landscapes, street scenes

and interiors of Berlin. In his paintings and pastels, he played with the

effects of dazzling light on trees at a lake, rainy streets or artifcial light

in nocturnal scenes in cafes and theatres.

At the time he executed this pastel, Lesser Ury showed his works at

two major exhibitions with the Berliner Sezession, in which the more

progressive artists were organized. Ury was one of the frst artists

in Germany to take hectic modern city life, with its traffc and busy

nightlife in theatres and bars, as a topic for art. As in the present pastel,

Berlin and its streets with horse-drawn carriages – later with the newly

developed cars – plays a prominent role in his work. The artist depicts

the mood of the fast developing metropolis with its hustle and bustle, in

which the viewer is occasionally involved, when, as in Unter den Linden

im Regen, a street scene is depicted in a glimpse of a hectic moment, as

if caught in a snap shot by a photographer.


40

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

226

ERNST LUDWIG KIRCHNER (1880-1938)

Liegende unter dem Japanschirm

signed and dated ‘EKirchner 05’ (on the reverse)

gouache and pastel on paper

17 x 13 ¬ in. (43.2 x 34.7 cm.)

£200,000-300,000 $320,000-470,000

€260,000-380,000

PROVENANCE:

The artist’s estate (with the Nachlass stamp and number ‘ADre/Bg6’

on the reverse).

Roman Norbert Ketterer, Lugano.

Acquired from the above in 1961, and thence by descent to the present owner.

A dramatic and masterfully painted sketch that was to give rise to one of

Kirchner’s best-known paintings, this gouache and pastel sketch depicts a

reclining nude lying under a Japanese umbrella in the corner of Kirchner’s

studio. It is dated on the reverse by Kirchner as being a work from 1905, but

in all other respects, in its subject matter and confdent free-form execution,

it is a picture typical of Kirchner’s work around 1909. Indeed, it appears to

be a sketch for Kirchner’s great painting of his mistress Dodo lying under

a Japanese umbrella now in the Kunstsammlung Nordrhein-Westfalen in

Dusseldorf. A compositional mirror-image of this gouache, Kirchner dated

this famously bold and colourful oil painting as being from 1906 even

though it is now known to have been painted in 1909.

A major exhibition of Henri Matisse’s work held in Berlin at the beginning

of 1909 prompted a radical change in Kirchner’s art, enlivening his use

of fat planes of colour, freeing his graphic impulse in the use of outline

and emboldening his expressive use of non-naturalistic colour to heighten

the sense of emotional engagement with the subject matter. Although

Matisse’s infuence had nothing but a positive effect on Kirchner’s art, the

German artist was initially fearful of acknowledging his debt to the French

master and often sought to pre-date some of his more heavily Matisse-

inspired works to before the date of the Berlin exhibition.

With its bold sweeping colour and swiftly executed line capturing the

essence of Kirchner’s 1909 painting of Dodo with an umbrella - a work

which with its patterned walls, decorative parasol and complete lack of

outline, is all about colour – this gouache sketch reveals not only the

impact of Matisse but also the complete command over form, colour and

composition that Kirchner clearly shared with the great French artist.


42


l227


Weisse und rote Dahlien

signed ‘Nolde.’ (lower right; faded)

watercolour on Japan paper

9 x 10 Ω in. (22.8 x 26.5 cm.)

Executed circa 1925

£40,000-60,000 $63,000-94,000

€51,000-76,000

PROVENANCE:

Anonymous sale, Ketterer Kunst, Stuttgart, 20-21 May 1960, lot 462.

Acquired at the above sale, and thence by descent to the present owner.


43


228

AUGUST MACKE (1887-1914)

Mädchen am Wasser I


8 ¬ x 9 ¬ in. (22 x 24.5 cm.)

Executed in Bonn in 1913

£20,000-30,000 $32,000-47,000

€26,000-38,000

PROVENANCE:

The artist’s estate (with the Nachlass stamp and no. ‘FT34a’ on the reverse).

Roman Norbert Ketterer, Stuttgart, 21-22 November 1958, lot 616.

Acquired at the above sale, and thence by descent to the present owner.

EXHIBITED:

Bielefeld, Städtisches Kunsthaus, Macke, Aquarell-Ausstellung, 1957, no. 393.

Münster, Westfälisches Landesmuseum für Kunst und Kulturgeschichte,

August Macke, Gemälde, Aquarelle, Zeichnungen, 1986, no. 156 (illustrated

p. 304); this exhibition later travelled to Bonn, Städtisches Kunstmuseum and

Munich, Städtisches Gallery im Lenbachhaus.

LITERATURE:

G. Vriesen, August Macke, Stuttgart, 1957, no. 393.

U. Heiderich, August Macke, Aquarelle, Werkverzeichnis, Ostfldern-Ruit,

1997, no. 305, p. 280 (illustrated p. 281).


44

229

FRANZ MARC (1880-1916)

Abstrakte Komposition

signed with the artist’s initial ‘M.’ (lower left)

gouache on silver prepared paper

image: 6 ¿ x 10 º in. (15.5 x 26 cm)


£70,000-100,000 $120,000-160,000

€89,000-130,000

PROVENANCE:

Heinrich Campendonk, Seeshaupt.

Private collection, Germany, and thence by descent to the present owner.

EXHIBITED:

Dresden, Galerie Neue Kunst Fides, Ausstellung Franz Marc: Aquarelle,

Zeichnungen, Graphik, October – November 1927, no. 97.

Berlin, Haus am Waldsee, Kunst des 20. Jahrhunderts aus Berliner

Privatbesitz, February – March 1960, no. 78 (illustrated p. 78).

Berlin, Nationalgalerie in der Orangerie des Schlosses Charlottenburg,

Der Sturm, Herwarth Walden und die Europäische Avantgarde,

Berlin 1912-1932, September – November 1961, no. 30 (dated ‘1913’).

LITERATURE:

A. J. Schardt, Franz Marc, Berlin, 1936, no. 39, p.168.

K. Lankheit, Franz Marc, Katalog der Werke, Köln, 1970, no. 493,

p. 161 (illustrated).

A. Hoberg & I. Jansen, Franc Marc, The Complete Works, vol. II, Works on

Paper, Postcards, Decorative Arts and Sculpture, Munich, 2004, no. 257


By late 1913 Franz Marc’s painting was beginning to take on an

increasingly abstract form. Under the infuence of his friend and

colleague Kandinsky, the window paintings of Robert Delaunay that

Marc had seen in Paris, and the dynamic energy of Italian Futurist

paining which he had also recently experienced in Berlin, Marc began to

consistently pursue a new vision in his art. It was a vision that he hoped

would herald in a new world order of the spirit.

Formerly in the collection of Marc’s Blaue Reiter colleague, Heinrich

Campendonk, Abstrakte Komposition is one of the frst of Marc’s truly

abstract paintings. Executed in tempera on a silver-grounded paper it

is a stunningly original, fully-completed composition that both refects

and articulates Marc’s visionary aims for his work. The painting is

one of a series of works made between 1913 and 1914 in which the

animal, previously so central to Marc’s spiritualized vision of the world,

has been abandoned in favour of a completely abstract rendering

form as energy. These forms, which are here rendered as an elegant

constructive geometry were, nevertheless, still rooted in a fundamental

sense of nature. They are intended as formal approximations of what

Marc believed were Nature’s elemental rhythms, energies and its

always coalescing tendency towards the establishment of an underlying

harmony or unity – something that Marc believed was both echoed in

and intrinsic to the art of picture-making itself.

Forging ahead, alongside Kandinsky, into what would be a completely

new realm in the history of painting, abstraction appealed to Marc

because it was, he believed, a means of expressing the existence of

what he saw as a single unifying creative law of the universe. His

aim, in a work such as Abstrakte Komposition was, through the laws

of painting – through its colour harmony, structure and a freeform,

intuitively arrived-at design – to articulate a vision of the world as a

single harmonious and universal feld of primal forces. Such works were

to express, what Marc once described as the overall ‘structure of the

universe’, and it was this inherent ‘structure’ that was to become the

subject of all of Marc’s later paintings, abstract or otherwise (Franz Marc

quoted in M. Rosenthal, Franz Marc, Munich, 1989, p. 36).


46


l230

JEAN POUGNY (1892-1956)

Le petit chemin

stamped with the signature ‘Pougny’ (lower right)

brush and India ink and wash and pencil on paper

10 √ x 8 ¿ in. (27.6 x 20.7 cm.)

Executed in Petrograd in 1916

£5,000-7,000 $7,900-11,000

€6,400-8,800

PROVENANCE:

The artist’s estate (no. 363 B).

Madame X. Pougny, Paris, by descent from the above.

Anonymous sale, Christie’s, London, 4 July 1969, lot 97.

Anonymous sale, Hôtel Drouot, Paris, 8 April 1994, lot 81.

Galerie Zlotowski, Paris.


EXHIBITED:

Turin, Galleria Civica d’Arte Moderna, Jean Pougny,

November 1962 – January 1963, no. 236.

LITERATURE:

H. Berninger & J. A. Cartier, Jean Pougny (Iwan Puni) 1892-1956,

Catalogue de l’oeuvre, vol. I, Les Années d’avant-garde, Russie-Berlin,

1910-1923, Zurich, 1972, no. 167 (illustrated p. 212).


47

l231

RUDOLF BAUER (1889-1953)

Andante

signed and inscribed ‘Rudolf Bauer Baut’ (lower right)

gouache, watercolour, pastel, wax crayon, India ink, Spritztechnik, charcoal

and pencil on paper

19 º x 12 æ in. (48.9 x 32.7 cm.)

Executed in 1923

£12,000-18,000 $19,000-28,000

€16,000-23,000

PROVENANCE:

Das Geistreich, Berlin.

The Solomon R. Guggenheim Foundation, New York, by 1938.

Connaught Brown, London.

Acquired from the above by the present owner circa 2000.

EXHIBITED:

Charleston, South Carolina, Gibbes Memorial Art Gallery, Third Enlarged

Catalogue of the Solomon R. Guggenheim Collection of Non-Objective

Paintings, March - April 1938, no. 13 (illustrated p.17).

New York, The Solomon R. Guggenheim Foundation, “Art of Tomorrow”,

Fifth Catalogue of The Solomon R. Guggenheim Collection of Non-Objective

Paintings, June 1939, no. 60 (illustrated p. 84).

London, Connaught Brown, The Art of Rudolf Bauer, From Berlin to

New York 1919-1940, September - October 2000.

Rowland Weinstein has confrmed that this work is recorded in the

Bauer archives.


48

l232

KURT SCHWITTERS (1887-1948)

Mz 193

signed with the initials, dated and inscribed ‘Mz 193 K Sch.21.’

(on the artist’s mount)

fabric, netting and paper collage on paper attached to the artist’s

window mount

image: 6 x 4 æ in. (15.3 x 12.1 cm.)

artist’s window mount: 10 º x 8 ¡ in. (26 x 21.3 cm.)

Executed in 1921

£120,000-180,000 $190,000-280,000

€160,000-230,000

PROVENANCE:

Galerie Der Sturm, Berlin, 1921.

(possibly) Rudolf Ebach, Barmen, acquired from the above.

Heinz Rasch, Germany, and thence by descent.

EXHIBITED:

Berlin, Galerie Der Sturm, 96. Ausstellung, Kurt Schwitters, Merzbilder,

Merzzeichnungen, Gesamtschau, April 1921, no. 58.

LITERATURE:

K. Orchard & I. Schulz, Kurt Schwitters, Catalogue raisonné, vol. 1,

1905-1922, Hanover, 2000, no. 811 (illustrated p. 389).

I felt myself freed and had to shout my jubilation out to the world. Out of

parsimony I took whatever I found to do this, because we were now a poor

country. One can even shout out through refuse, and this is what I did,

nailing and gluing it together. I called it ‘Merz’, it was a prayer about the

victorious end of the war, victorious as once again peace had won in the

end; everything had broken down in any case and new things had to be

made out of fragments: and this is Merz. I painted, nailed, glued, composed

poems, and experienced the world in Berlin.

(Kurt Schwitters, 1930, quoted in W. Schmalenbach, Kurt Schwitters,

New York, 1967, p. 96)

One of a series of Merz pictures that Kurts Schwitters exhibited at Herwarth

Walden’s Der Sturm Gallery in Berlin in 1921, Merz 193 is an early Merz

collage made at a time of hyper-infation, revolution and counter-revolution

in Germany following the end of the First World War. In this era of complete

moral, political and fnancial bankruptcy, when paper currency had lost

its value and only food, work or lodging remained commodities of real

value, other than gold or foreign currency, Schwitters, alone in Hannover,

established his own one-man avant-garde and ‘cure’ for the current age

which he declared to be the ‘Merz’ revolution.

‘Merz’, which took its name from a fragment of the words ‘Kommerz

und Privatbank’ was an artistic revolution in which art and life were to be

merged through the ‘business’ of assembling fragments and detritus of

modern life into new glorifed forms and expressions of the triumph of

the human spirit.

‘At the end of 1918 I realized that all values only exist in relationship to

each other and that restriction to a single material is one-sided and small-

minded,’ Schwitters wrote. ‘From this insight I formed Merz, above all as the

sum of individual art forms, Merz painting, Merz poetry.’ (Kurt Schwitters,

Sturmbilderbuch, 1920, cited in J. Elderfeld, Kurt Schwitters, New York,

1985, p. 49)

As Schwitters’ friend and neighbour in Hannover, Kate Steinitz recalled,

during this period Schwitters was frequently to be seen on the streets of

Hannover, ‘a crazy, original genius-character, carelessly dressed, absorbed

in his own thoughts, picking up all sorts of curious stuff in the streets...

always getting down from his bike to pick up some colourful piece of

paper that somebody had thrown away’ (Kate Trauman Steinitz, Kurt

Schwitters A Portrait from Life Berkeley, 1968, p. 68). From these fragments

Schwitters constructed poetic and miraculous constellations that expressed

a new formal language and seemed to hint at a hidden order amongst the

apparent chaos of the times.

‘In poetry, words and sentences are nothing but parts,’ Schwitters explained,

‘their relation to one another is not the customary one of everyday speech,

which after all has a different purpose: to express something. In poetry,

words are torn from their former context, dissociated and brought into

a new artistic context, they become formal parts of the poem, nothing

more’ (Kurt Schwitters, quoted in Elderfeld, op. cit. p. 43). As a work like

Merz 193 with its torn tickets and material fragments of modern daily life

illustrates, the same logic applied to Schwitters revolutionary Merz pictures.


PROPERTY FROM AN IMPORTANT SWISS COLLECTION

*233

PAUL KLEE (1879-1940)

Forellenbach Miniatürartig (Trout Brook Miniature-like)

signed ‘Klee’ (lower right)

watercolour and pen and ink on paper attached to the remnants of the

artist’s mount

sheet: 4 Ω x 9 Ω in. (11.5 x 24 cm.)

Executed in 1916

£80,000-120,000 $130,000-190,000

€110,000-150,000

PROVENANCE:

Dr. Hermann Probst.

Branka Musulin; sale, Stuttgart, Kunstkabinett, 18-20 October 1950, lot 2182.

Galerie d’Art Moderne, Basel.

The Lefevre Gallery (Alex Reid & Lefevre, Ltd.), London.

Herbert Einstein, London.

Lady Nika Hulton, London, by 1955.

Galerie Beyeler, Basel.

Acquired from the above by the present owner.

EXHIBITED:

Munich, Neue Münchner Secession, 1917, no. 99.

Munich, Galerie Neue Kunst Hans Goltz, Paul Klee, May – June 1920, no. 120.

London, The Tate Gallery, Works by Paul Klee from the Collection of Mrs

Edward Hulton, May – June 1955, no. 10; this exhibition later travelled to

Wuppertal, Kunst- und Museumsverein, Rotterdam, Museum Boijmans

van Beuningen, Frankfurt, Kunstverein, Munich, Städtische Galerie im

Lenbachhaus, and Dortmund, Museum am Ostwall.

Munich, Haus der Kunst, Paul Klee, October 1970 - January 1971,

no. 24 (illustrated).

LITERATURE:

M. Brion, Klee, Paris, 1955 (illustrated n.p.)

O. K. Werckmeister, Versuche über Paul Klee, Frankfurt, 1981 (illustrated p. 48).

W. Kersten, Paul Klee, “Zerstörung, der Konstruktion zuliebe?”, Marburg,

1987, p. 50.

S. L. Henry, ‘Paul Klee’s Pictorial Mechanics from Physics to the Picture Plane’,

in Pantheon, vol. 47, 1989, p. 158.

O. K. Werckmeister, The Making of Paul Klee’s Career 1914-1920, London,

1989 (illustrated p. 98).

The Paul Klee Foundation (ed.), Paul Klee, Catalogue raisonné, vol. 2,

1913-1918, Bern, 2000, no. 1668 (illustrated p. 363).


52

*234

PAUL KLEE (1879-1940)

Knappe Schilderung eines Passüberganges

signed ‘Klee’ (lower right); dated, numbered and titled

‘1924 165 Knappe Schilderung eines Passüberganges.’ (on the artist’s mount)

gouache, watercolour and pen and India ink on paper laid down on the

artist’s mount

sheet: 6 æ x 5 ¡ in. (17.3 x 13.8 cm.)

artist’s mount: 9 æ x 7 Ω in. (24.9 x 19 cm.)

Executed in 1924

£70,000-100,000 $120,000-160,000

€89,000-130,000

PROVENANCE:

Private collection, Bern, until 1953.

Galerie Rosengart, Lucerne.

Robert F. Windfohr, Fort Worth, by 1954, and thence by descent to

Anne Burnett Windfohr Tandy, Fort Worth, in October 1964; her sale,

Sotheby’s, New York, 6 November 1981, lot 570.

Brett-Mitchell Collection, Inc., Lyndhurst, Ohio, by whom acquired at the

above sale.

Private collection, Detroit, by whom acquired from the above in April 1982.


EXHIBITED:

Munich, Galerie Neue Kunst (Hans Goltz), Paul Klee, Zweite

Gesamtausstellung 1920-1925, May – June 1925, no. 161.

LITERATURE:

W. Kersten & O. Okuda, Paul Klee, Im Zeichen der Teilung, exh. cat.,

Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1995, p. 351 (illustrated).

The Paul Klee Foundation, (ed.), Paul Klee, Catalogue raisonné, vol. 4,



PROPERTY FROM A DISTINGUISHED BRITISH COLLECTION

l235

KURT SCHWITTERS (1887-1948)

Mz 427. fackern

signed, dated and inscribed ‘K Schwitters 22.Mz 427.fackern.’

(on the artist’s mount)

oil on paper collage on paper attached to the artist’s window mount

sheet: 5 √ x 4 æ in. (15 x 12.1 cm.)

artist’s window mount: 7 ¡ x 5 æ (18.6 x 14.7 cm.)

Executed in 1922

£60,000-80,000 $95,000-130,000

€76,000-100,000

PROVENANCE:

Max Leon Flemming, Hamburg & Berlin, by whom acquired directly from

the artist.

Galerie Rudolf Springer, Berlin, by whom acquired from the above in 1958.

E. & G. Kaplan, London.

Acquired from the above in 1959.

LITERATURE:

K. Orchard & I. Schulz, Kurt Schwitters, Catalogue raisonné, vol. 1, 1905-1922,

Hanover, 2000, no. 1290 (illustrated p. 486).

According to Orchard and Schulz, the indistinct inscription in the lower

left probably reads ‘Für Herrn Konsul Flemming’, a written dedication

from the artist to his patron, the Hamburg merchant who was one of

the most important collectors of modern art in Germany at that time.

The technique that Schwitters has employed of engraving his signature

and subsequently shading it seems to be unique in the artist’s oeuvre.


54

PROPERTY FROM A PRIVATE COLLECTION

236

PAUL KLEE (1879-1940)

Frisst aus der Hand “Zweite Fassung” (Eats out of the Hand “Second Version”)

signed ‘Klee’ (upper left); dated, numbered and inscribed

‘1920/171 Frisst aus d. Hand “Zweite Fassung”’ (on the artist’s mount)

oil transfer drawing and watercolour on paper attached to the artist’s mount

sheet: 12 x 9 Ω in. (30.4 x 24 cm.)

artist’s mount: 15 æ x 12 æ in. (40.1 x 32.5 cm.)

Executed in 1920

£100,000-150,000 $160,000-240,000

€130,000-190,000

PROVENANCE:

Lily Klee, Bern, from 1940 to 1946.

Klee-Gesellschaft, Bern, from 1946 to 1947.

Karl Nierendorf, Cologne, Berlin & New York, 1947.

Galerie Feilchenfeldt, Zurich.


EXHIBITED:

Berlin, Nationalgalerie, Kronprinzenpalais, Paul Klee, February 1923 (n.n.).

London, The Tate Gallery, Paul Klee, December 1945 – February 1946, no. 41.

Wuppertal, Kunst- und Museumsverein, Paul Klee, January – February 1956,

no. 20.

Bern, Kunstmuseum, Paul Klee, August – November 1956, no. 439.

Hamburg, Kunsthalle, Paul Klee, December 1956 – January 1957, no. 96.

Brussels, Palais des Beaux Arts, Paul Klee, March – May 1957, no. 26.

Cologne, Kunsthalle, Weltkunst aus Privatbesitz, May – August 1968, no. G8.

LITERATURE:

J. Glaesemer, Paul Klee, Handzeichnungen I, Kindheit bis 1920, Bern, 1973,

pp. 259-260 (illustrated).



This is Paul Klee’s ‘second version’ of the work currently in the Heinz

Berggruen collection in Berlin (PKS 2350). There is a related pencil

drawing in the Paul-Klee-Stiftung (PKS 2392).


56


l*237

WASSILY KANDINSKY (1866-1944)

Der kleine Punkt

signed with the monogram and dated ‘39’ (lower left)

gouache on black paper

15 x 19 º in. (38 x 48.5 cm.)

Executed in February 1939

£150,000-200,000 $240,000-310,000

€190,000-250,000

PROVENANCE:

Nina Kandinsky, Paris.

Galerie Maeght, Paris.

Private Collection, Geneva.

Anonymous sale, Sotheby’s, London, 3 December 1980, lot 157a.

Galerie Thomas, Munich.

Acquired from the above by the present owner in July 2009.

EXHIBITED:

Paris, Galerie Maeght, Kandinsky, Aquarelles et gouaches, Collection privée

de Madame W. Kandinsky, September – November 1957, no. 42.

Cologne, Wallraf-Richartz-Museum, Kandinsky, September – November 1958,

no. 91.

Nantes, Musée des Beaux-Arts, Aquarelles et gouaches de W. Kandinsky,

April – May 1959, no. 26.

LITERATURE:

J. Cassou, Wassily Kandinsky, Interférences, Aquarelles et dessins, Paris,

1960, pp. 21 & 50 (illustrated).

H.K. Röthel, Kandinsky, Das graphische Werk, Cologne, 1970, no. 50

(illustrated n.p.).

V. Endicott Barnett, Kandinsky, Watercolours, Catalogue raisonné, vol. II,

1922-1944, London, 1994, no. 1251 (illustrated p. 457).

Der kleine Punkt is one of a number of gouaches on black paper that

Wassily Kandinsky created during his last years in Paris. Executed in

February 1939, a time of immense uncertainty and tension, as Europe

moved closer towards war, Der kleine Punkt reveals nothing of the angst

and hardships that Kandinsky and his wife, Nina, experienced while living

in Neuilly-sur-Seine, outside Paris at this time. Instead, this work presents

the artist revelling in his unique, abstract language of forms that he had

created throughout his career. With thin lines, the variety of forms in Der

kleine Punkt appears weightless, foating against the black background. A

sense of lightness pervades as forms are delicately balanced on top of one

another. The fnely applied, bright colours appear all the more luminous

against the black background; the little, white dot, to which the title Der

kleine Punkt alludes, resonates in the very centre of the image, acting as a

point of stasis around which the foating forms are arrayed.

In contrast to the rigid, geometric structure and straight lines of Kandinsky’s

Bauhaus abstract works, Der kleine Punkt exemplifes the increasingly lyrical,

and often organic-based nature of the artist’s Parisian works. The crescent

shapes suggest semi-eclipsed moons, while the planes of individual,

coloured dots also appear to have an organic, natural quality. Throughout

the 1930s, Kandinsky had become interested in the similarities between

the structures in art and in nature, becoming fascinated by the biomorphic

and stylised forms of molecular biology for example, which were themselves

simultaneously abstract and fgurative. His interest in the microscopic

analysis of these forms is illustrated in an essay he wrote in 1935, entitled

‘Two Directions’, in which he describes an ‘internal eye’, that ‘penetrates

the hard shell, the external ‘form’, goes deep into the object and lets us feel

with all out senses its internal ‘pulse’.’ (W. Kandinsky, ‘Two Directions’, in K.

C. Lindsay and P. Vergo (eds.), Kandinsky: Complete Writings on Art, Paris,

1982, p. 777). The minute detail of the lines and coloured dots in Der kleine

Punkt is illustrative of the new organic, pictorial vocabulary that Kandinsky

had introduced into his work of the time, demonstrating, with exquisite

detail, the internal ‘pulse’ and rhythm of his carefully chosen pictorial forms.


58

THE PROPERTY OF A SWISS PRIVATE COLLECTOR

*238

PAUL KLEE (1879-1940)

Entspringendes Kind I (Child Running Away I)

signed ‘Klee’ (upper centre); dated, numbered and inscribed

‘1926 G 6 entspringendes Kind I’ (on the artist’s mount)

pencil on squared paper attached to the artist’s mount

sheet: 8 Ω x 6 in. (21.7 x 15.1 cm.)

artist’s mount: 11 ¡ x 9 ¿ in. (28.8 x 23.2 cm.)

Drawn in 1926

£20,000-30,000 $32,000-47,000

€26,000-38,000

PROVENANCE:

Acquired by the grandfather of the present owner, and thence by descent.

EXHIBITED:

Kamakura, The Museum of Modern Art, Paul Klee and His Travels, February –

March 2002, no. 148, p. 247 (illustrated p. 127); travelling exhibition.

(probably) Bern, Zentrum, Paul Klee, Die Tunisreise 1914, Paul Klee, August

Macke, Louis Moilliet, March – June 2014.

LITERATURE:

W. Grohmann, Paul Klee, Handzeichnungen 1921-1930, Berlin, 1934, no. 88.




59

239

PAUL KLEE (1879-1940)

Klein und Gross (Small and Large)

signed ‘Klee’ (lower right); dated, numbered and inscribed

‘1929 E.4.Klein und Gross’ (on the artist’s mount)

reed pen and ink on paper

sheet: 17 æ x 12 in. (45.1 x 30.4 cm.)

artist’s mount: 21 ¬ x 14 ¡ in. (55 x 36.5 cm.)

Drawn in 1929

£40,000-60,000 $63,000-94,000

€51,000-76,000

PROVENANCE:

Werner Allenbach, Bern.

Berggruen & Cie, Paris, by whom acquired from the above in 1958.

Anonymous sale, Sotheby’s, London, 28 March 1973, lot 142.

Waddington Galleries Ltd., London.


EXHIBITED:

Washington, The Obelisk Gallery, Paul Klee, March – April 1962, no. 15.

LITERATURE:

W. Grohmann, Paul Klee, Handzeichnungen 1921-1930, Berlin, 1934, no. 77.

The Paul Klee Foundation (ed.), Paul Klee, Catalogue raisonné, vol. V,



60

PROPERTY FROM A PRIVATE COLLECTION

240

PAUL KLEE (1879-1940)

Geister des Theaters (Spirits of the Theatre)

signed ‘Klee’ (upper right); dated, numbered and inscribed

‘1939 J 19 Geister des Theaters’ (on the artist’s mount)

watercolour on paper attached to the artist’s mount

sheet: 10 ¬ x 8 º in. (27 x 21 cm.)

artist’s mount: 16 æ x 12 Ω in. (42.8 x 31.8 cm.)

Executed in 1939

£50,000-70,000 $79,000-110,000

€64,000-88,000

PROVENANCE:



Karl Nierendorf, Cologne, Berlin & New York, by 1947.


EXHIBITED:

Wuppertal, Kunst- und Museumsverein, Paul Klee, January - February 1956,

no. 76.

Hamburg, Kunsthalle, Paul Klee, February 1956 – January 1957, no. 357.

Cologne, Kunsthalle, Weltkunst aus Privatbesitz, May – August 1968, no. 31.

Munich, Haus der Kunst, Paul Klee, October 1970 – January 1971, no. 243.

Munich, Haus der Kunst, Elan Vital oder das Auge des Eros, May – August 1994,


LITERATURE:

C. Kröll, Die Bildtitel Paul Klees, Eine Studie zur Beziehung von Bild und

Sprache in der Kunst des zwanzigsten Jahrhunderts, dissertation, Bonn,

1968, p. 36.

The Paul Klee Foundation (ed.), Paul Klee, Catalogue raisonné, vol. 8, 1939,

Bern, 2004, no. 7783 (illustrated p. 65).


61

PROPERTY FROM A PRIVATE GERMAN COLLECTION

241

PAUL KLEE (1879-1940)

Will zu Schiff

signed ‘Klee’ (upper left); dated, numbered and inscribed

‘1939 x 17 Will zu Schiff’ (on the artists’s mount)

watercolor on paper attached to the artist’s mount

sheet: 19 æ x 14 in. (50 x 35.5 cm)

artist’s mount: 25 æ x 19 √ in. (65.5 x 50.3 cm)

Executed in 1939

£70,000-100,000 $120,000-160,000

€89,000-130,000

PROVENANCE:



Felix Klee, Bern, from 1953 to 1964.

Galerie Beyeler, Basel.


EXHIBITED:

Düsseldorf, Hetjens-Museum, Späte Werke von Paul Klee, Leihgaben der

Paul-Klee-Gesellschaft, Bern, November – December 1948, no. 16; this

exhibition later travelled to Mannheim, Kunsthalle and Freiburg, Kunstverein.

St. Gallen, Kunstmuseum, Klee, Werke aus dem Familienbesitz,

January – March 1955, no. 324.

Amsterdam, Stedelijk Museum, Paul Klee, September – November 1963, no. 100.

Basel, Galerie Beyeler, Klee, Spätwerke, June – August 1965, no. 27

(illustrated).

LITERATURE:

G. di San Lazzaro, Klee, La vie et l’oeuvre, Paris, 1957 (illustrated).

S. Cordulack, ‘Navigating Klee’, in Pantheon, vol. 56, 1998, p.151.

The Paul Klee Foundation (ed.), Paul Klee, Catalogue raisonné, vol. 8, 1939,

Bern, 2004, no. 8041 (illustrated p. 175).


62

l*242

WASSILY KANDINSKY (1866-1944)

Stufen (Steps)

signed with the monogram and dated ‘30’ (lower left); signed, dated,

numbered and inscribed ‘No.373/1930 - “Stufen” = Marches à Madame

M.Vauret comme souvenir au Mars 1930 à la “Galerie de France”,

sincerement, Kandinsky’ (on the back of the artist’s mount)

gouache and watercolour on blue paper attached to the artist’s mount

7 ¬ x 11 ¿ in. (19.5 x 28.2 cm.)

Executed in March 1930

£250,000-350,000 $400,000-550,000

€320,000-440,000

PROVENANCE:

Mme Vauret, Paris, a gift from the artist in 1930.

Pierre Matisse Gallery, New York.

Private collection, New York.

Private collection, Switzerland.


LITERATURE:

V. Endicott Barnett, Kandinsky, Watercolours, Catalogue raisonné, vol. 2,

1922-1944, London, 1994, no. 965, p. 275.

V. Endicott Barnett, Kandinsky, Drawings, Catalogue raisonné, vol. 2,

Sketchbooks, London, 2007, p. 326 (illustrated p. 249).

Executed in March 1930, Stufen or Steps exemplifes the predominant

traits of Wassily Kandinsky’s work at the Bauhaus. Ordered and precise,

with sharp, distinct lines and forms, Stufen embodies the geometrical form

of abstraction that Kandinsky practiced throughout his time as a teacher

or, ‘Master’, at the Bauhaus, which had moved in 1925, from its original

location in Weimar to a new site in Dessau.

It was during his time at the Bauhaus that Kandinsky’s approach to his art

became increasingly more technical and scientifc, regulated and considered.

In Stufen, rectangles, triangles, regular lines, and a circle are arranged in an

abstract interplay of forms, and colour is confned by the edges of the

various shapes. Central to Kandinsky’s artistic theory was the relationship

between form and colour, and this led him to experiment with the spatial

tensions between geometric shapes. Stufen is, as the title suggests, a study

of the stacked rectangular forms that dominate the composition, placed

on top of one another like steps. The interrelation of forms is further seen

in the juxtaposition of the curved edge of the circle, a form that intrigued

Kandinsky due to its embodiment of ‘the greatest oppositions’, with the

pointed tip of the triangle below it. Kandinsky recorded his theories of this

time in his famous treatise, Punkt und Linie zur Fläche (Point and Line to

Plane). Published in 1926, four years before Stufen was executed, in this

text Kandinsky outlined the function and purpose of art, explaining the

emotive power of the individual elements of picture making. At the same

time, Kandinsky asserted that the principles of artistic construction should

always be counterbalanced by the impulses of the painter’s intuition, fusing

the constructivist aesthetic with creative instinct. In this way, Kandinsky

created a geometrical language that was imbued with a spiritual, mystic

quality that he believed was the defning concept in the creation of art.


64

THE PROPERTY OF AN IMPORTANT TEXAS COLLECTOR

*243

SOPHIE TAEUBER-ARP (1889-1943)

Collage (Etude pour L’Aubette)

stamped with the signature (on the back of the artist’s mount)

watercolour and paper collage on paper attached to the artist’s mount

sheet: 6 ¬ x 2 æ in. (16.3 x 7.1 cm.)

artist’s mount: 12 x 8 Ω in. (30.6 x 21.8 cm.)

Executed in 1928

£8,000-12,000 $13,000-19,000

€11,000-15,000

PROVENANCE:

The artist’s estate (with the stamp and Oeuvre no. ‘1928/24g’).

Galerie Bel’Art, Stockholm.

Galerie 1900-2000, Paris.


The Stiftung Hans Arp und Sophie Taeuber-Arp has confrmed the


According to the Stiftung, the work is part of the ‘Serie de collages

originales’ that Taeuber-Arp executed in the context of the Aubette

in 1928. There are seven known works in the series, numbered from

‘a’ to ‘g’.


65


*244

KAY SAGE (1898-1963)

Design for a Tarot card

with an inscription by André Breton ‘Kay Sage 1941’ (in the sheet margin)

gouache and brush and pen and India ink on paper

image: 9 º x 5 ¡ in. (23.5 x 13.5 cm.)

Executed in 1941

£2,000-3,000 $3,200-4,700

€2,600-3,800

PROVENANCE:

André Breton, Paris.



LITERATURE:

S. Robeson Miller, Kay Sage, The Biographical Chronology and Four Surrealist

One-Act Plays, New York, 2011, p. 41.

This work will be included in the forthcoming Catalogue raisonné

of the Surrealist work of Kay Sage being prepared by

Stephen Robeson Miller.


l*245

ANDRÉ BRETON (1896-1966); VALENTINE HUGO (1887-1968)

Cadavre exquis

colour crayon on black paper

12 Ω x 9 Ω in. (31.5 x 23.7 cm.)

Executed circa 1930

£12,000-18,000 $19,000-28,000

€16,000-23,000

PROVENANCE:


Manou Pouderoux, Paris.





66


*246

KAY SAGE (1898-1963)

Study for The Hidden Letter

signed and dated ‘Kay Sage ‘43’ (lower left)


12 º x 9 √ in. (31 x 25 cm.)

Drawn in 1943

£2,000-3,000 $3,200-4,700

€2,600-3,800

PROVENANCE:




EXHIBITED:

Milan, Palazzo Reale, The Other Half of the Avant-Garde, 1910-1940,

Women Painters and Sculptors in Historical Avant-Garde Movements,

February – April 1980; this exhibition later travelled to Stockholm, Kulturhuset.

LITERATURE:

D. Hare (ed.), VVV Magazine, New York, March 1943, nos. 2-3


J. Marcel, The History of Surrealist Painting, New York, 1960 (illustrated p. 310).

S. Robeson Miller, Illustrated Catalogue Raisonné of the Surrealist Art of Kay

Sage, Washington D.C., 1983, (microflm reels nos. 2996-2888.)

J. D. Suther, A House of Her Own, Kay Sage, Solitary Surrealist, Lincoln,

1997 (illustrated).

S. Robeson Miller, Kay Sage, The Biographical Chronology and Four Surrealist

One-Act Plays, New York, 2011, p. 47.

This work will be included in the forthcoming Catalogue raisonné of the

Surrealist work of Kay Sage being prepared by Stephen Robeson Miller.


67


l*247

FRANCIS PICABIA (1879-1953)

What men have on their minds

signed ‘Francis Picabia’ (lower left)

black crayon on paper

12 ¿ x 8 √ in. (30.7 x 22.5 cm.)

Drawn circa 1928-1929

£12,000-18,000 $19,000-28,000

€16,000-23,000

PROVENANCE:

Pierre Mabille, Antibes.

Galerie Schmela, Dusseldorf.

Private collection, by whom acquired from the above in 1978; sale,

Christie’s, London, 5 February 2009, lot 149.

Acquired from the above sale by the present owner.

This work is sold with a photo-certifcate from the Comité Picabia.

type=external_link&url=http://www.christies.com/LotFinder/lot_details_proxy.aspx?saleroom=CSK&sale=10335&lot=0201

type=external_link&url=http://www.christies.com/LotFinder/lot_details_proxy.aspx?saleroom=CSK&sale=5206&lot=0013

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68

l248

JOAN MIRÓ (1893-1983)

Portrait de Nené

signed, dated and inscribed ‘a Nené, afectuosamente Miró.25/X.78.’ (within

the composition)

felt-tip pen on the frontispiece of an exhibition catalogue

11 ¬ x 7 √ in. (29.5 x 20 cm.)

Executed on 25 October 1978

£20,000-30,000 $32,000-47,000

€26,000-38,000

PROVENANCE:

A gift from the artist to the present owner in 1978.

ADOM (Association pour la défense de l’oeuvre de Joan Miró) has




l*249

JOAN MIRÓ (1893-1983)

Personnages

signed ‘Miró’ (lower right); dated and titled ‘24 II.79 Personnages’

(on the reverse)

wax crayon, charcoal and frottage on paper

34 ¬ x 26 æ in. (88 x 68 cm.)

Executed on 24 February 1979

£50,000-70,000 $79,000-110,000

€64,000-88,000

PROVENANCE:

Private collection, France; sale; Christie’s, London, 27 June 2002, lot 412.

Anonymous sale, Christie’s, New York, 4 November 2010, lot 148.


ADOM (Association pour la défense de l’oeuvre de Joan Miró) has



70

l*250

JOAN MIRÓ (1893-1983)

Personnage, oiseau

signed ‘Miró’ (lower right); inscribed and dated

‘16/VIII/75. Personnage, oiseau’ (on the reverse)

gouache, brush and India ink and wax crayon on creased paper

47 º x 31 Ω in. (120 x 80 cm.)

Executed on 16 August 1975

£500,000-800,000 $790,000-1,300,000

€640,000-1,000,000

PROVENANCE:

Galerie Maeght, Paris.

Acquired from the above in the 1980s; sale, Christie’s, New York,

2 November 2005, lot 231.


EXHIBITED:

Fondation Maeght, Saint-Paul de Vence, Joan Miró, 1956-1979,

July – September 1979, no. 82, p. 176.

LITERATURE:

J. Dupin & A. Lelong-Mainaud, Joan Miró, Catalogue raisonné, Drawings,

vol. IV, 1973-1976, Paris, 2013, no. 2754 (illustrated p. 184).

Executed in 1975, Personnage, oiseau displays the sense of urgency

and the buoyant creativity that characterised Joan Miró’s enthusiastic

embracement of drawing towards the end of his career. Conjuring

the presence of two of Miró’s most recurrent themes – a fantastical

‘character’ and a bird – the drawing combines enveloping, black

gestural brushstrokes and vibrant, colourful notes of colour. A few

months before executing Personnage, oiseau, Miró had completed a

vast painting for the ceiling of the newly built Miró Foundation. Over

six meters wide, that composition expressed a very similar artistic

idea to that of Personnage, oiseau, uniting explosive, sweeping black

brushstrokes to areas of vivid yellow, red, green and blue. Composed

only three months later, Personnage, oiseau seems to present a more

intimate, diverse rendition of the artistic ambition that had been at the

core of Miró’s last mural.

In the years that followed Personnage, oiseau, drawings acquired more

and more importance in Miró’s artistic production. Commenting on

the period, Miró’s friend and authority Jacques Dupin would describe

the atmosphere from which drawings such as Personnage, oiseau

emerged as follows: ‘The room was furnished with little more than a

board laid across two trestles, a stool, and a sofa. Miró’s tools were

pencils, brushes, ink, several tubes of paint and reams of paper placed

on the sofa. These were Miró’s last years: drawing, drawing without

end, drawing to hold on. Miró’s surfaces became any paper beneath

his hand: letters, envelopes, junk mail, wrapping paper, newspaper,

cardboard boxes, along with fne paper from Auvergne, Japan, China or

Madagascar. Miró’s voracious appetite for paper, and his accompanying

drawing frenzy were fed by the paper from his mail and from the

kitchen. Hundreds of scattered sheets spelled a fnal, exceptional

moment in Miró’s creative activity’ (J. Dupin, Miró, Paris, 2012, p. 354).


72

l251

SALVADOR DALÍ (1904-1989)

L’Épreuve de l’arc

signed ‘Dalí’ (lower centre); and ‘G Dalí’ (within the composition)

gouache, watercolour and pen and ink on paper

17 æ x 15 ¿ in. (45 x 38.3 cm.)

Executed circa 1970

£80,000-120,000 $130,000-190,000

€110,000-150,000

PROVENANCE:

Acquired directly from the artist, and thence by descent to the present owner.

EXHIBITED:

Turin, Palazzo Bricherasio, Salvador Dal’, la vita è sogno,

November 1996 – March 1997.

Bruges, Stichting Sint-Jan, Salvador Dal’, Doeken & Aquarellen,

July – November 1997, no. 57 (illustrated p. 135).

From the frescos in the Library of the Vatican showing The Laestrygonians Attacking Ulysses’s Ships dating from

40-30BC, to Henry Moore’s Odyssey from 1944, the story of Odysseus and his long journey home at the end of the

Trojan War has captured the imagination of artists from the ancient world to the present day. Commissioned from

the artist by the family of the present owner in the 1960s, Salvador Dalí’s Odyssey now joins this artistic canon.

The commission for this series closely followed the completion of Dalí’s masterpiece Tuna Fishing (Descharnes

1267; Ile de Bendor, Fondation Paul Ricard), which he completed in the summer of 1967. This painting ‘combined

all the styles he had worked in: Surrealism, “refned Pompierism”, pointillism, action painting, tachism, geometrical

abstraction, Pop art, Op art and psychedelic art’ (R. Descharnes, Salvador Dal’, The Paintings 1904-1989, Cologne,

1994, p. 567).

Indeed the present group of works refects the same formal and conceptual concerns, which the artist himself

described as ‘a revival of representational art, which was underestimated by everyone except the Surrealists

throughout the period of so-called ‘avant-garde’ art’ (Dalí, quoted in op.cit.).

Throughout his career, Dalí executed illustrations for editions of classical literature, including Don Quixotte, The

Divine Comedy and Macbeth. However unlike these, his Odyssey has remained a private commission and has

not been published. Thus this group of works offers new and exceptional insight into Dalí’s original and fecund

relationship with classical and literary tradition, and his constant search for an avant-garde re-interpretation of

myths and iconographies.

Salvador Dalíís

Odyssey

Property from a Private European Collection


Salvador Dalíís Odyssey

74

l252


Leucothea

signed ‘G. Salvador Dalí’ (lower centre)

watercolour, colour pencil and pen and ink on paper

17 æ x 15 º in. (45.1 x 38.6 cm.)

Executed circa 1970

£100,000-150,000 $160,000-230,000

€130,000-190,000

PROVENANCE:


EXHIBITED:





Augsburg, Römisches Museum, Dalí, Mara e Beppe, Bilder einer

Freundschaft, September – November 2000.



76

l253


Argos

signed and dated ‘Dalí 1970’ (lower left)

gouache, watercolour, colour pencil and pen and ink on paper

17 æ x 15 º in. (45 x 38.8 cm.)

Executed in 1970

£80,000-120,000 $130,000-190,000

€110,000-150,000

PROVENANCE:


EXHIBITED:





77

l254


Scylla et Charybde

signed and dated ‘Dalí 1970’ (upper centre)


17 æ x 15 º in. (45 x 38.6 cm.)

Executed in 1970

£80,000-120,000 $130,000-190,000

€110,000-150,000

PROVENANCE:


EXHIBITED:









78

l255


Le Bain

signed and dated ‘Dalí 1968’ (lower left)


22 ¿ x 30 ¿ in. (56.3 x 76.4 cm.)

Executed in 1968

£100,000-150,000 $160,000-230,000

€130,000-190,000

PROVENANCE:


EXHIBITED:



Augsburg, Römisches Museum, Dalí, Mara e Beppe, Bilder einer Freundschaft,

September – November 2000.



80

l256


Circe

signed and dated ‘Dalí 1970’ (upper right)

watercolour, colour pencil, pen and India ink on paper

17 æ x 15 º in. (45 x 38.8 cm.)

Executed in 1970

£70,000-100,000 $110,000-160,000

€90,000-130,000

PROVENANCE:


EXHIBITED:





81

l257


Nausicaa

signed ‘Dalí’ (lower right)

gouache, watercolour, colour pencil and pen and ink on paper

17 æ x 15 º in. (45 x 38.8 cm.)

Executed circa 1970

£70,000-100,000 $110,000-160,000

€90,000-130,000

PROVENANCE:


EXHIBITED:





82

l*258

JOAN MIRÓ (1893-1983)

Graphisme concret

signed ‘Miró’ (lower right); signed again, dated and titled

‘Miró 1952 Graphisme concret’ (on the reverse)

watercolour, brush and pen and India ink on paper

28 Ω x 39 ¡ in. (72.3 x 100 cm.)

Executed in 1952

£280,000-350,000 $450,000-550,000

€360,000-440,000

PROVENANCE:

Pierre Matisse Gallery, New York.

Acquavella Galleries, New York.

Anonymous sale, Christie’s, New York, 5 November 2003, lot 128.

Acquired from the above by the previous owner.

EXHIBITED:

Yokohama, Yokohama Museum of Art, Joan Miró, Centennial Exhibition,

The Pierre Matisse Collection, January – March 1992, no. 69 (illustrated p. 105).

LITERATURE:

J. Dupin and A. Lelong-Mainaud, Joan Miró, Catalogue raisonné, Drawings,

vol. II, 1938-1959, Paris, 2010, no. 1280 (illustrated p. 226).

Executed in 1952, the present drawing belongs to a series of works

Miró enigmatically titled ‘graphisme concret’. Commenting on the

group, the artist’s friend and authority Jacques Dupin explained: ‘From

1951 to 1953, nearly all of Miró’s drawings are entitled “graphisme

concret” (concrete graphics/handwriting). I never was able to obtain

from the painter a clear explanation of this title. For him, the term

concret allowed for the exclusion and condemnation of the word

abstrait (abstract), which people tended to associate with him and which

infuriated him. He forcefully and steadfastly insisted on beginning from

the real and ending with the real. But I do not why, for three years

beginning in 1951, he insisted on qualifying his drawings as graphisme

concrets. Nothing seemingly distinguishes them from his early works

or those that followed. Miró always avoided giving me the key, all the

while maintaining this label’ (J. Dupin, Joan Miró: Catalogue raisonné.

Drawings, vol. II 1938-1959, 2010, p. 10).

Humorous and irreverent, Graphisme concret expresses Joan Miró’s

spontaneous, eclectic style of the 1950s. Combining a sort of personal

calligraphic poem with what resembles the playful doodle of a naughty

student, the work is injected with a captivating sense of self-irony.

In its form, it expresses both Miró’s deeply fascination for the art of

calligraphy and his amused surrender to the innocent directness of a

child’s drawing. In Graphisme concret, the solemn smoothness of the

broad brushstrokes is disrupted by the comical, mischievous passage

of a pen. In the 1960s, Miró would repeat such irreverent attack onto

one of his most prestigious works: in a radical gesture, the artist would

overdraw a cartoonish head over a meticulous, minute self-portrait he

had executed in the late 1930s (Self-Portrait, 1937/38-1960, Fundació

Joan Miró, Barcelona).


84

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

l259


Dessin érotique

signed and inscribed ‘Dalí pour mon grad ami Albaretto’ (sic; lower right)

ball-point pen on paper

6 Ω x 4 æ in. (16.4 x 12 cm.)

Drawn circa 1960

£4,000-6,000 $6,300-9,400

€5,100-7,600

PROVENANCE:


EXHIBITED:




l260


Dessin érotique

signed and dated ‘Dalí 1960’ (centre right); inscribed

‘Amigo founiseur extraordinaire de uris durolong’ (sic; lower centre)

ball-point pen on paper

6 æ x 4 æ in. (16.2 x 12.1 cm.)

Drawn in 1960

£5,000-7,000 $7,900-11,000

€6,400-8,800

PROVENANCE:


EXHIBITED:



Augsburg, Römisches Museum, Dal’, Mara e Beppe, Bilder einer




85


l261


Etude pour La pêche au thons


gouache and watercolour on card

8 ¡ x 17 in. (21.3 x 43 cm.)

Executed in 1966

£60,000-80,000 $95,000-130,000

€76,000-100,000

PROVENANCE:


EXHIBITED:



Augsburg, Römisches Museum, Dal’, Mara e Beppe, Bilder einer


This work is a study for the oil La pêche au thons, 1966-1967 a

monumental canvas widely regarded as one of the artist’s great late

masterpieces (Descharnes no. 1272; Fondation Paul Ricard). Dalí

dedicated it to Jean-Louis-Ernest Meissonier, a nineteenth century

French Academic painter, who specialized in monumental battle scenes.

The work’s subject derives from Dalí’s fascination with the myth of

the Dioscuri, and draws on a rich repertoire of references ranging

from ancient and classical art, such as Théodore Géricault’s The Raft

of Medusa, 1818-1819 (Musée de Louvre) through to stories about

the bloody tuna fshing in the Mediterranean Dalí heard as a child.

“It is the most ambitious picture I have ever painted. It is a revival of

representational art, which synthesizes virtually every artistic style into

one formidable canvas: realism, abstraction, pop-art, op-art, cubism,

surrealism. […] All those fsh and all the people busy killing them are

personifcations of the fnite universe – that is to say, all the components

of the picture achieve a maximum of hyper-aesthetic energy in it” (ibid.

p. 567 – 577). The painting’s epic subject, hyper-realist aesthetic and

alarming energy represented for the artist a quintessential view of the

universe, defned by coexistence of mysticism and modern science,

physics and metaphysics.


86

PROPERTY FROM A

PRIVATE EUROPEAN COLLECTION

l263


Première idée pour Le Twist

signed, dated and inscribed ‘première idee pour

le Twist Pour mon Ami Albaretto Hommage

Salvador Dalí 1962’ (within the composition)

red ball-point pen and colour pencil on

printed paper

7 º x 5 Ω in. (18.6 x 13.9 cm.)

Executed in 1962

£5,000-7,000 $7,900-11,000

€6,400-8,800

PROVENANCE:

Acquired directly from the artist, and thence by

descent to the present owner.

PROPERTY FROM A

PRIVATE EUROPEAN COLLECTION

l262


Souvenir du satyre

signed, dated and inscribed ‘Pour Albaretto avec

toute l’Amitié de Dalí 1962’ (on the left page);

inscribed ‘Subenir du satire qui viola la petite flle

de ier Soir’ (sic; on the right page)

ball-point pen across two pages of a book

12 x 19 º in. (30 x 49 cm.)

Drawn in 1962

£4,000-6,000 $6,300-9,400

€5,100-7,600

PROVENANCE:

Acquired directly from the artist,

and thence by descent to the present owner.



87

264

ALBERTO GIACOMETTI (1901-1966)

Tête d’homme et femme debout

blue ballpoint pen on joined buff paper

5 x 4 in. (12.8 x 10 cm.)

£18,000-25,000 $29,000-39,000

€23,000-32,000

PROVENANCE:

Galerie P.Y. Gabus, Geneva.

Private Collection, by whom acquired from the above;

sale, Christie’s, London, 23 June 2005, lot 458.


LITERATURE:

The Fondation Alberto et Annette Giacometti Database no. AGD 810.

The Association Alberto et Annette Giacometti Database.


88

PROPERTY FROM AN IMPORTANT COLLECTION

*265

PIERRE-AUGUSTE RENOIR (1841-1919)

Portrait de Madame Renoir

sanguine on paper

11 √ x 11 æ in. (30.2 x 30.1 cm.)

Drawn circa 1885

£12,000-18,000 $19,000-28,000

€16,000-23,000

PROVENANCE:

Jean Renoir, Paris.

Galerie Renou et Poyet, Paris.

Marcel Guérin, Paris.

Anonymous sale, Hôtel Drouot, Paris, 9 December 1932, lot 64.

Pasadena Art Museum; their sale, Sotheby’s, London, 22 April 1971, lot 24.

Mrs H. Bier.

Arthur Kauffman, London.

Ian Woodner, New York, by whom acquired from the above in July 1972.

Acquired from the above; sale, Christie’s, New York, 7 November 2008, lot 530.


LITERATURE:

G.-P. & M. Dauberville, Catalogue raisonné des tableaux, pastels, dessins,

et aquarelles, vol. II, 1882-1894, Paris, 2009, no. 1543, p. 526 (illustrated).


89

266

GUSTAV KLIMT (1862-1918)

Liegende Frau

with the Nachlass stamp (Lugt 1575; lower right, faded)

red crayon on simili Japan paper

13 æ x 21 √ in. (35.1 x 55.6 cm.)

Drawn in 1914-1915

£30,000-50,000 $48,000-79,000

€38,000-63,000

PROVENANCE:


Anonymous sale, Karl und Faber, Munich, 28-29 November 1975, lot 1106.

Anonymous sale, Sotheby’s, London, 7 December 1983, lot 322a.

LITERATURE:

A. Strobl, Gustav Klimt, Die Zeichnungen, 1912-1918, Salzburg, 1984,

no. 2397 (illustrated p. 69).


90

*267

EDGAR DEGAS (1834-1917)

Femme nue assise

stamped with the signature ‘Degas’ (lower left; Lugt 658); with the atelier

stamp (on the reverse; Lugt 657bis)

charcoal on tracing paper laid down on board

43 º x 31 º in. (109.9 x 79.4 cm.)

Executed in 1899

£100,000-150,000 $160,000-230,000

€130,000-190,000

PROVENANCE:

The artist’s estate; third sale, Galerie Georges Petit, Paris, 7-9 April 1919,

lot 292 (illustrated p. 215).

Gustav Knauer, Berlin.

W. H. Koenenkamp, by 1954, and thence by descent.

Private collection, acquired from the above circa 1960, and thence by

descent; their sale, Christie’s, New York, 10 May 2007, lot 116.


In the last two decades of his career, Degas’ depictions of bathers were

among his favourite subjects, second only in frequency to his studies of

dancers. Both series enabled the artist to evoke the expressiveness of the

human fgure and specifcally to render the female body in a variety of

poses and environments, from public performances on stage to private

moments after the bath.

The theme of women at their toilette appealed to Degas as both an

opportunity to engage in methodical studies of an individual subject

and an occasion to present distinctly modern women in domestic

environments. This work exemplifes a statement made in 1886 by art

critic Théodore Duret, who wrote that Degas ‘has found new situations

for the nude, in interiors, among rich fabrics and cushioned furniture. He

has no goddesses to offer, none of the legendary heroines of tradition,

but the woman as she is, occupied with her ordinary habits of life or

of the Toilette...’ (quoted in R. Kendall, Degas: Beyond Impressionism,

exh. cat., The Art Institute of Chicago, 1996, p. 150).

The present drawing serves as a study for the pastel, Femme s’essuyant,

1899 (Lemoisne no. 1342). In both works the woman is captured in a

seemingly undisturbed moment of solitude, leaning forward with her

left arm raised as she wraps her other arm around her mid-section

to towel off after a bath. She gazes downward, her upswept hair

accentuating the nape of her neck, creating a sinuous line down her

slightly curved back. The present work is also closely related to two other

pastels (Lemoisne nos. 1341 & 1343) of women drying off after a bath,

where Degas plays with the highlights along their backs and translates

the sensual movement of the bather manoeuvring the towel across her

body, cropping the composition with the bathtub in the background.


92


*268


Zwei liegende Mädchen

with the Nachlass stamp (lower left; faded)

pencil on simili Japan paper

12 Ω x 22 Ω in. (31.7 x 57 cm.)

Drawn circa 1905-1906

£40,000-60,000 $63,000-94,000

€51,000-76,000

PROVENANCE:

Mr Mario Tazzoli.

Private collection, by whom acquired from the above in the 1960s;

his sale, Christie’s, London, 5 February 2008, lot 552.


Dr Marian Bisanz-Prakken has confrmed the authenticity of this

work, which will be included in her forthcoming addition to the Klimt

Catalogue raisonné.

The present drawing probably belongs to the group of studies which

Klimt made for Wasserschlangen II. These studies (Strobl nos. 1510-

1518) have been dated by Alice Strobl 1905-1906.


93


*269


Rückenhalbakt nach links

with the Nachlass stamp (lower right)

pencil on paper

22 x 14 ¡ in. (56 x 36.6 cm.)

Drawn in 1913

£30,000-50,000 $47,000-78,000

€39,000-64,000

PROVENANCE:


Anonymous sale, Neumeister, Munich, 17 September 1986, lot 854.

Private collection, Vienna.

Private collection, Italy, by whom acquired from the above circa 1988; sale,

Sotheby’s, London, 26 June 2008, lot 111.


LITERATURE:

‘Rückblick 1986’ in Beilage zur Weltkunst, vol. 57, no.2, 15 January 1987

(illustrated).

A. Strobl, Gustav Klimt, Die Zeichnungen, vol. IV, Nachtrag, 1878-1918,

Salzburg, 1989, no. 3656, p. 178 (illustrated p. 179).


94

l*270

HENRI MATISSE (1869-1954)

Femme endormi

signed and dated ‘Henri Matisse oct.1932’ (lower right)

pencil on paper

12 æ x 9 √ in. (32.5 x 25.2 cm.)

Drawn in Nice in October 1932

£80,000-120,000 $130,000-190,000

€110,000-150,000

PROVENANCE:

William H. Schab Gallery, New York.

Samuel C. Karlan, New York, by whom acquired from the above in 1965,

and thence by descent; sale, Sotheby’s, New York, 7 November 2012, lot 235.


EXHIBITED:

New York, William H. Schab Gallery, Six Centuries of Graphic Arts, Prints &

Drawings by Great Masters, 1965, no. 187, p.186 (illustrated p. 187).

Mathildenhöhe, Stadt Darmstadt, 3. Internationale der Zeichnung, 1970,


Wanda de Guébriant has confrmed the authenticity of this work.


96

l*271


Tête appuyée sur les mains

dated and numbered ‘9.1.62.II’ (upper left)

wax crayon on paper

12 ¬ x 9 Ω in. (32 x 24 cm.)

Drawn on 9 January 1962

£250,000-350,000 $400,000-550,000

€320,000-440,000

PROVENANCE:


Marina Picasso, by descent from the above.



EXHIBITED:

Miami, Centre for the Fine Arts, Picasso At Work At Home, Selections from the

Marina Picasso Collection, November 1985 – March 1986 (illustrated p. 138).

LITERATURE:

C. Zervos, Pablo Picasso, vol. 20, Oeuvres de 1961 à 1962, Paris, 1968,

no. 187 (illustrated pl. 92).

A. & M. Glimcher (eds.), Je suis le cahier, The Sketchbooks of Picasso,

London, 1986, no. 166, p. 344 (illustrated).


Sculpture, The Sixties I, 1960-1963, San Francisco, 2002, no. 62-007,


Tête appuyée sur les mains II belongs to a series of three heads Picasso

drew on the 9th of January 1962 and which he carefully dated and

numbered (Zervos, 186-188). Executed in brown wax crayon and bright

primary colours, the series explored the idea of two facing profles

constituting a frontal head. In all three works, Picasso used yellow

and blue to enliven each of the profles, joining them with a red line.

Of the three, Tête appuyée sur les mains II is the one in which Picasso

emphasised the most the idea of the two profles: he mirrored the use

of colour in the two halves and visibly depicted both eyes in profle.

Yet, the pose of the hands, sustaining a single head, help to create

the effect of a double image, in which kissing profles give form to a

frontal portrait. Picasso would later use the drawing as a preparation

for a tapestry.

The almond-shaped eyes and straight nose of Tête appuyée sur les mains

II evoke the striking lineaments of Jacqueline Roque, whom Picasso had

married the previous year and who, from that moment onwards, would

watch over him until his last day. As the previous women in Picasso’s

life had done, Jacqueline’s presence invaded his work. Only in 1962 –

the year Tête appuyée sur les mains II was executed – Picasso painted

seventy portraits of her.

Expressing a vivid interest for the possibility of composing a face out of

two profles, Tête appuyée sur les mains II relates to a series of portraits

of Jacqueline which Picasso started painting just before executing

the drawing: on the 3rd of January the artist began Femme au grand

chapeau (Zervos, 185; The Museum of Fine Arts, Houston) while on

the 4th he simultaneously started composing Buste de femme au

chapeau (Les Dames de Mougins) (Zervos, 180; Private Collection). In

both paintings, Picasso formed the head out of two profles and it is

possible that Tête appuyée sur les mains II and the other related

drawings served Picasso to experiment and develop this idea while

working on the paintings.

In its inclusion of profles in the frontal depiction of a head, Tête

appuyée sur les mains II exemplifes the liberal, candid way in which, in

the 1960s, Picasso incorporated into his works the multiple perspectives

he had frst explored decades earlier with Cubism. In a more immediate

timeframe, however, the drawing may have followed an idea Picasso

could have had the previous year, while working on a series of

découpages, frst executed in paper, then in metal. In three-dimensional

works such as Tête de femme (1961, Fondation Beyeler), for instance,

Picasso had given volume to the head by simply folding a sheet of metal

along the line of the nose, diving the face into two distinct fat profle

plans. Such spatial division of the head might have inspired Picasso to

explore the idea further onto the two-dimensional surface of drawing

and consequently painting. Illustrating Picasso’s restless inventiveness,

Tête appuyée sur les mains II captures the fervour of invention which

Jacqueline’s strong features had inspired in Picasso.


98

PROPERTY FROM A DISTINGUISHED PRIVATE ENGLISH COLLECTION

l272

RAOUL DUFY (1877-1953)

Nu dans l’atelier rouge de Vence

signed ‘Raoul Dufy’ (lower right)


19 æ x 25 √ in. (50.2 x 65.6 cm.)

Executed in 1945

£30,000-50,000 $48,000-79,000

€38,000-63,000

PROVENANCE:

Berthe Reysz (with her collector’s stamp and numbered ‘54’ on the reverse).

Anonymous sale, Christie’s, London, 1 December 1981, lot 327.


LITERATURE:

F. Guillon-Laffaille, Raoul Dufy, Catalogue raisonné des aquarelles, gouaches

et pastels, vol. II, Paris, 1982, no. 1784 (illustrated p. 263).


99

l273


L’Opéra au rideaux rouges

signed and dated ‘Raoul Dufy 1941’ (lower right)


20 x 26 º in. (50.7 x 66.5 cm.)

Executed in 1941

£40,000-70,000 $63,000-110,000

€51,000-88,000

PROVENANCE:

Galerie Louis Carré et Cie., Paris.

Acquired by the family of the present owner in the 1950s.

EXHIBITED:

Brussels, Galerie Manteau, 20 peintures de ma”tres français contemporains,

April 1944.

Charleroi, Cercle Royal Artistique et Littéraire, Hommage à Raoul Dufy,

March – April 1954, no. 11, p. 21.

LITERATURE:





100

l274


Le paddock, Ascot

signed ‘Raoul Dufy’ (lower left)


20 x 26 º in. (51.6 x 66.5 cm.)

£100,000-150,000 $160,000-240,000

€130,000-190,000

PROVENANCE:

Galeries Louis Manteau, Brussels.


EXHIBITED:


March – April 1954, no. 24, p. 22.

Fanny Guillon-Laffaille has confrmed the authenticity of this work.

Dufy’s fascination with horse racing was initially prompted by his

collaboration with the couturier Paul Poiret, who in 1909 commissioned

the artist to design the stationary for his fashion house, and the textile

patterns for its fabrics and garments. Poiret’s signature styles were

famboyantly sported by the ladies attending the races at Deauville,

Longchamp, Chantilly, and of course, the even more fashionable English

race courses at Epsom, Goodwood and Ascot. The designer urged Dufy

to study the elegant silhouettes, fashionable attire and interactions of

the dazzling crowd of spectators, encouraging his interest in society life,

luxury and pleasure.

Dufy was immediately drawn to the exhilarating atmosphere surrounding

the race itself and began to experiment with the subject of horse races as

early as 1913. He executed numerous paintings and watercolours of the

elegant women, dandies and jockeys in the spectator area, the horses

captured in mid-race and of paddock scenes. These works demonstrated

his close attention to detail as well as conveying the special atmosphere

of the racecourses and the luxurious lifestyle of the beau monde.

Dufy became an unwitting chronicler of society by painting these scenes.

Jacques de Laprade wrote that, ‘Dufy portrayed twenty-fve years of our

amusements with the same urbane humour and magnifcent sense of

draughtsmanship’ (M. Brion, Raoul Dufy, London, 1958, p. 18).

With his discovery of Epsom and Ascot during his stays in England in

the 1930s, Dufy’s compositions became more ambitious as he started

depicting the whole course as seen from bird’s-eye view, resulting in

grand, somewhat theatrical compositions, such as the present work. It

was around this time that Dufy started developing his ‘couleur-lumière’

theory - a method that emphasized colour over the shading properties

of black and white and allowed the artist to convey light in a distinct

way. Treating volumes as fat areas of paint and dissociating the outline

of a fgure from the colour that defnes it, Dufy achieved extraordinary

fuency, grace and refnement of composition. The bright colours, vivid

contrasts and subtle tone changes in this paddock scene at Ascot reveal

Dufy’s remarkable ability to convey the vivacious atmosphere that

pervades the spectacle and social event of horse racing.



102

THE PROPERTY OF A EUROPEAN LADY

l275


Avant la pique

signed and dated ‘Picasso 18.12.59.’ (upper right)

brush and ink and wash on paper

9 6/8 x 13 æ in. (24.6 x 34.8 cm.)

Executed on 18 December 1959

£50,000-70,000 $79,000-110,000

€64,000-88,000

PROVENANCE:

Galerie Louise Leiris, Paris (nos. 09258 & 60723).

Galleria Cadario, Milan.


LITERATURE:

J. Sabartés, Picasso, Toreros, New York, 1961, no. 20, p.150 (illustrated pl. 20).




Sculpture, The Fifties II, 1956-1959, San Francisco, 2000, no. 59-325



103


l*276


Cheval

signed and dated ‘Picasso 26.7.67.’ (upper right)

gouache and brush and wash on paper

22 º x 29 6/8 in. (56.3 x 75.4 cm.)

Executed on 26 July 1967

£120,000-180,000 $190,000-280,000

€160,000-230,000

PROVENANCE:

Galerie Louis Leiris, Paris (no. 012309).

Waddington Galleries Ltd., London.

Lucio Amelio.

Anonymous sale, Christie’s, London, 3 February 2010, lot 257.


LITERATURE:

C. Zervos, Pablo Picasso, vol. 27, Oeuvres de 1967 et 1968, Paris, 1973,



Sculpture, The Sixties II, 1964-1967, San Francisco, 2002, no. 67-315



104

l277

MARC CHAGALL (1887-1985)

Esquisse pour La paix pour A. Schick

signed and inscribed ‘Pour A. Schik souvenir Chagall’ (lower right)

watercolour, pastel and pen and India ink on paper

8 æ x 6 ¡ in. (22.2 x 16.2 cm.)

Executed circa 1950

£30,000-50,000 $48,000-79,000

€38,000-63,000

PROVENANCE:

Galerie Natacha, Paris.

Private collection, Paris, by whom acquired from the above in June 1970.

This work is sold with a photo-certifcate from the Comité Marc Chagall.


105

THE PROPERTY OF A HONG KONG COLLECTOR

l*278

MARC CHAGALL (1887-1985)

L’artiste au village

signed and dated ‘Chagall 1981’ (lower right)

brush and India ink and pastel on paper

25 √ x 19 √ in. (65.7 x 50.4 cm.)

Executed in 1981

£30,000-50,000 $48,000-79,000

€38,000-63,000

PROVENANCE:


Anonymous sale, Sotheby’s, 23 May 1990, lot 91.

Acquired by the present owner in 2004.

This work is sold with a photo-certifcate from the Comité Marc Chagall.


106

l*279


Tête appuyée sur la main

dated and numbered ‘7.1.62.III’ (lower left)

wax crayon on paper

12 ¬ x 9 4/8 in. (32 x 24 cm.)


£200,000-300,000 $320,000-470,000

€260,000-380,000

PROVENANCE:





EXHIBITED:


Marina Picasso Collection, November 1985 - March 1986 (illustrated p. 138).

LITERATURE:




London, 1986, no. 166, p. 344.


Sculpture, The Sixties I, 1960-1963, San Francisco, 2002, no. 62-005,



108

l280


Nu couché

signed and dated ‘31 Decembre 1930 Raoul Dufy’ (lower right)


19 √ x 25 √ in. (50.4 x 66 cm.)


£14,000-18,000 $23,000-28,000

€18,000-23,000


PROVENANCE:

Marcel Mabille, Brussels, by 1943.


EXHIBITED:


March – April 1954, no. 27, p. 23.



109

l281


Portrait de Madame Raoul Dufy


gouache on paper

25 1/5 x 19 √ in. (64.8 x 50.5 cm.)

Executed circa 1916

£14,000-18,000 $23,000-28,000

€18,000-23,000

PROVENANCE:


EXHIBITED:

Brussels, Palais des Beaux-Arts, Dufy dans les collections belges, September

1943, no. 30.

Bordeaux, Galerie des Beaux-Arts, Raoul Dufy, April – September 1970.

LITERATURE:

F. Guillon-Laffaille, Raoul Dufy, Catalogue raisonne des aquarelles, gouaches



110

PROPERTY FROM A PRIVATE LONDON COLLECTION

l282


Femme assise

dated and numbered ‘vendredi 13.11.70.III’ (centre left)

pencil on paper

9 Ω x 12 ¬ in. (24 x 32.1 cm.)

Drawn on 13 November 1970

£30,000-50,000 $48,000-79,000

€38,000-63,000

PROVENANCE:

Private Collection, France, a gift from the artist.

Heinz Berggruen, Paris & Berlin, by whom acquired from the above; his sale

[Twenty-six Drawings from the Berggruen Sketchbook], Sotheby’s, London,

9 February 2005, lot 222.


EXHIBITED:

San Francisco, John Berggruen Gallery, Picasso, The Berggruen Album, 2004,





111

PROPERTY FROM AN IMPORTANT SWISS COLLECTION

l*283


Nu couché

dated and numbered ‘20.1.64 VI’ (upper left)

pencil and charcoal on paper

5 ¬ x 8 º in. (13.5 x 21 cm.)


£60,000-80,000 $95,000-130,000

€76,000-100,000

PROVENANCE:



Galerie Jan Krugier, Ditesheim & Cie, Geneva (inv. no. 11423).

Thomas Segal Gallery, Boston.

EXHIBITED:

Munich, Haus der Kunst, Pablo Picasso, Werke aus der Sammlung Marina

Picasso, February - April 1981, no. 274, p. 412; travelling exhibition.


Marina Picasso Collection, November 1985 – March 1986 (illustrated p. 145).

Münster, Graphikmuseum Pablo Picasso, Pablo Picasso, Im Atelier des

Künstlers, August – November 2010 (illustrated p. 191).

LITERATURE:

C. Zervos, Pablo Picasso, vol. 24, Oeuvres de 1964, Paris, 1971, no. 49

(illustrated pl. 14).


London, 1986, no. 173, p. 346.


Sculpture, The Sixties II, 1964-1967, San Francisco, 2002, no. 64-039,



112


l284


La fenêtre ouverte sur la plage



19 æ x 26 in. (50 x 66 cm.)

Executed circa 1923

£20,000-30,000 $32,000-47,000

€26,000-38,000

PROVENANCE:

Marcel Mabille, Brussels, by 1943.


EXHIBITED:

Brussels, Palais des Beaux-Arts, Dufy dans les collections belges,

November 1943, no. 57.

LITERATURE:

F. Guillon-Lafaille, Raoul Dufy, Catalogue raisonné des aquarelles, gouaches



113

l285


Marine, soleil couchant



19 ¬ x 25 æ in. (49.8 x 65 cm.)

£20,000-30,000 $32,000-47,000

€26,000-38,000

PROVENANCE:

Galerie Louis Manteau, Brussels, by 1943.


EXHIBITED:

Brussels, Palais des Beaux-Arts, Dufy dans les collections belges, 1943.



114


286

GEORGE GROSZ (1893-1959)

Vertrautes Heim

signed ‘Grosz’ (lower right)

reed pen and ink on paper

17 ¡ x 13 Ω in. (44.2 x 34.1 cm.)

Executed circa 1920-1921

£12,000-18,000 $19,000-28,000

€16,000-23,000

PROVENANCE:

The artist’s estate (with the Nachlass no. ‘3-52-4’ on the reverse).

Anonymous sale, Sotheby’s, London, 6 February 2007, lot 224.


EXHIBITED:

Munich, Museum Villa Stuck, George Grosz, Die Berliner Jahre,

September - October 1986, no. 91 (illustrated)

Paris, Fondation Dina Vierny, Musée Maillol, Allemagne, les années noires,

October 2007 – November 2008, no. 61.

Ralph Jentsch has confrmed the authenticity of this work.


287

GEORGE GROSZ (1893-1959)

Strassenszene

signed ‘Grosz’ (lower right)

reed pen and brush and ink on paper

17 x 22 Ω in. (43 x 57.4 cm.)

Drawn in 1916

£12,000-18,000 $19,000-28,000

€16,000-23,000

PROVENANCE:

Galerie Prestel, Frankfurt.

Private Collection, New York.

Anonymous sale, Hauswedell & Nolte, Hamburg, 12 June 1999, lot 1769.

Anonymous sale, Villa Grisebach, Berlin, 3 June 2005, lot 63.


EXHIBITED:

Paris, Fondation Dina Vierny, Musée Maillol, Allemagne, les années noires,

October 2007 – February 2008, no. 61.

Ralph Jentsch has confrmed the authenticity of this work.



115


l*288


Nu étendu

signed ‘Picasso’ (lower right)


12 x 16 in. (30.5 x 40.6 cm.)

Drawn in 1906

£60,000-80,000 $94,000-130,000

€77,000-100,000

PROVENANCE:

Gertrude Stein, Paris.

Alice B. Toklas, Paris.

Galerie Louise Leiris, Paris, by 1954.

Anonymous sale, Sotheby’s, London, 4 July 1962, lot 27.

Hilmar Reksten, Bergen; his sale, Christie’s, London, 19 March 1991, lot 83.

Stanley J. Seeger, London; his sale, Sotheby’s, New York, 4 November 1993,

lot 416.

Anonymous sale, Sotheby’s, New York, 8 May 2008, lot 254.


LITERATURE:

D.-H. Kahnweiler, Picasso, dessins 1903-1907, Paris, 1954.

C. Zervos, Pablo Picasso, vol. 6, Supplément aux Volumes 1 à 5, Paris, 1954,


S. Hellieson, Hilmar Rekstens Samlinger, Bergen, 1972, no. 32 (illustrated).


Sculpture, The Rose Period, 1905-1906, San Francisco, 2012, no. 1906-157,



116

l289


La cage

signed twice ‘Raoul Dufy’ (lower right)

watercolour, pen and ink and pencil on paper

25 æ x 20 ¿ in. (65.5 x 51 cm.)


£16,000-24,000 $26,000-38,000

€21,000-30,000

PROVENANCE:

Galerie Louis Manteau, Brussels, by 1943.


EXHIBITED:

Brussels, Palais des Beaux-Arts, Dufy dans les collections belges,

November 1943, no. 58.

Paris, Musée National d’Art Moderne, Raoul Dufy, 1877 – 1953, 1953,

no. 103, p. 41.


March – April 1954, no. 1, p. 20.

Bordeaux, Galerie des Beaux-Arts, Raoul Dufy, April – September 1970,

no. 131, p.23.

LITERATURE:


et pastels, vol. I, Paris, 1981, no. 81 (illustrated p. 29; catalogued with

erroneous dimensions).

Jardin des arts, 1954, p. 286.



117

l*290

MAURICE UTRILLO (1883-1955)

Rue Saint-Vincent, Montmatre

signed ‘Maurice, Utrillo, V,’ (lower right); inscribed

‘Rue Saint-Vincent, à Montmartre’ (lower left)

gouache on paper

13 x 10 in. (32.9 x 25.1 cm.)

Executed circa 1940

£25,000-35,000 $40,000-55,000

€32,000-44,000

PROVENANCE:

Anonymous sale, Christie’s, Monaco, 3 May 1989, lot 185.


Jean Fabris and Cédric Pailler have confrmed the authenticity

of this work.


118

PROPERTY FROM A DISTINGUISHED CORPORATE COLLECTION

l291


La lettre

dated ‘23.12.51.’ (upper left)

brush and pen and India ink on paper

20 x 26 in. (50.5 x 66 cm.)


£40,000-60,000 $63,000-94,000

€51,000-76,000

PROVENANCE:

The artist’s estate (no. 05161).

Maya Widmaier-Picasso, by descent from the above.





119

PROPERTY FROM A DISTINGUISHED CORPORATE COLLECTION

l292


Hommes jouant aux échecs

dated ‘23.12.51.’ (lower left)

brush and pen and India ink on paper

20 x 26 in. (51 x 66 cm.)


£40,000-60,000 $63,000-94,000

€51,000-76,000

PROVENANCE:

The artist’s estate (no. 05161).

Maya Widmaier-Picasso, by descent from the above.





120

l*293

BERNARD BUFFET (1928-1999)

Japonaises

signed ‘Bernard Buffet’ (lower right)

watercolour and brush and ink on paper

25 Ω x 19 æ in. (64.8 x 50.2 cm.)

Executed in 1981

£25,000-35,000 $40,000-55,000

€32,000-45,000

PROVENANCE:

Anonymous sale, Hôtel Drouot, Paris, 22 March 1998, lot 58.

Acquired at the above sale; sale, Christie’s, Paris, 21 May 2008, lot 156.

This work is recorded in the Bernard Buffet Archives at Galerie

Maurice Garnier.


121

l*294

BERNARD BUFFET (1928-1999)

La bo”te aux coquillages

signed and dated ‘Bernard Buffet 53’ (lower right)

pencil on paper

19 ¬ x 25 Æ in. (50 x 65.5 cm.)

Drawn in 1953

£15,000-25,000 $24,000-39,000

€19,000-32,000

This work is recorded in the Bernard Buffet Archives at Galerie Maurice Garnier.


122

PROPERTY FROM A PRIVATE ITALIAN COLLECTION

l295

GIORGIO DE CHIRICO (1888-1978)

Costumi per Anfone

each: watercolour on card

each: 9 æ x 6 ¬ in. (24.8 x 16.7 cm.)

each: Executed in 1942

four (4) works sold in one lot

£12,000-18,000 $19,000-28,000

€16,000-23,000

PROVENANCE:

A gift from the artist to the father of the present owner.

The Fondazione Giorgio e Isa de Chirico has confrmed the authenticity

of these works.

These works were a gift from de Chirico to the scenographer at

La Scala, Milan, with whom he collaborated on the production of the

ballet Anfone.


123

l296

KEES VAN DONGEN (1877-1968)

Pochoir from Hassan-Badredine-el-bass-Raoul’s Conte des 1001 Nuits

signed ‘Van Dongen’ (in pencil on the reverse)

pochoir with hand-colouring

12 º x 9 æ in. (30.9 x 25 cm.)

£8,000-12,000 $13,000-19,000

€11,000-15,000

PROVENANCE:

Galleries Maurice Sternberg, Chicago.

Anonymous sale, Christie’s, New York, 20 November 1986,

lot 142 (catalogued as ‘watercolour’).

Stanley J. Seeger, London.

Private collection, Europe.

EXHIBITED:

Tucson, University of Arizona Museum, Van Dongen, February – March 1971,

no. 81 (illustrated p. 77; catalogued as ‘watercolour’).

LITERATURE:

D. Sutton, ‘A Diamond as Big as the Ritz’, in Apollo, London, January 1971,

no. 11 (illustrated p. 41; catalogued as ‘watercolour’).


124

l297


Josué, brave au combat (Joshua 10)

signed and dated ‘Dalí 1964’ (lower right)

brush and India ink and gold paint on paper

18 æ x 13 √ in. (47.5 x 35.2 cm.)

Executed in 1964

£40,000-60,000 $63,000-94,000

€51,000-76,000

The following four works belong to a unique series of illustrations Salvador Dalí executed in 1964 for Biblia Sacra, an

illustrated edition of the Bible published by Rizzoli, between 1967 and 1969. Incredibly successful, the illustrations were

later re-published in subsequent editions in Barcelona, Paris and Germany.

Drawing from the Bible’s mystic dimension and from his own taste for grandiose, impenetrable imagery, Dalí was able to

create a series of compelling illustrations which – although inspired by the scriptures – added a number of new images

to the artist’s personal delirious saga. A Spaniard who had certainly absorbed his country’s fervent Catholic faith, Dalí

had incorporated Christian iconography in his artistic universe well before the commission for the Bible’s illustrations.

From the Crucifxion, to the Virgin Mary, Dalí had already re-appropriated the mighty spell of Christian imagery into

his paintings, merging the miraculous visions and impenetrable mysteries of Catholicism into the hallucinatory world

of his art. The here presented illustrations for Biblia Sacra thus continue a theme that obsessed and fascinated Dalí.

In its entirety, the present series illustrates the mesmerising variety of graphic effects deployed by Dal“ in his drawings,

which range from incredibly evocative drips to mesmerising effusions of colour. In two particularly dramatic drawings,

Dalí was able to translate the terror and awe of the sacred scripture through rich blotching effects: in Flagellation à

la colonne (lot 300) and in David et Goliath (lot 299) violent drips of dark ink and vivid red are used to evoke the

sublimation of suffering that is at the core of the Bible’s most gripping sacred stories. Displaying Dalí’s mighty powers

as a draughtsman, the illustrations for Biblia Sacra are a brilliant rendition of the arresting force of Christianity’s sacred

text merged with Dalinian pathos and subversion.

PROVENANCE:


EXHIBITED:







LITERATURE:

Rizzoli (ed.), Biblia Sacra vulgatæ editionis, vol. I, Rome, 1967 (illustrated p. 361).

Salvador Dalíís

Biblia Sacra



Salvador Dalíís Biblia Sacra

126

l298


Annonciation de l’ange Gabriel (Luke 1)


acrylic, gouache, watercolour and pen and red ink on paper

18 ¬ x 14 in. (47.2 x 35.5 cm.)

Executed in 1964

£70,000-100,000 $120,000-160,000

€89,000-130,000

PROVENANCE:


EXHIBITED:





Augsburg, Römishes Museum, Dal’, Mara e Beppe, Bilder einer Freundschaft,

September - November 2000.

LITERATURE:

Rizzoli (ed.), Biblia Sacra vulgatæ editionis, vol. V, Rome, 1967 (illustrated p. 25).



128

l299


David et Goliath (1 Samuel 17)


gouache and brush and pen and India ink on paper

19 ¡ x 13 º in. (49.2 x 33.7 cm.)

Executed in 1964

£40,000-60,000 $63,000-94,000

€51,000-76,000

PROVENANCE:


EXHIBITED:







LITERATURE:

Rizzoli (ed.), Biblia Sacra vulgatæ editionis, vol. II, Rome, 1967 (illustrated p. 25).



129

l300


Flagellation à la colonne (John 19 & Mark 15)


oil, gouache, watercolour, pen and ink and pencil on paper

19 Ω x 13 º in. (59.5 x 33.5 cm.)

Executed in 1964

£40,000-60,000 $63,000-94,000

€51,000-76,000

PROVENANCE:


EXHIBITED:



LITERATURE:

Rizzoli (ed.), Biblia Sacra vulgatæ editionis, vol. V, Rome, 1967 (illustrated p. 240).



130

IMPORTANT NOTICES AND EXPLANATION OF

CATALOGUING PRACTICE

EXPLANATION OF CATALOGUING PRACTICE

FOR PICTURES, DRAWINGS, PRINTS AND MINIATURESTerms used in this catalogue have the meanings ascribed to them below. Please note that all statements in this catalogue as to authorship are made subject to the provisions of the Conditions of Sale and Limited Warranty. Buyers are advised to inspect the property themselves. Written condition reports are usually available on request.

Name(s) or Recognised Designation of an

Artist without any Qualification

In Christie’s opinion a work by the artist.

*“Attributed to …”

In Christie’s qualified opinion probably a work by the artist in whole or in part.

*“Studio of …”/“Workshop of …”

In Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision.

*“Circle of …”

In Christie’s qualified opinion a work of the period of the artist and showing his influence.

*“Follower of …”

In Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil.

*“Manner of …”

In Christie’s qualified opinion a work executed in the artist’s style but of a later date.

*“After …”

In Christie’s qualified opinion a copy (of any date) of a work of the artist.

“Signed …”/“Dated …”/ “Inscribed …”

In Christie’s qualified opinion the work has been signed/dated/inscribed by the artist.

“With signature …”/“With date …”/ “With inscription …”

In Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist.

The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published.

*This term and its definition in this Explanation of Cataloguing Practice are a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the Limited Warranty shall not be available with respect to lots described using this term.

CHRISTIE’S INTEREST IN PROPERTY

CONSIGNED FOR AUCTIONFrom time to time, Christie’s 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, Christie’s 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 Christie’s holds such financial interest on its own we identify such lots with the symbol º next to the lot number.Where Christie’s has financed all or part of such interest through a third party the lots are identified in the catalogue with the symbol ºu. When a third party agrees to finance all or part of Christie’s 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 Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest in the front of the catalogue.

ALL DIMENSIONS ARE APPROXIMATE

CONDITIONChristie’s catalogues include references to condition only in descriptions of multiple works (such as prints, books and wine). For all other property, only alterations or replacement components are listed. Please contact the Specialist Department for a condition report on a particular lot. The nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.

PROPERTY INCORPORATING MATERIALS FROM ENDANGERED AND OTHER PROTECTED SPECIESProperty made of or incorporating (irrespective of percentage) endangered and other protected species of wildlife are marked with the symbol ~in the catalogue. Such material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whale bone and certain species of coral, together with Brazilian rosewood. Prospective purchasers are advised that several countries prohibit altogether the importation of property containing such materials, and that other countries require a permit (e.g., a CITES permit) from the relevant regulatory agencies in the countries of exportation as well as importation. Accordingly, clients should familiarise themselves with the relevant customs laws and regulations prior to bidding on any property with wildlife material if they intend to import the property into another country. Please note that it is the client’s responsibility to determine and satisfy the requirements of any applicable laws or regulations applying to the export or import of property containing endangered and other protected wildlife material. The inability of a client to export or import property containing endangered and other protected wildlife material is not a basis for cancellation or rescission of the sale. Please note also that lots containing potentially regulated wildlife material are marked as a convenience to our clients, but Christie’s does not accept liability for errors or for failing to mark lots containing protected or regulated species.

RECENT CHANGES TO IMPORTS OF ELEPHANT IVORY AND OTHER WILDLIFE MATERIAL INTO THE USAThe USA has recently changed its policy on the import of property made of or containing elephant ivory. Only Asian Elephant ivory may be imported into the USA, and imports must be accompanied by DNA analysis and confirmation the object is more than 100 years old. We have not obtained a DNA analysis on any lot prior to sale and cannot indicate whether the elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any DNA analysis or other report required in connection with their proposed import of such property into the USA.

The USA is also currently requiring all imports of property made of or containing wildlife material to be accompanied by a scientific confirmation of species and in some cases an additional confirmation of age. We have not obtained such confirmations prior to sale (unless specifically indicated) and buyers will be responsible for the costs of any such additional confirmations or opinions required for their proposed import into the USA.

A buyer’s inability to export or import any lot containing elephant ivory or other wildlife material is not a basis for cancelling the purchase.

POST 1950 FURNITUREAll 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.

131

BUYING AT CHRISTIE’S

20/11/13

CONDITIONS OF SALEChristie’s Conditions of Sale and Limited Warranty are set out later in this catalogue. Bidders are strongly encouraged to read these as they set out the terms on which property is bought at auction.

ESTIMATES Estimates are based upon prices recently paid at auction for comparable property, condition, rarity, quality and provenance. Estimates are subject to revision. Buyers should not rely upon estimates as a representation or prediction of actual selling prices. Estimates do not include the buyer’s premium or VAT. Where “Estimate on Request” appears, please contact the Specialist Department for further information.

RESERVESThe reserve is the confidential minimum price the consignor will accept and will not exceed the low pre-sale estimate. Lots that are not subject to a reserve are identified by the symbol • next to the lot number.

BUYER’S PREMIUMChristie’s charges a premium to the buyer on the final bid price of each lot sold at the following rates: 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot. VAT is payable on the premium at the applicable rate.

PRE-AUCTION VIEWINGPre-auction viewings are open to the public free of charge. Christie’s specialists are available to give advice and condition reports at viewings or by appointment.

BIDDER REGISTRATIONProspective buyers who have not previously bid or consigned with Christie’s should bring:• Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement.• Corporate clients: a certificate of incorporation.• For other business structures such as trusts, offshore companies or partnerships, please contact Christie’s Credit Department at + 44 (0)20 7839 2825 for advice on the information you should supply.• A financial reference in the form of a recent bank statement or a reference from your bank in line with your expected purchase level. Christie’s can supply a form of wording for the bank reference if necessary.• Persons registering to bid on behalf of someone who has not previously bid or consigned with Christie’s should bring identification documents not only for themselves but also for the party on whose behalf they are bidding, together with a signed letter of authorisation from that party. To allow sufficient time to process the information, new clients are encouraged to register at least 48 hours in advance of a sale.Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction. Clients who have not made a purchase from any Christie’s office within the last one year, and those wishing to spend more than on previous occasions, will be asked to supply a new bank reference. For assistance with references, please contact Christie’s Credit Department at +44 (0)20 7389 2862 (London, King Street) or at +44 (0)20 7752 3137 (London, South Kensington). We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid.

REGISTERING TO BID ON SOMEONE ELSE’S BEHALFPersons bidding on behalf of an existing client should bring a signed letter from the client authorising the bidder to act on the client’s behalf. Please note that Christie’s does not accept payments from third parties. Christie’s can only accept payment from the client, and not from the person bidding on their behalf.

BIDDINGThe auctioneer accepts bids from those present in the sale-room, from telephone bidders, or by absentee written bids left with Christie’s in advance of the auction. The auctioneer may also execute bids on behalf of the seller up to the amount of the reserve. The auctioneer will not specifically identify bids placed on behalf of the seller. Under no circumstances will the auctioneer place any bid on behalf of the seller at or above the reserve. Bid steps are shown on the Absentee Bid Form at the back of this catalogue.

ABSENTEE BIDSAbsentee bids are written instructions from prospective buyers directing Christie’s to bid on their behalf up to a maximum amount specified for each lot. Christie’s staff will attempt to execute an absentee bid at the lowest possible price, taking into account the reserve price. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. The auctioneer may execute absentee bids directly from the rostrum, clearly identifying these as “absentee bids”, “book bids”, “order bids” or “commission bids”. Absentee Bids Forms are available in this catalogue, at any Christie’s location, or online at christies.com.

TELEPHONE BIDSTelephone bids cannot be accepted for lots estimated below £2,000. Arrangements must be confirmed with the Bid Department at least 24 hours prior to the auction at +44 (0)20 7389 2658 (London, King Street) or +44 (0)20 7752 3225 (London, South Kensington). Arrangements to bid in languages other than English must be made well in advance of the sale date. Telephone bids may be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversation.

SUCCESSFUL BIDSWhile Invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges. Successful bidders will pay the price of the final bid plus premium plus any applicable VAT.

PAYMENTBuyers are expected to make payment for purchases immediately after the auction. To avoid delivery delays, prospective buyers are encouraged to supply bank or other suitable references before the auction. Please note that Christie’s will not accept payments for purchased Lots from any party other than the registered buyer. Lots purchased in London may be paid for in the following ways: wire transfer, credit card: Visa and MasterCard & American Express only (up to £25,000), and cash (up to £5,000 (subject to conditions)), bankers draft (subject to conditions) or cheque (must be drawn in GBP on a UK bank; clearance will take 5 to 10 business days). Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217 72 Lombard Street, London EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for international transfers, SWIFT LOYDGB2LCTY. For banks asking for an IBAN: GB81 LOYD 3000 0200 1727 10. Credit Card: Visa and MasterCard & American Express only A limit of £25,000 for credit card payments will apply. This limit is inclusive of the buyer’s premium and any applicable taxes. Credit card payments at London sale sites will only be accepted for London sales. Christie’s will not accept credit card payments for purchases made in any other sale site. The fax number to send completed CNP (Card Member not Present) authorisation forms to is +44 (0) 20 7389 2821. The number to call to make a CNP payment over the phone is +44 (0) 20 7752 3388. Alternatively, clients can mail the authorisation form to the address below. Cash is limited to £5,000 (subject to conditions). Bankers Draft should be made payable to Christie’s (subject to conditions). Cheques should be made payable to Christie’s (must be drawn in GBP on a UK bank, clearance will take 5 to 10 business days).In order to process your payment efficiently, please quote sale number, invoice number and client number with all transactions.All mailed payments should be sent to:Christie’s, Cashiers’ Department, 8 King Street, St James’s, London, SW1Y 6QTPlease direct all inquiries to King Street Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863 or South Kensington Tel: +44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143

VAT†VAT payable at 20% on hammer price and buyer’s premium* These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction.Ω

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 20%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. Where applicable Customs duty will be charged (per rate specified by HMRC guidance) on the Hammer price and VAT will be payable at 20% on duty. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction.α Buyers from within the EU:

VAT payable at 20% on just the buyer’s premium (NOT the hammer price). Buyers from outside the EU: VAT payable at 20% on hammer price and buyer’s premium. If a buyer, having registered under a non-EU address, decides that the item is not to be exported from the EU, then he should advise Christie’s to this effect immediately

q Zero rated No VAT charged.

(no symbol) Auctioneers’ Margin Scheme In all other circumstances no VAT will be charged on the

hammer price, but VAT payable at 20% will be added to the buyer’s premium which is invoiced on a VAT inclusive basis.

Wine Auctions‡ Stock offered duty-paid, but available in bond.

VAT at 20% on hammer price and buyer’s premium (wine only).

VAT RefundsRefunds cannot be made where lots have been purchased with an inside EU address. Christie’s can only refund Import VAT (Lots with * or Ωsymbol) if lots are exported within 30 days of collection. Valid export documents must be returned within the stipulated time frame. No refund will be paid out where the total amount is less than £100. UK & EU private buyers cannot reclaim VAT. Christie’s will charge £35 for each refund processed. For detailed information please see the leaflets available, or email [email protected] non-EU buyers have failed to export their lots outside of the EU within the required time, HM Revenue & Customs will not allow a VAT refund to be made. This is a requirement of UK legislation and Christie’s do not have discretion to make exceptions to the rule. UK and EU private buyers cannot reclaim any VAT charged.

ARTIST’S RESALE RIGHT (“DROIT DE SUITE”)If a lot is affected by this right it will be identified with the symbol λ next to the lot number. The buyer agrees to pay to Christie’s an amount equal to the resale royalty. Resale royalty applies where the Hammer Price is 1,000 Euro or more and the amount cannot be more than 12,500 Euro per lot. The amount is calculated as follows:

Royalty For the portion of the Hammer Price (in Euro) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 0.25% in excess of 500,000

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale.

SHIPPINGIt is the buyer’s responsibility to pick up purchases or make all shipping arrangements. After payment has been made in full, Christie’s can arrange property packing and shipping at the buyer’s request and expense. Buyers should request an estimate for any large items or property of high value that require professional packing. A shipping form is enclosed with each invoice, alternatively buyers can visit www.christies.com/shipping to request a shipping estimate. For more information please contact the Shipping Department at + 44 (0)20 7389 2712 or via [email protected] for both London, King Street and London, South Kensington sales.

EXPORT OF GOODS FROM THE EUIf you are proposing to take purchased items outside the EU the following applies:Christie’s Art Transport: If you use Christie’s Art Transport you will not be required to pay the VAT at the time of settlement.Own Shipper:VAT will be charged on the invoice, refundable by the VAT Department upon receipt of the appropriate official documents sent to us by your shipper.Hand-Carried:VAT will be charged on the invoice.This will be refunded by the VAT Department upon receipt of the appropriate official document.*, Ω or †Starred, Omega or Daggered lots – A C88 can be obtained from Christie’s Shipping Department .This document must be stamped by UK Customs on leaving the UK.(no symbol)Margin Scheme – Please obtain a GB Tax Free form from the Cashiers. This document must be stamped by UK Customs on leaving the UK.Starred or Omega lots must be exported within 30 days of the date of collection. All other lots not subject to import VAT must be exported within three months of collection, and proof of export provided in the appropriate form.

EXPORT/IMPORT PERMITSBuyers should always check whether an export licence is required before exporting. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the rescission of any sale nor any delay in making full payment for the lot.Christie’s can advise buyers on the detailed provisions of the export licensing regulations and will submit any necessary export licence applications on request. However, Christie’s cannot ensure that a licence will be obtained. Local laws may prohibit the import of some property and/or may prohibit the resale of some property in the country of importation. For more information, please contact Christie’s Shipping Department at +44 (0)20 7389 2828 or the the Museums, Libraries and Archives Council: Acquisitions, Export and Loans Unit at +44 (0)20 7273 8269/8267.

132

STORAGE AND COLLECTION

28/10/14

Cadogan TaTe LTd’s Warehouse

241 Acton Lane,

Park Royal,

London NW10 7NP

Telephone: +44 (0)800 988 6100

Email: [email protected]

POST-WAR & CONTEMPORARY ARTTo avoid waiting times on collection, we kindly advise you to contact our Post-War & Contemporary Art dept 24 hours in advance on +44 (0)20 7389 2958

BOOKSPlease note that all lots from book department sales will be stored at Christie’s King Street for collection and not transferred to Cadogan Tate.

TRANSFER, STORAGE & RELATED CHARGES

CHARGES PER LOT FURNITURE / LARGE OBJECTS PICTURES / SMALL OBJECTS

1-28 days after the auction Free of Charge Free of Charge

29th day onwards:

Transfer £70.00 £35.00

Storage per day £5.25 £2.65

Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the auction. Thereafter the charges set out above will be payable. These charges do not include: a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges b) VAT which will be applied at the current rate

EXTENDED LIABILITY CHARGEFrom the day of transfer of sold items to Cadogan Tate Ltd, all such lots are automatically insured by Cadogan Tate Ltd at the sum of the hammer price plus buyer’s premium. The Extended Liability Charge in this respect by Cadogan Tate Ltd is 0.6% of the sum of the hammer price plus buyer’s premium or 100% of the handling and storage charges, whichever is smaller.

Christie’s 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 Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com for charges and other details.

STORAGE AND COLLECTIONAll furniture and carpet lots (sold and unsold)

not collected from Christie’s by 9.00 am

on the day following the auction will be

removed by Cadogan Tate Ltd to their warehouse at: 241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected] at King Street lots are available for collection on any working day, 9.00 am to 4.30 pm. Once transferred to Cadogan Tate lots will be available for collection from the first working day following the day of their removal from King Street, 9.00 am to 5.00 pm Monday to Friday.To avoid waiting times on collection at Cadogan Tate, we advise that you contact Cadogan Tate directly, 24 hours in advance, prior to collection on +44 (0)800 988 6100.

PAYMENTCadogan Tate Ltd’s storage charges may be paid in advance or at the time of collection. Lots may only be released from Cadogan Tate Ltd’s warehouse on production of the ‘Collection Order’ from Christie’s, 8 King Street, London SW1Y 6QT. The removal and/or storage by Cadogan Tate of any lots will be subject to their standard Conditions of Business, copies of which are available from Christie’s, 8 King Street, London SW1Y 6QT. Lots will not be released until all outstanding charges due to Christie’s and Cadogan Tate Ltd are settled.

133

CONDITIONS OF SALE

These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms governing the legal relationship of Christie’s and the seller with the buyer. You should read them carefully before bidding.

1. CHRISTIE’S AS AGENTExcept as otherwise stated Christie’s acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

2. CATALOGUE DESCRIPTIONS AND

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

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

3. AT THE SALE(a) Refusal of admissionChristie’s has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid.(b) Registration before biddingProspective buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom on the day of the sale approximately 30 minutes before the start of the sale to register in person. Prospective buyers must complete and sign a registration form with his or her name and permanent address, and provide identification before bidding. We may require the production of bank details from which payment will be made or other financial references.(c) Bidding as principalWhen making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Christie’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Christie’s, and that Christie’s will only look to the principal for payment.(d) Absentee bidsWe will use reasonable efforts to carry out written bids delivered to us prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in the currency of the place of the sale. Please refer to the catalogue for the Absentee Bids Form. If we receive written bids on a particular lot for identical amounts, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and provided that we have exercised reasonable care in the handling of written bids, the volume of goods is such that we cannot accept liability in any individual instance for failing to execute a written bid or for errors and omissions in connection with it arising from circumstances beyond our reasonable control.(e) Telephone bidsIf a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone but we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding arising from circumstances beyond our reasonable control.(f) Currency converterAt some auctions a currency converter may be operated. Errors may occur in the operation of the currency converter. Where these arise from circumstances beyond our reasonable control we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom.

(g) Video or digital imagesAt some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image. We do not accept liability for such errors where they arise for reasons beyond our reasonable control.

(h) ReservesUnless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. If any lots are not subject to a reserve, they will be identified with the symbol • next to the lot number. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

(i) Auctioneer’s discretionThe auctioneer has the right to exercise reasonable discretion in refusing any bid, advancing the bidding in such a manner as he may decide, withdrawing or dividing any lot, combining any two or more lots and, in the case of error or dispute, and whether during or after the sale, determining the successful bidder, continuing the bidding, cancelling the sale or reoffering and reselling the item in dispute. If any dispute arises after the sale, then, in the absence of any evidence to the contrary the sale record maintained by the auctioneer will be conclusive.

(j) Successful bid and passing of riskSubject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes to the buyer at the expiration of seven calendar days from the date of the sale or on collection by the buyer if earlier.

4. AFTER THE SALE(a) Buyer’s premiumIn addition to the hammer price, the buyer agrees to pay to us the buyer’s premium together with any applicable value added tax. The buyer’s premium is 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot, VAT is payable at the applicable rate.(b) Artist’s Resale Right (“Droit de Suite”)If the Artist’s Resale Right Regulations 2006 apply to the lot the buyer also agrees to pay to us an amount equal to the resale royalty provided for in those Regulations. Lots affected are identified with the symbol λ next to the lot number.(c) Payment and ownershipThe buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes or resale royalty) immediately after the sale. This applies even if the buyer wishes to export the lot and an export licence is, or may be, required. The buyer will not acquire title to the lot until all amounts due to us from the buyer have been received by us in good cleared funds even in circumstances where we have released the lot to the buyer.

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134

(d) Collection of purchasesWe shall be entitled to retain items sold until all amounts due to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, have been received in full in good cleared funds or until the buyer has performed any other outstanding obligations as we, in our sole discretion, shall require, including, for the avoidance of doubt, completing any anti-money laundering or anti-terrorism financing checks we may require to our satisfaction. In the event a buyer fails to complete any anti-money laundering or anti-terrorism financing checks to our satisfaction, Christie’s shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law. Subject to this, the buyer shall collect purchased lots within two calendar days from the date of the sale unless otherwise agreed between us and the buyer.

(e) Packing, handling and shippingAlthough we shall use reasonable efforts to take care when handling, packing and shipping a purchased lot and in selecting third parties for these purposes, we are not responsible for the acts or omissions of any such third parties. Similarly, where we suggest other handlers, packers or carriers if so requested, our suggestions are made on the basis of our general experience of such parties in the past and we are not responsible to any person to whom we have made a recommendation for the acts or omissions of the third party concerned.

(f) Export licenceUnless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make payment immediately after the sale nor our right to charge interest or storage charges on late payment. If the buyer requests us to apply for an export licence on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the buyer where payment is made by the buyer in circumstances where an export licence is required.

(g) Remedies for non paymentIf the buyer fails to make payment in full in good cleared funds within 7 days after the sale, we shall have the right to exercise a number of legal rights and remedies. These include, but are not limited to, the following: (i) to charge interest at an annual rate equal to 5%

above the base rate of Lloyds TSB Bank Plc;(ii) to hold the defaulting buyer liable for the total

amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law;

(iii) to cancel the sale;(iv) to resell the property publicly or privately on

such terms as we shall think fit;(v) to pay the seller an amount up to the net

proceeds payable in respect of the amount bid by the defaulting buyer;

(vi) to set off against any amounts which we, or Christie’s International plc, or any of its affiliates, subsidiaries or parent companies worldwide, may owe the buyer in any other transactions, the outstanding amount remaining unpaid by the buyer;

(vii) where several amounts are owed by the buyer to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs;

(viii) to reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;

(ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The buyer will be deemed to have granted such security to us and we may retain such property as collateral security for such buyer’s obligations to us;

(x) to take such other action as we deem necessary or appropriate.

If we resell the property under paragraph (iv) above, the defaulting buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all reasonable costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the seller under paragraph (v) above, the buyer acknowledges that Christie’s shall have all of the rights of the seller, however arising, to pursue the buyer for such amount.

(h) Failure to collect purchasesWhere purchases are not collected within two calendar days from the date of the sale, whether or not payment has been made, we shall be permitted to remove the property to a third party warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage, handling, and any other costs reasonably incurred, together with payment of all other amounts due to us.

(i) Selling Property at Christie’sIn addition to expenses such as transport, all consignors pay a commission according to a fixed scale of charges based upon the value of the property sold by the consignor at Christie’s in a calendar year. Commissions are charged on a sale by sale basis.

5. LIMITED WARRANTYIn addition to Christie’s liability to buyers set out in clause 2 of these Conditions, but subject to the terms and conditions of this paragraph, Christie’s warrants for a period of five years from the date of the sale that any property described in headings printed in UPPER CASE TYPE (i.e. headings having all capital-letter type) in this catalogue (as such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship, is authentic and not a forgery. The term “author” or “authorship” refers to the creator of the property or to the period, culture, source or origin, as the case may be, with which the creation of such property is identified in the UPPER CASE description of the property in this catalogue. Only UPPER CASE TYPE headings of lots in this catalogue indicate what is being warranted by Christie’s. Christie’s warranty does not apply to supplemental material which appears below the UPPER CASE TYPE headings of each lot and Christie’s is not responsible for any errors or omissions in such material. The terms used in the headings are further explained in Important Notices and Explanation of Cataloguing Practice. The warranty does not apply to any heading which is stated to represent a qualified opinion. The warranty is subject to the following:

(i) It does not apply where (a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts at the date of the sale or fairly indicated that there was a conflict of opinions; or (b) correct identification of a lot can be demonstrated only by means of either a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.

(ii) The benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Christie’s when the lot was sold at auction.

(iii) The original buyer must have remained the owner of the lot without disposing of any interest in it to any third party.

(iv) The buyer’s sole and exclusive remedy against Christie’s and the seller, in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot. Neither Christie’s nor the seller will be liable for any special, incidental or consequential damages including, without limitation, loss of profits nor for interest.

(v) The buyer must give written notice of claim to us within five years from the date of the auction. It is Christie’s general policy, and Christie’s shall have the right, to require the buyer to obtain the written opinions of two recognised experts in the field, mutually acceptable to Christie’s and the buyer, before Christie’s decides whether or not to cancel the sale under the warranty.

(vi) The buyer must return the lot to the Christie’s saleroom at which it was purchased in the same condition as at the time of the sale.

6. COPYRIGHTThe copyright in all images, illustrations and written material produced by or for Christie’s relating to a lot including the contents of this catalogue, is and shall remain at all times the property of Christie’s and shall not be used by the buyer, nor by anyone else, without our prior written consent. Christie’s and the seller make no representation or warranty that the buyer of a property will acquire any copyright or other reproduction rights in it.

7. SEVERABILITYIf any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

8. LAW AND JURISDICTIONThe rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of England. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer shall be deemed to have submitted, for the benefit of Christie’s, to the exclusive jurisdiction of the courts of the United Kingdom.

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135

WORLDWIDE SALEROOMS AND OFFICES

ARGENTINA

BUENOS AIRES

+54 11 43 93 42 22

Cristina Carlisle

AUSTRALIA

SYDNEY

+61 (0)2 9326 1422

Ronan Sulich

AUSTRIA

VIENNA

+43 (0)1 533 8812

Angela Baillou

BELGIUM

BRUSSELS

+32 (0)2 512 88 30

Roland de Lathuy

BERMUDA

BERMUDA

+1 401 849 9222

Betsy Ray

BRAZIL

RIO DE JANEIRO

+5521 2225 6553

Candida Sodre

SÃO PAULO

+5511 3061 2576

Nathalie Lenci

CANADA

TORONTO

+1 416 960 2063

Brett Sherlock

CHILE

SANTIAGO

+56 2 2 2631642

Denise Ratinoff

de Lira

COLOMBIA

BOGOTA

+571 635 54 00

Juanita Madrinan

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

BRITTANY AND THE LOIRE VALLEY

+33 (0)6 09 44 90 78

Virginie Greggory

(Consultant)

GREATER EASTERN FRANCE

+33 (0)6 07 16 34 25

Jean-Louis Janin

Daviet (Consultant)

NORD-PAS DE CALAIS

+33 (0)6 09 63 21 02

Jean-Louis Brémilts

(Consultant)

•PARIS

+33 (0)1 40 76 85 85

POITOU-CHARENTE AQUITAINE

+33 (0)5 56 81 65 47

Marie-Cécile

Moueix

PROVENCE - ALPES CÔTE D’AZUR

+33 (0)6 71 99 97 67

Fabienne Albertini-

Cohen

RHÔNE ALPES

+33 (0)6 61 81 82 53

Dominique Pierron

(Consultant)

GERMANY

DÜSSELDORF

+49 (0)21 14 91 59 30

Arno Verkade

FRANKFURT

+49 (0)61 74 20 94 85

Anja Schaller

HAMBURG

+49 (0)40 27 94 073

Christiane Gräfin

zu Rantzau

MUNICH

+49 (0)89 24 20 96 80

Marie Christine

Gräfin Huyn

STUTTGART

+49 (0)71 12 26 96 99

Eva Susanne

Schweizer

INDIA

•MUMBAI

+91 (22) 2280 7905

Sonal Singh

DELHI

+91 (98) 1032 2399

Sanjay Sharma

INDONESIA

JAKARTA

+62 (0)21 7278 6268

Charmie Hamami

Priscilla Tiara

Masagung

ISRAEL

TEL AVIV

+972 (0)3 695 0695

Roni Gilat-Baharaff

ITALY

•MILAN

+39 02 303 2831

ROME

+39 06 686 3333

Marina Cicogna

Business Development

Director

JAPAN

TOKYO

+81 (0)3 6267 1766

Ryutaro Katayama

MALAYSIA

KUALA LUMPUR

+60 3 6207 9230

Lim Meng Hong

MEXICO

MEXICO CITY

+52 55 5281 5503

Gabriela Lobo

MONACO

+377 97 97 11 00

Nancy Dotta

THE NETHERLANDS

•AMSTERDAM

+31 (0)20 57 55 255

PEOPLES REPUBLIC OF CHINA

BEIJING

+86 (0)10 8572 7900

•HONG KONG

+852 2760 1766

•SHANGHAI

+86 (0)21 6355 1766

Jinqing Cai

PORTUGAL

LISBON

+351 919 317 233

Mafalda Pereira

Coutinho

(Independent

Consultant)

03/11/14

ENQUIRIES?— Call the Saleroom or Office EMAIL— [email protected]

•DENOTES SALEROOM

136

08/08/14

RUSSIA

MOSCOW

+7 495 937 6364

+44 20 7389 2318

Katya Vinokurova

SINGAPORE

SINGAPORE

+65 6235 3828

Wen Li Tang

SOUTH AFRICA

CAPE TOWN

+27 (21) 761 2676

Juliet Lomberg

(Independent

Consultant)

DURBAN & JOHANNESBURG

+27 (31) 207 8247

Gillian Scott-Berning

(Independent

Consultant)

WESTERN CAPE

+27 (44) 533 5178

Annabelle

Conyngham

(Independent

Consultant)

SOUTH KOREA

SEOUL

+82 2 720 5266

Hye-Kyung Bae

SPAIN

BARCELONA

+34 (0)93 487 8259

Carmen Schjaer

MADRID

+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 Dyhlén

(Consultant)

SWITZERLAND

•GENEVA

+41 (0)22 319 1766

Eveline de Proyart

•ZURICH

+41 (0)44 268 1010

Dr. Bertold Mueller

TAIWAN

TAIPEI

+886 2 2736 3356

Ada Ong

THAILAND

BANGKOK

+66 (0)2 652 1097

Yaovanee Nirandara

Punchalee Phenjati

TURKEY

ISTANBUL

+90 (532) 558 7514

Eda Kehale Argün

(Consultant)

UNITED ARAB EMIRATES

•DUBAI

+971 (0)4 425 5647

UNITED KINGDOM

•LONDON, KING STREET

+44 (0)20 7839 9060

•LONDON, SOUTH KENSINGTON

+44 (0)20 7930 6074

NORTH

+44 (0)20 7752 3004

Thomas Scott

SOUTH

+44 (0)1730 814 300

Mark Wrey

EAST

+44 (0)20 7752 3004

Thomas Scott

NORTHWEST AND WALES

+44 (0)20 7752 3004

Jane Blood

SCOTLAND

+44 (0)131 225 4756

Bernard Williams

Robert Lagneau

David Bowes-Lyon

(Consultant)

ISLE OF MAN

+44 (0)20 7389 2032

CHANNEL ISLANDS

+44 (0)1534 485 988

Melissa Bonn

IRELAND

+353 (0)59 86 24996

Christine Ryall

UNITED STATES

BOSTON

+1 617 536 6000

Elizabeth M. Chapin

CHICAGO

+1 312 787 2765

Lisa Cavanaugh

DALLAS

+1 214 599 0735

Capera Ryan

HOUSTON

+1 713 802 0191

Jessica Phifer

LOS ANGELES

+1 310 385 2600

MIAMI

+1 305 445 1487

Jessica Katz

NEWPORT

+1 401 849 9222

Betsy D. Ray

•NEW YORK

+1 212 636 2000

PALM BEACH

+1 561 833 6952

Maura Smith

PHILADELPHIA

+1 610 520 1590

Christie Lebano

SAN FRANCISCO

+1 415 982 0982

Ellanor Notides

For a complete salerooms & offices listing go to christies.com

137

CHRISTIE’S SPECIALIST DEPARTMENTS AND

SERVICES

KEY TO ABBREVIATIONS

KS:

London, King Street

NY:

New York, Rockefeller Plaza

PAR:

Paris

SK:

London, South Kensington

DEPARTMENTS

AMERICAN FURNITURENY: +1 212 636 2230

AMERICAN INDIAN ARTNY: +1 212 606 0536

AMERICAN PICTURESNY: +1 212 636 2140

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

ANTIQUITIESSK: +44 (0)20 7752 3219

ARMS AND ARMOURSK: +44 (0)20 7752 3119

ASIAN 20TH CENTURY AND CONTEMPORARY ARTNY: +1 212 468 7133

AUSTRALIAN PICTURESKS: +44 (0)20 7389 2040

BOOKS AND MANUSCRIPTSKS: +44 (0)20 7389 2674SK: +44 (0)20 7752 3203

BRITISH & IRISH ARTKS: +44 (0)20 7389 2682NY: +1 212 636 2084SK: +44 (0)20 7752 3257

BRITISH ART ON PAPERKS: +44 (0)20 7389 2278SK: +44 (0)20 7752 3293NY: +1 212 636 2085

BRITISH PICTURES 1500-1850KS: +44 (0)20 7389 2945

CARPETSKS: +44 (0)20 7389 2370SK: +44 (0)20 7389 2776

CHINESE WORKS OF ARTKS: +44 (0)20 7389 2577SK: +44 (0)20 7752 3239

CLOCKSKS: +44 (0)20 7389 2357

CONTEMPORARY ARTKS: +44 (0)20 7389 2446SK: +44 (0)20 7389 2502

COSTUME, TEXTILES AND FANSSK: +44 (0)20 7752 3215

EUROPEAN CERAMICS AND GLASSSK: +44 (0)20 7752 3026

FURNITUREKS: +44 (0)20 7389 2482SK: +44 (0)20 7389 2791

IMPRESSIONIST PICTURESKS: +44 (0)20 7389 2638SK: +44 (0)20 7752 3218

INDIAN CONTEMPORARY ARTKS: +44 (0)20 7389 2700NY: +1 212 636 2189

INTERIORSSK: +44 (0)20 7389 2236NY: +1 212 636 2032

ISLAMIC WORKS OF ARTKS: +44 (0)20 7389 2700SK: +44 (0)20 7752 3239

JAPANESE WORKS OF ARTKS: +44 (0)20 7389 2591SK: +44 (0)20 7752 3239

JEWELLERYKS: +44 (0)20 7389 2383SK: +44 (0)20 7752 3265

LATIN AMERICAN ARTNY: +1 212 636 2150

MARITIME PICTURESSK: +44 (0)20 7752 3284NY: +1 212 707 5949

MINIATURES KS: +44 (0)20 7389 2650

MODERN DESIGNSK: +44 (0)20 7389 2142

MUSICAL INSTRUMENTSSK: +44 (0)20 7752 3365

NINETEENTH CENTURY FURNITURE AND SCULPTUREKS: +44 (0)20 7389 2699

NINETEENTH CENTURY EUROPEAN PICTURESKS: +44 (0)20 7389 2443SK: +44 (0)20 7752 3309

OBJECTS OF VERTUKS: +44 (0)20 7389 2347SK: +44 (0)20 7752 3001

OLD MASTER DRAWINGSKS: +44 (0)20 7389 2251

OLD MASTER PICTURESKS: +44 (0)20 7389 2531SK: +44 (0)20 7752 3250

ORIENTAL CERAMICS AND WORKS OF ARTSK: +44 (0)20 7752 3235

PHOTOGRAPHSKS: +44 (0)20 7389 2292

POPULAR CULTURE AND ENTERTAINMENTSK: +44 (0)20 7752 3275

POST-WAR ARTKS: +44 (0)20 7389 2446SK: +44 (0)20 7389 2502

POSTERSSK: +44 (0)20 7752 3208

PRINTSKS: +44 (0)20 7389 2328SK: +44 (0)20 7752 3109

PRIVATE COLLECTIONS AND COUNTRY HOUSE SALESKS: +44 (0)20 7389 2343

RUSSIAN WORKS OF ARTKS: +44 (0)20 7389 2057

TRAVEL, SCIENCE AND NATURAL HISTORYSK: +44 (0)20 7752 3291

SCULPTURE KS: +44 (0)20 7389 2331SK: +44 (0)20 7389 2794

SILVERKS: +44 (0)20 7389 2666SK: +44 (0)20 7752 3262

SWISS ARTZUR: +41 (0) 44 268 1012

TOPOGRAPHICAL PICTURESKS: +44 (0)20 7389 2040SK: +44 (0)20 7752 3291

TRIBAL AND PRE-COLUMBIAN ARTPAR: +33 (0)140 768 386

TWENTIETH CENTURY BRITISH ARTKS: +44 (0)20 7389 2684SK: +44 (0)20 7752 3311

TWENTIETH CENTURY DECORATIVE ART & DESIGNKS: +44 (0)20 7389 2140SK: +44 (0)20 7752 3236

TWENTIETH CENTURY PICTURESSK: +44 (0)20 7752 3218

VICTORIAN PICTURESKS: +44 (0)20 7389 2468SK: +44 (0)20 7752 3257

WATERCOLOURS AND DRAWINGSKS: +44 (0)20 7389 2257SK: +44 (0)20 7752 3293

WINEKS: +44 (0)20 7752 3366

AUCTION SERVICES

CORPORATE COLLECTIONSTel: +44 (0)20 7389 2548 Email: [email protected]

FINANCIAL SERVICESTel: +44 (0)20 7389 2624Fax: +44 (0)20 7389 2204

HERITAGE AND TAXATIONTel: +44 (0)20 7389 2101Fax: +44 (0)20 7389 2300 Email:[email protected]

PRIVATE COLLECTIONS AND COUNTRY HOUSE SALESTel: +44 (0)20 7389 2343Fax: +44 (0)20 7389 2225 Email: [email protected]

MUSEUM SERVICES, UKTel: +44 (0)20 7389 2570 Email: [email protected]

PRIVATE SALESUS: +1 212 636 2034Fax: +1 212 636 2035

VALUATIONSTel: +44 (0)20 7389 2464Fax: +44 (0)20 7389 2038Email: [email protected]

OTHER SERVICES

CHRISTIE’S EDUCATIONLondonTel: +44 (0)20 7665 4350Fax: +44 (0)20 7665 4351Email: [email protected]

New YorkTel: +1 212 355 1501Fax: +1 212 355 7370Email: [email protected]

Hong Kong Tel: +852 2978 6747 Fax: +852 2525 3856 Email: [email protected]

CHRISTIE’S FINE ART STORAGE SERVICESNew York +1 212 974 4570 [email protected]

Singapore Tel: +65 6543 5252 Email: [email protected]

CHRISTIE’S INTERNATIONAL REAL ESTATENew YorkTel +1 212 468 7182Fax +1 212 468 [email protected]

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06/11/14

FRANZ MARC (1880–1916) Springendes Pferd

signed with the initial ‘M.’ (lower right)

gouache and watercolour on paper laid down on board

15¬ x 18 in. (39.7 x 45.7 cm.)

Executed in 1913

£1,500,000–2,000,000

ContactJay Vincze

[email protected]

+44 (0)20 7389 2536

Viewing30 January–4 February

8 King Street

London SW1Y 6QT

Impressionist/Modern Evening Sale

London, King Street • 4 February 2015

Contact AmericasAdrien Meyer

[email protected]

+1 212 636 2056

GUSTAV KLIMT (1862–1918)

Medizin (Kompositionsentwurf) Medicine (Concept), 1897

Purchased privately by The Israel Museum, 2014

Christie’s Private Sales offers a personalised alternative to auction. Please contact us for more details.

Contact EuropeLiberté Nuti

[email protected]

+44 (0) 20 7389 2441

we are delighted to announce the recent private sale of this rare klimt to a major international museum.

FERNAND LEGER (1881-1955) Danseuse au tambourin (détail)

signed with the initials ‘F.L.’ (lower right)

Gouache, India ink and traces of pencil · 27.¼ x 21.½ in.

Executed in 1954

€250,000-350,000

ContactTudor Davies

[email protected]

+33 (0)1 40 76 86 18

Viewing20–25 March

9, avenue Matignon

Paris 8e

Exceptional Works on Paper from the Triton Collection Foundation

Paris • 25 March 2015

ContactNatalie Radziwill

[email protected]

+44 (0)20 7752 3223

Viewing31 January - 6 February

85 Old Brompton Road

London SW7 3LD

Impressionist/Modern Art

London, South Kensington • 6 February 2015

LYONEL FEININGER (1871-1956)Paris Façades IV

signed, dated and inscribed ‘Feininger Paris Façades IV 31.VII.‘53’(lower margin)

watercolour, pen and ink and wash on paper · 19¿ x 12¡ in. (48.6 x 31.3 cm.)

Executed on 31 July 1953

£18,000–25,000

143

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IMPRESSIONIST/MODERNWORKS ON PAPER SALETHURSDAY 5 FEBRUARY 2015 AT 10.30 AM

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09/08/13

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ASSOCIATE DIRECTORSGuy Agazarian, Cristian Albu, Jennie Amos, Ksenia Apukhtina, Katharine Arnold, Alexis Ashot, Alexandra Baker, Fiona Baker, Virginie Barocas-Hagelauer, Carin Baur, Sarah Boswell, Mark Bowis, Clare Bramwell, John Caudle, Dana Chahine, Marie-Louise Chaldecott, Sophie Churcher, Marion Clermont, Helen Culver Smith, Laetitia Delaloye, Charlotte Delaney, Cristiano De Lorenzo, Freddie De Rougemont, Grant Deudney, Claudia Dilley, Eva-Maria Dimitriadis, Howard Dixon, Virginie Dulucq, Joe Dunning, Antonia Essex, Kate Flitcroft, Nina Foote, Eva French, Pat Galligan, Keith Gill, Andrew Grainger, Leonie Grainger, Julia Grant, Pippa Green, Angus Granlund, Christine Haines, Coral Hall, Charlotte Hart, Evelyn Heathcoat Amory, Anke Held, Valerie Hess, Carolyn Holmes, Amy Huitson, Adrian Hume-Sayer, James Hyslop, Helena Ingham, Pippa Jacomb, Mark Jordan, Guady Kelly, Clementine Kerr, Hala Khayat, Alexandra Kindermann, Mark Henry Lampé, Tom Legh, Timothy Lloyd, Graeme Maddison, Stephanie Manstein, Astrid Mascher, Michelle McMullan, Kateryna Merkalenko, Susanne Meyer-Abich, Toby Monk, Sarah O’Brien, William Paton, Samuel Pedder-Smith, Suzanne Pennings, Louise Phelps, Sarah Rancans, Lisa Redpath, David Rees, Alexandra Reid, Sumiko Roberts, Sangeeta Sachidanantham, Pat Savage, Catherine Scantlebury, Julie Schutz, Hannah Schweiger, Mark Silver, James Smith, Graham Smithson, David Stead, Mark Stephen, Annelies Stevens, Charlotte Stewart, Dean Stimpson, Gemma Sudlow, Dominique Suiveng, Cornelia Svedman, Nicola Swain, Iain Tarling, Sarah Tennant, Timothy Triptree, Flora Turnbull, Lisa Varsani, Julie Vial, Anastasia von Seibold, Amelia Walker, Tony Walshe, Chris White, Rosanna Widen, Ben Wiggins, Annette Wilson, Julian Wilson, Elissa Wood, Neal Young

BBauer, R., 231Bottini, G., 206Breton, A., 245Buffet, B., 293, 294

CCarrà, C., 212Chabaud, A., 201, 202Chagall, M., 277, 278

DDalí, S., 251, 252, 253, 254, 255, 256, 257, 259, 260, 261, 262, 263, 297, 298, 299, 300de Chirico, G., 295Degas, E., 267Dufy, R., 272, 273, 274, 280, 281, 284, 285, 289

GGauguin, P., 211Giacometti, A., 264Grosz, G., 286, 287

HHeckel, E., 219, 220Hugo, V., 245

KKandinsky, W., 237, 242Kirchner, E., 217, 218, 226Klee, P., 233, 234, 236, 238, 239, 240, 241Klimt, G., 266, 268, 269

LLebasque, H., 209

MMacke, A., 228Marc, F., 229Matisse, H., 214, 270Miró, J., 213, 248, 249, 250, 258Munch, E., 208

NNolde, E., 221, 224, 227

PPicabia, F., 247Picasso, P., 203, 204, 215, 216, 271, 275, 276, 279, 282, 283, 288, 291, 292Pougny, J., 230

RRenoir, P., 265Rodin, A., 210

SSage, K., 244, 246Schmidt-Rottluff, K., 222, 223Schwitters, K., 232, 235Somm, H., 205Steinlen, T., 207

TTaeuber-Arp, S., 243

UUry, L., 225Utrillo, M., 290

Vvan Dongen, K., 296

INDEX

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Impressionist/Modern Works on Paper

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