Impressionist & Modern Art Day Sale
Impressionist & Modern Art Day Sale
Impressionist & Modern Art Day Sale
24 June 2015
London
2 & 3 JUNE
ART DAPRS-GUERRE ET
CONTEMPORAIN
PARIS
1 JULY
POST-WAR AND CONTEMPORARY ART
DAY AUCTION
LONDON, KING STREET
4 NOVEMBER
IMPRESSIONIST & MODERN ART
DAY AUCTION
NEW YORK
9 JUNE
MODERN ART
AMSTERDAM
15 JULY
MODERN BRITISH & IRISH ART
LONDON, SOUTH KENSINGTON
23 JUNE
IMPRESSIONIST & MODERN ART
EVENING AUCTION
LONDON, KING STREET
18 SEPTEMBER-2 OCTOBER
SMALL IS BEAUTIFUL
ONLINE, LONDON, SOUTH KENSINGTON
25 NOVEMBER
MODERN BRITISH & IRISH ART EVENING
AUCTION
LONDON, KING STREET
24 JUNE
IMPRESSIONIST & MODERN ART
WORKS ON PAPER AUCTION
LONDON, KING STREET
24 JUNE
IMPRESSIONIST & MODERN ART
DAY AUCTION
LONDON, KING STREET
25 JUNE
PICASSO CERAMICS
LONDON, SOUTH KENSINGTON
25 JUNE
MODERN BRITISH & IRISH ART EVENING
AUCTION
LONDON, KING STREET
26 JUNE
IMPRESSIONIST & MODERN ART
LONDON, SOUTH KENSINGTON
26 JUNE
MODERN BRITISH & IRISH ART DAY
AUCTION
LONDON, SOUTH KENSINGTON
30 JUNE
POST-WAR AND CONTEMPORARY ART
EVENING AUCTION
LONDON, KING STREET
15 OCTOBER
POST-WAR AND CONTEMPORARY ART
EVENING AUCTION
LONDON, KING STREET
15 OCTOBER
THE ITALIAN SALE
LONDON, KING STREET
16 OCTOBER
POST-WAR AND CONTEMPORARY ART
DAY AUCTION
LONDON, KING STREET
22 & 23 OCTOBER
IMPRESSIONIST & MODERN ART
PARIS
23 OCTOBER
SHANGHAI SALES
SHANGHAI
23 OCTOBER
FIRST OPEN
LONDON, SOUTH KENSINGTON
26 NOVEMBER
MODERN BRITISH & IRISH ART DAY
AUCTION
LONDON, KING STREET
7 DECEMBER
SWISS ART
ZURICH
8 DECEMBER
MODERN ART
AMSTERDAM
8 & 9 DECEMBER
ART DAPRS-GUERRE ET
CONTEMPORAIN
PARIS
10 DECEMBER
OLD MASTER, MODERN &
CONTEMPORARY PRINTS
LONDON, SOUTH KENSINGTON
11 DECEMBER
MODERN BRITISH & IRISH ART
LONDON, SOUTH KENSINGTON
3 NOVEMBER
IMPRESSIONIST & MODERN ART
EVENING AUCTION
NEW YORK
4 NOVEMBER
IMPRESSIONIST & MODERN
WORKS ON PAPER AUCTION
NEW YORK
Subject to change
20/05/15
PROPERTIES FROM
AUCTION
THE THYSSEN-BORNEMISZA
COLLECTION
THE COLLECTION OF SHMUEL
AND TAMARA GIVON, TEL AVIV
THE COLLECTION OF THE
BARON PASQUALE CUTORE
RECUPERO, SICILY
Friday
Saturday
Sunday
Monday
Tuesday
19 June
20 June
21 June
22 June
23 June
9.ooam - 4.30pm
12.00 noon - 5.00pm
12.00 noon - 5.00pm
9.ooam - 4.30pm
9.ooam - 3.30pm
AUCTIONEERS
CONDITIONS OF SALE
AUCTION RESULTS
CONTENTS
Calendar of Auctions
Auction Information
10
11
12
180
183
184
185
186
187
195
196
Catalogue Subscriptions
IBC
Index
front cover:
Lot 347:
Succession Picasso/DACS, London 2015.
inside front cover:
Lot 309
page one:
Lot 326
page two-three:
page four-five:
Lot 334
opposite:
Lot 360
Lot 345
back cover:
Lot 346
ADAGP, Paris and DACS, London, 2015.
christies.com
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Francis Outred
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Natalie Radziwill
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POST-WAR AND
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POST-WAR AND
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Tel: +1 212 636 2100
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Tudor Davies
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Fanny Saulay
Olivia de Fayet
Thomas Morin
Tel: +33 (0)1 40 76 85 91
POST-WAR AND
CONTEMPORARY ART
Laetitia Bauduin
Christophe Durand-Ruel
Paul Nyzam
Etienne Sallon
Ekaterina Klimochkina
Tel: +33 (0)1 40 76 84 34
ROME
Mariolina Bassetti
Renato Pennisi
Tel: +39 06 686 33 30
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Tel: +41 (0)44 268 10 12
18/05/15
10
Email. First initial followed by last [email protected] (eg. Martha Baer = [email protected])
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11
l*301
JEAN-PIERRE CASSIGNEUL (B. 1935)
Les bras levs
signed CASSIGNEUL . (lower left); signed and inscribed
Cassigneul les Bras levs (on the reverse)
oil on canvas
24 x 19 in. (61 x 50.1 cm.)
25,000-35,000
$39,000-54,000
35,000-49,000
PROVENANCE:
l*302
JEAN-PIERRE CASSIGNEUL (B. 1935)
Le Palais Gritti
signed CASSIGNEUL (lower left); inscribed le palais GRITTI (on the reverse)
oil on canvas
51 x 38 in. (130 x 97 cm.)
Painted in 1972
PROVENANCE:
60,000-80,000
$94,000-120,000
84,000-110,000
13
l303
ANDR BRASILIER (B. 1929)
La nuit nippone
PROVENANCE:
25,000-35,000
$39,000-54,000
35,000-49,000
14
LITERATURE:
l*304
ANDR BRASILIER (B. 1929)
Lhiver vert
signed Andr Brasilier (lower right); signed, dated and inscribed
'L'hiver Vert Andre Brasilier. 2014 -' (on the stretcher)
oil on canvas
51 x 63 in. (130 x 162 cm.)
Painted in 2014
PROVENANCE:
40,000-60,000
$63,000-93,000
56,000-83,000
15
l*305
JEAN DUFY (1888-1964)
La Seine
signed Jean Dufy (lower right)
oil on canvas
23 x 31 in. (60.6 x 80.9 cm.)
25,000-35,000
$39,000-54,000
35,000-49,000
16
Jacques Bailly will include this work in the forthcoming third volume of
his Jean Dufy catalogue raisonn.
l306
AUGUSTE HERBIN (1882-1960)
Port
EXHIBITED:
40,000-60,000
$63,000-93,000
56,000-83,000
PROVENANCE:
LITERATURE:
G. Claisse, Herbin, Catalogue raisonn de luvre peint, Paris, 1993, no. 128,
p. 301 (illustrated pp. 40 & 301).
M. A. Hurttig, Die Franzosen kommen! Albert Marquet, Auguste Herbin,
Pierre Bonnard und douard Vuillard, Hamburg, 2011, no. 23, p. 23
(illustrated; with incorrect dimensions 54 x 65 cm.).
l307
MAURICE DE VLAMINCK (1876-1958)
Place Agns, Bougival
signed Vlaminck (lower right)
oil on canvas
23 x 28 in. (60 x 73 cm.)
70,000-100,000
$110,000-160,000
98,000-140,000
18
PROVENANCE:
l*308
RAOUL DUFY (1877-1953)
Composition, bateaux, coquillage dans la baie
de Sainte-Adresse
PROVENANCE:
EXHIBITED:
120,000-180,000
$190,000-280,000
170,000-250,000
19
l309
RAOUL DUFY (1877-1953)
Lorchestre la chanteuse
signed and dated Raoul Dufy 1942 (lower right)
oil on canvas
21 x 25 in. (54 x 65 cm.)
Painted in 1942
280,000-350,000
$440,000-540,000
390,000-490,000
PROVENANCE:
M. Laffaille, Raoul Dufy, Catalogue raisonn de luvre peint, vol. IV, Geneva,
1977, no. 1401, p. 20 (illustrated).
D. Perez-Tibi, Dufy, Paris, 1989, no. 362, p. 329 (illustrated p. 291).
20
l*310
KEES VAN DONGEN (1877-1968)
Roses in December for you
signed van Dongen (lower left) and inscribed Roses in December for You (lower right); signed again
and indistinctly inscribed van Dongen 5. Rue ... Paris Roses (on the reverse) and inscribed van Dongen
(on the stretcher)
oil on canvas
39 x 32 in. (101 x 82 cm.)
Painted circa 1930
180,000-250,000
$290,000-390,000
260,000-350,000
PROVENANCE:
Kees Van Dongen, La vasque feurie, 1917. Muse dart moderne, Paris.
RMN-Grand Palais / Agence Bulloz.
ADAGP, Paris and DACS, London, 2015..
22
l311
MARC CHAGALL (1887-1985)
La Sainte-Chapelle, tude
signed Marc Chagall (lower right)
oil on canvas
18 x 15 in. (46 x 38 cm.)
Painted in 1953
300,000-400,000
$470,000-620,000
420,000-560,000
PROVENANCE:
The Comit Marc Chagall has confrmed the authenticity of this work.
The present work relates to a series of paintings executed between
1952 and 1956 and referred to by Franz Meyer as The Paris Series.
These works present some of Chagall's most recognisable imagery
against the backdrop of the most famous landmarks of Paris, such as
L'Opra, Notre-Dame and La Bastille. In the preent work, we see the
Gothic spire of La Sainte-Chapelle in the foreground, with a bird's eye
view from le de la Cit showing the Seine receding into the distance.
Throughout Chagalls long and illustrious career, his paintings
chronologically refect his emotions, providing the beholder with a
window into the artists soul. Chagalls most evocative and powerful
images are those that weave the threads of real life with those of
dreamscapes, the iconographic with the fantastic. Often instilled with
deeply personal and poetic motifs, which are refective of the themes
of love, nostalgia and fantasy, Chagall regales fgments of his memory
and imagination, frequently depicting them through an array of foating
fgures and symbols, set in dreamlike settings. La Sainte-Chapelle, tude
refects Chagalls marvelously inventive and fantastical pictorial universe.
Unlike other artists of the day Chagall was not afraid of sentimentality
and saw that it was essential to his work, stating, 'If I create from
the heart, nearly everything works; if from the head, almost nothing'
(quoted in J. Baal-Teshuva, ed., Chagall: A Retrospective, exh. cat., New
York, 1995, p. 16). He defended this self-refective way of working,
declaring, All our interior world is reality - and perhaps more so than
our apparent worldTo call everything that appears illogical, 'fantasy,'
fairy tale, or chimera would be practically to admit not understanding
nature (quoted in B. Harshav, ed., Marc Chagall on Art and Culture,
Palo Alto, 2003, pp. 81-82).
*312
DIEGO GIACOMETTI (1902-1985)
La table-berceau, premire version
signed Diego (once on each sidebar)
bronze with green and brown patina
15 x 53 x 20 in. (39 x 135.6 x 51 cm.)
Conceived circa 1963
70,000-100,000
$110,000-160,000
98,000-140,000
26
PROVENANCE:
Private collection, New York, by whom acquired directly from the artist; sale,
Christies, New York, 2 October 1990, lot 178.
Acquired at the above sale by the present owner.
LITERATURE:
313
DIEGO GIACOMETTI (1902-1985)
Table carcasse, modle bas double plateau
bronze with brown and green patina
16 x 50 x 34 in. (42 x 127.5 x 87 cm.)
Conceived circa 1970
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Private collection, Paris, by whom acquired directly from the artist in the
1980s, and thence by descent to the present owner.
LITERATURE:
27
l*314
BERNARD BUFFET (1928-1999)
Nature morte au chou
signed and dated Bernard Buffet 55 (lower left)
oil on canvas
38 x 51 in. (97.9 x 130.1 cm.)
Painted in 1955
40,000-60,000
$63,000-93,000
56,000-83,000
28
PROVENANCE:
l315
BERNARD BUFFET (1928-1999)
Mac le clos
PROVENANCE:
signed Bernard Buffet (upper left) and dated 1975 (upper right); signed
with initial and inscribed B Mac Le clos (on the reverse)
oil on canvas
35 x 51 in. (90 x 130.5 cm.)
Painted in 1975
50,000-80,000
$78,000-120,000
70,000-110,000
29
l316
FRANOISE GILOT (B. 1921)
Oreste enfant
signed F.Gilot (lower right); inscribed ORESTE ENFANT (on the stretcher)
oil on canvas
38 x 51 in. (97 x 130 cm.)
Painted in London circa 1967-1968
40,000-60,000
$63,000-93,000
56,000-83,000
PROVENANCE:
Anonymous sale, Mainichi Art Auction, Tokyo, 14 March 2015, lot 408.
Acquired at the above sale by the present owner.
EXHIBITED:
30
l*317
BERNARD BUFFET (1928-1999)
La mouette
signed and dated Bernard Buffet 63 (upper right)
oil on canvas
32 x 51 in. (82 x 130.2 cm.)
Painted in 1963
PROVENANCE:
70,000-100,000
$110,000-160,000
98,000-140,000
31
l*318
HENRI LAURENS (1885-1954)
Femme la draperie
stamped with the monogram, numbered and stamped with the foundry
mark HL. 2/6 CIRE PERDUE C VALSUANI (on the base)
bronze with dark brown patina
Height: 4 (11.4 cm.)
Length: 13 in. (34.3 cm.)
Conceived in 1954 and cast in an edition of six
30,000-50,000
PROVENANCE:
$47,000-78,000
42,000-70,000
32
Quentin Laurens, the holder of the Droit Moral, has kindly confrmed
that this work is registered in his archives.
l*319
BALTASAR LOBO (1910-1993)
Jeune flle de face, mains croises
signed and numbered Lobo 2/8 and stamped with the foundry mark
Susse Fondeur Paris (at the back of the fgure)
bronze with dark brown patina
Height: 16 in. (42 cm.)
Conceived in 1975 and cast in 1975 in an edition of eight plus four artists
proofs
50,000-70,000
$78,000-110,000
70,000-97,000
PROVENANCE:
Exh. cat., Baltasar Lobo, Marmor, Stein, Bronzen, Zeichnungen, Zurich, 1976.
J.-E. Muller, Lobo, Catalogue raisonn de luvre sculpt, Lausanne, 1985,
no. 407 (another cast illustrated; titled Femme assise, mains croises).
Exh. cat., Baltasar Lobo, Skulpturen, Zeichnungen, Linz, 1992.
Galera Freites will include this work in their forthcoming Baltasar Lobo
catalogue raisonn under the archive number 7505.
33
320
AUGUSTE RODIN (1840-1917)
ternel printemps, 4e rduction
signed Rodin (on the right side of the base), and stamped with the foundry
mark F. BARBEDIENNE, Fondeur (on the left side of the base); marked 'S 3'
and numbered with ink '89090 gue 420' (inside)
bronze with brown and green patina
9 x 10 x 12 in (24.5 x 26 x 31.5 cm.)
Conceived in 1884, this reduction in 1898, and cast between 1898 and 1918 in
an edition of between 63 and 69 examples; this example cast in December 1917
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
L. Maillard, Auguste Rodin, Statuaire, Paris, 1899, pp. 121-122 (the marble
version illustrated fg. 16).
G. Grappe, Catalogue du Muse Rodin, Paris, 1927, nos. 69-70, p. 42 (other
versions illustrated).
Muse Rodin, ed., Catalogue 1931, Paris, 1931, no. 135, p. 68 (larger version
illustrated).
J. Cladel, Rodin, London, 1936 (the marble version illustrated p. 97).
G. Grappe, Le Muse Rodin, Paris, 1947, p. 141 (larger version illustrated pl. 56).
B. Champigneulle, Rodin, London, 1967, nos. 34-35, p. 280 (larger plaster
versions illustrated pp. 92-93).
R. Descharnes & J. F. Chabrun, Auguste Rodin, Paris, 1967, p. 135 (larger bronze
version illustrated p. 134).
I. Jianou and C. Goldscheider, Rodin, Paris, 1967, p. 96, pls. 56-57 (large bronze
version illustrated).
L. Steinberg, Other criteria, Confrontations with Twentieth-Century Art, Oxford,
1972, no. 232, p. 363 (the marble version illustrated).
J. L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, no. 32b, p.
246 (the marble version illustrated).
A. E. Elsen, Rodin Rediscovered, Washington, 1981, p. 68 (large clay version
illustrated fg. 313).
A.-B. Fonsmark, Rodin, New York, 1988, no. 15, pp. 100-102 (the marble version
illustrated p. 101).
A. E. Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center
for Visual Arts at Stanford University, New York, 2003, pp. 494-497, no. 148
(other versions illustrated pp. 494-496).
A. Le Normand-Romain, Rodin et le bronze, Catalogue des uvres conserves au
Muse Rodin, vol. I, Paris, 2007, no. S.777, p. 334 (another cast illustrated).
34
*321
ARISTIDE MAILLOL (1861-1944)
Femme nue accroupie
signed with the monogram and numbered M 6/6 (on the base); stamped with
the foundry mark . Alexis Rudier. Fondeur. Paris. (on the back of the base)
bronze with green and dark-brown patina; in two parts
6 x 9 x 5 in. (16 x 24 x 12.5 cm.)
Conceived in 1930 and cast before 1952 in an edition of six
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Exh. cat., Aristide Maillol, Hamburg, 1961, no. 73, p. 44 (another cast
illustrated).
B. Lorquin, Aristide Maillol, London, 1995, p. 198 (another cast illustrated p. 104).
36
*322
ODILON REDON (1840-1916)
Papillons
signed ODILON REDON (lower left)
oil on canvas
25 x 19 in. (65 x 49.8 cm.)
Painted before November 1909
300,000-500,000
$470,000-780,000
420,000-700,000
Art, for Redon, was what poetry was for his friend Stphane Mallarm:
'the expression, through human language reduced to its essential rhythm,
of the mysterious meaning of the various aspects of existence. In this
way it authenticates our sojourn on this planet and constitutes our sole
intellectual challenge' (Mallarm to Lo d'Orfer, 1884). Infuenced to a
large extent by Mallarm's symbolism, Redon creates pictures which 'do
not defne themselves; they place us, like music, in the ambiguous world
of the indeterminate' (Redon, quoted in A. Wildenstein, Odilon Redon,
Catalogue raisonn, vol. I, Paris, 1992, p. 145).
Before 1900 Redon made drawings almost exclusively in black and
PROVENANCE:
Prince Antoine Bibesco, Paris, by whom acquired directly from the artist in
November 1909.
[Probably] Jos Hessel, Paris (no. 38).
Private collection, France.
Anonymous sale, Palais Gallira, Paris, 16 June 1969, lot 113.
Wildenstein & Co., New York.
Urban Art Research, New York, by 1986.
Galerie Urban, Paris, by 1987.
Private collection, Japan, by 1991.
Acquired from the above; sale, Christies, London, 18 June 2007, lot 30.
Acquired at the above sale by the present owner.
EXHIBITED:
38
l*323
MARC CHAGALL (1887-1985)
Pour Vava
signed, dated, dedicated and inscribed (in Cyrillic) For the new year 1970 POUR VAVA ChAgAll
(on the lower edge)
oil on canvas
16 x 13 in. (41 x 33 cm.)
Painted in 1970
380,000-450,000
$600,000-700,000
530,000-630,000
PROVENANCE:
The Comit Marc Chagall has confrmed the authenticity of this work.
Like many of his best works, Pour Vava represents two lovers caught
up in the early excitement of love. Encompassing Chagalls favourite
theme, the present work is a mirage of magical lyricism and blissful
romance, exemplifying the artists unique and deeply personal artistic
vision. This beautifully composed painting comes from a period
of great happiness and stability for the artist, who in 1952 had
married Valentina Brodsky, his second wife, nicknamed 'Vava', and
to whom this painting is dedicated. Chagall met Vava earlier that
year, when he had been encouraged by his daughter Ida to employ
her as his secretary, coaxing her away from her milliners in London.
Both from Russian Jewish families, they found a mutual affnity and
shared comfort in their cultural heritage, and their relationship soon
developed. Entitled For Vava this work stands as a testament to their
love and life together.
40
l*324
BALTASAR LOBO (1910-1993)
Maternit sur socle
signed and numbered Lobo 8/8 (on the base) and stamped with
the foundry mark Susse Fondeur Paris (on the side of the base)
bronze with dark green patina
Height: 8 in. (21 cm.)
Conceived in 1946 and cast in 1989 in an edition of eight plus four
artists proofs
20,000-30,000
$32,000-47,000
28,000-42,000
PROVENANCE:
l325
LEONARD TSUGUHARU FOUJITA (1886-1968)
Portrait dun garon
signed and dated Foujita 1923 (lower left); signed and dated again Foujita
1923 (on the stretcher)
oil and gold paint on canvas
25 x 19 in. (65.3 x 49.2 cm.)
Painted in 1923
PROVENANCE:
60,000-80,000
$94,000-120,000
84,000-110,000
43
l*326
MARC CHAGALL (1887-1985)
Le rve
signed MArC chAgAll (lower center)
oil on cardboard
15 x 18 in. (38.1 x 46.1 cm.)
Painted circa 1980
300,000-500,000
$470,000-780,000
420,000-700,000
PROVENANCE:
Perugia, Galleria Nazionale dellUmbria, Teatro del sogno, September 2010 January 2011, p. 72 (illustrated).
Lugano, Imago Art Gallery, I colori dellanima, January 2013, no. 20 (illustrated).
The Comit Marc Chagall has confrmed the authenticity of this work.
44
327
GUSTAVE LOISEAU (1865-1935)
Le port de Fcamp
signed and dated G Loiseau 1921 (lower right)
oil on canvas
19 x 24 in. (50 x 61.1 cm.)
Painted in 1921
25,000-35,000
$39,000-54,000
35,000-49,000
46
PROVENANCE:
328
GUSTAVE LOISEAU (1865-1935)
Le clos Hdouville, effet de neige
signed G Loiseau (lower right)
oil on canvas
23 x 32 in. (60.5 x 81.5 cm.)
Painted in 1898
40,000-60,000
$63,000-93,000
56,000-83,000
PROVENANCE:
47
329
HENRI MARTIN (1860-1943)
Retour des champs
oil on canvas
47 x 58 in. (120.5 x 149.5 cm.)
Painted circa 1890-1895.
60,000-80,000
$94,000-120,000
84,000-110,000
PROVENANCE:
New York, Hammer Galleries, Eden Close at Hand: The Paintings of Henri
Martin, 2005, no. 26, pp. 92-93; this exhibition later travelled to Beverly Hills,
Anderson Galleries.
330
HENRI MARTIN (1860-1943)
Vue de Labastide-du-Vert
oil on canvas
35 x 46 in. (90.2 x 117 cm.)
Painted circa 1900
120,000-180,000
$190,000-280,000
170,000-250,000
PROVENANCE:
l331
EMILE-OTHON FRIESZ (1879-1949)
Paysage du Midi
signed Othon Friesz and indistinctly inscribed 'Othon F...z' (lower right)
oil on panel
19 x 25 in. (50.7 x 65.1 cm.)
Painted circa 1907
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
50
l332
PIERRE BONNARD (1867-1947)
Jardin mditerranen
stamped with the signature Bonnard (Lugt L.3886, lower left)
oil on canvas
18 x 24 in. (47 x 62 cm.)
Painted circa 1916
300,000-400,000
$470,000-620,000
420,000-560,000
PROVENANCE:
52
333
HENRI LEBASQUE (1865-1937)
Dans un jardin Champign
signed and dated H. LEBASQUE 94 (lower right)
oil on canvas
29 x 22 in. (73.5 x 56 cm.)
Painted in 1894
140,000-180,000
$220,000-280,000
200,000-250,000
PROVENANCE:
54
334
ALFRED SISLEY (1839-1899)
La maison rose
signed Sisley (lower right)
oil on canvas
17 x 21 in. (45.5 x 54.3 cm.)
Painted in 1894
500,000-700,000
$780,000-1,100,000
700,000-970,000
PROVENANCE:
Jeanne Dietsh-Sisley, Paris; her sale, Htel Drouot, Paris, 3 June 1919, lot 9.
Anonymous sale, Htel Drouot, Paris, 11 May 1942, lot 106.
Madame Cibi, Paris; sale, Htel Drouot, Paris, 21 May 1951, lot 60.
Private collection, Paris, by 1959, and thence by descent to the present
owners.
LITERATURE:
56
l335
PIERRE BONNARD (1867-1947)
La terrasse au bord de la mer
oil on paper laid down on canvas
31 x 48 in. (80.5 x 122.6 cm.)
Painted circa 1910
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
336
EDGAR DEGAS (1834-1917)
Portraits (Mme Ducros)
oil on paper laid down on canvas
18 x 21 in. (46 x 55.5 cm.)
Painted in Rome circa 1857-1859
120,000-180,000
$190,000-280,000
170,000-250,000
PROVENANCE:
Ren de Gas, Paris, and thence by descent; sale, Htel Drouot, Paris, 10
Novembre 1927, lot 90.
Collection Aubry, Paris.
Acquired by the grandfather of the present owners, circa 1950s.
LITERATURE:
P.-A. Lemoisne, Degas et son uvre, vol. II, Paris, 1946, no. 42, p. 18
(illustrated p. 19).
60
The Ducros and the Millaudon families were friends and neighbours
of the Mussons (Degass cousins) in New Orleans. In 1857-58, the
Ducros and the Millaudon families travelled to Europe together first
to Paris, and then to Rome, where Degas met them and painted their
portraits. The male figure at the right side of the composition has
been identified as either Monsieur Ducros, or their son. A completed
portrait of Madame Ducros in a long black coat, also executed in
Rome circa 1857-59, and for which the present lot appears to be a
closely related work, now hangs as part of the Rouart donation at
the Muse Marmottan Monet in Paris.
l337
MARIE LAURENCIN (1883-1956)
Les deux surs
signed Marie Laurencin (upper right)
oil on canvas
18 x 21 in. (46 x 54 cm.)
Painted in 1949
40,000-60,000
$63,000-93,000
56,000-83,000
62
PROVENANCE:
Private collection, a commission from the artist, and thence by descent to the
present owners.
LITERATURE:
338
EDGAR DEGAS (1834-1917)
Portrait d'homme d'aprs un matre famand
with the estate stamp 'ATELIER ED DEGAS' (Lugt 657; on the reverse)
oil on paper laid down on board
11 x 10 in. (29.9 x 25.9 cm.)
Executed circa 1870
80,000-120,000
$130,000-190,000
120,000-170,000
PROVENANCE:
Professor Theodore Reff has stated that in his opinion this work is by
Edgar Degas.
Together with Ingrs, Delacroix and Czanne, Degas was one of
the most passionate and convinced copyists of his time.He was
a follower of the Old Masters and at the same time a founder of
modern painting; and in Degas this is not a contradiction. It would
not be right to see him as a Janus fgure, looking straight back and
straight ahead; rather, keeping within the ground rules of painting as
laid down by the Old Masters, he managed to unearth the principles
of the new.
E. Maurer, Degass Copies, in Degas Portraits, exh. cat., London,
1994, p. 151.
339
CAMILLE PISSARRO (1830-1903)
Route Louveciennes
stamped with the initials C.P. (Lugt 613a; lower right)
oil on canvas
16 x 12 in. (43 x 30.4 cm.)
Painted circa 1870
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
L.-R. Pissarro & L. Venturi, Camille Pissarro, son art, son uvre, vol. I,
San Francisco, 1989, no. 101, p. 93 (illustrated, vol. II, pl. 20; titled
Louveciennes).
J. Pissarro & C. Durand-Ruel Snollrts, Pissarro, Catalogue critique des
peintures, vol. II, Paris, 2005, no. 167, p. 146 (illustrated).
64
340
PIERRE-AUGUSTE RENOIR (1841-1919)
Paysage avec un ruisseau
oil on canvas
11 x 13 in. (28 x 33.2 cm.)
Painted in Cagnes circa 1896-1900
150,000-200,000
$240,000-310,000
210,000-280,000
PROVENANCE:
66
341
PIERRE-AUGUSTE RENOIR (1841-1919)
Jeune flle au chapeau
signed Renoir. (lower right)
oil on canvas
16 x 13 in. (41.3 x 33 cm.)
Painted circa 1895
400,000-600,000
$630,000-930,000
560,000-830,000
PROVENANCE:
A. Vollard, Tableaux, Pastels & Dessins de Pierre-Auguste Renoir, vol. II, Paris,
1919, (illustrated t. II, p. 29).
G.-P. & M. Dauberville, Renoir, Catalogue raisonn des Tableaux, Pastels,
Dessins et Aquarelles, vol. III, 1895-1902, no. 2214, p. 293 (Illustrated).
In 1895, Renoir and his wife bought a house in Essoyes, her home
village, where they would spend the summers away from the heat
of Paris. Renoir felt very much at home in this charming village in
the Champagne-Ardennes region, surrounded by Alines family and
friends. At this time, while he continued to receive and work on
lucrative large-scale society-portrait commissions, his private work
focused on informal portraits of family members and friends.
Judging by the dress of the young sitter and the sun dappled background,
Jeune flle au chapeau appears to date from one of these rural summer
idylls. To achieve a natural, relaxed effect, he asked his sitters to present
themselves in their normal manner, so that the fnished result would
be true to modern life. The present sitter appears at ease, her smiling,
radiant countenance good-naturedly directed towards the artist. Jeune
flle au chapeau is representative of the artists concerns, not only in its
choice of subject but also in its painterly treatment and its palette of subtly
modulated yellow, green and earth tones punctuated with large areas of
wonderously luminous white on the young womans hat and dress. As
the art critic Octave Mirbeau wrote, He is truly the painter of women,
alternatively gracious and moving, knowing and simple, and always
elegant, with an exquisite visual sensibility...he also gives a sense of the
form of the soul, all womans inward musicality and bewitching mystery
(quoted in N. Wadley, ed., exh. cat., Renoir, A Retrospective, New York,
1987, p. 165).
Renoir immediately sought what was most living and most personal in
his sitter. When painting a woman, he sought to reveal that which still
remained from the child within - the luminous softness of the skin, her
delicate fesh, and the character of her inner youth. As George Rivire
was to comment: In Renoirs fgure painting, portraiture deserves
a place unto itself. For no other artist has looked so deeply into his
sitters soul, nor captured its essence with such economy (quoted in C.
Bailey, Renoirs Portraits, Impression of an Age, Ottawa, 1997, p. 1). In his
female portraits, Renoir paints with sympathy and sensibility but never
submits to the negative constraints of portraiture: Without judgement,
he captures the presence of his model. As he viewed it, the face was
the eyes and the mouth - the rest was but a caress. The eyes and the
mouth enclose the beauty and femininity of a woman, while being
the portals of the human being leading towards the soul and into the
fesh (M. Florisone, Renoir, London, 1942, p. 26).
*342
JUAN GRIS (1887-1927)
Portrait de jeune flle
signed and dated Juan Gris 1922 (lower right)
oil on canvas
25 5 x 21 in. (64 x 54 cm.)
Painted in 1922
250,000-350,000
$390,000-540,000
350,000-490,000
PROVENANCE:
D.-H. Kahnweiler, Juan Gris: sa vie, son uvre, ses crits, Paris, 1946.
J. A. Gaya Nuo, Juan Gris, Barcelona, 1984, no. 168, pp. 144 & 242
(illustrated p. 145).
D. Cooper, Juan Gris, Catalogue raisonn de luvre peint, vol. II, Paris, 1977,
no. 406, p. 228 (illustrated p. 229).
70
l343
JEAN METZINGER (1883-1956)
Carafe en cristal et lunettes
signed J Metzinger (lower left)
oil on canvas
21 x 15 in. (55 x 38 cm.)
Painted circa 1940
35,000-55,000
$55,000-86,000
49,000-77,000
72
PROVENANCE:
l344
AUGUSTE HERBIN (1882-1960)
Les trois vases
signed Herbin (lower right)
oil on canvas
28 x 23 in. (73 x 59.6 cm.)
Painted in 1904
PROVENANCE:
60,000-80,000
$94,000-120,000
84,000-110,000
73
l345
FERNAND LGER (1881-1955)
Composition
dated and signed 45 F.LEGER (lower right)
oil on canvas
16 x 20 in. (42.4 x 52.1 cm.)
Painted in 1945
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
74
This readability was important to Lger, who did not want his art to be
a philosophical refection on the issues if the day. Instead he wished
for his work to be a departure from the hardships of war and aimed to
promote an optimistic aesthetic, which would place his art in the wider
context of human history and would act as a sign of human endurance
and hopefulness.
In Composition Lger captures the effect of light and depth by
juxtaposing fat shapes of contrasting form and colour, their contours
highlighted by thick black outlines, a feature which characterised his
work. This interplay of rhythms and harmonies creates a dynamism and
sense of movement, which became synonymous with the artists later
uvre. Displaying the vibrancy and exuberance of Lgers palette, the
present work showcases the artists experimental and expressive use of
colour, which he described in 1937, as being an elemental force, as
indispensable to life as water and fre (ibid., p. 117). Colour became
the defning drive behind Legers work, with him later in 1938,
asserting: colour can enter into play with a surprising and active force
without any need to incorporate instructive or sentimental elements.
A wall can be destroyed by the application of pure colors... A wall can
be made to advance or recede, to become visually mobile. All this with
colour (ibid., p. 123).
Lgers renewed interest in colour and the increased energy and
dynamism in his work, can be indebted, in part, to his move to the
United States. Emigrating in 1940 at the outset of the Second World
War, he would remain there for the next fve years. Here he was
struck by the vastness of the American landscape and the energetic
dynamism he found in New York: During these years in America I
do feel I have worked with a greater intensity and achieved more
expression than in my previous work. In this country there isan
increased sense of movement and violence... I prefer to see America
through its contrasts--its vitality, its litter and its waste... What
has come out most notably in the work I have done in America is
in my opinion a new energy--an increased movement within the
composition (quoted in Fernand Lger, exh. cat., The Museum of
Modern Art, New York, 1998, p. 234).
l346
AUGUSTE HERBIN (1882-1960)
Nature morte aux biscuits
signed and dated herbin 17 (lower left)
oil on canvas
39 x 28 in. (99.9 x 73 cm.)
Painted in 1917
140,000-180,000
$220,000-280,000
200,000-250,000
PROVENANCE:
76
77
l*347
PABLO PICASSO (1881-1973)
Compotier, bouteille, guitare devant une fentre ouverte
signed and dated Picasso 19 (lower left)
oil on canvas
8 x 8 in. (21 x 21 cm.)
Painted in 1919
600,000-800,000
$940,000-1,200,000
840,000-1,100,000
PROVENANCE:
Paul & Marguerite Rosenberg, Paris, and thence by descent; sale, Christies,
Paris, 3 December 2007, lot 9.
Acquired at the above sale by the present owner.
EXHIBITED:
New York, Paul Rosenberg & Co., Picasso: An American Tribute, April - May
1962, no. 8 (illustrated).
LITERATURE:
C. Zervos, Pablo Picasso, uvres de 1917 1919, vol. 3, Paris, 1949, no. 421,
p. 141 (illustrated).
The Picasso Project, eds., Picassos Paintings, Watercolors, Drawings and
Sculpture, From Cubism to Neoclassicism, 1917-1919, San Francisco, 1995,
no. 19-291, p. 259 (illustrated).
J. Palau i Fabre, Picasso: From the Ballets to Drama, 1917-1926, Barcelona,
1999, no. 523, pp. 159 & 500 (illustrated p. 159).
l348
ROBERT MARC (1943-1999)
l349
FERNAND LGER (1881-1955)
Untitled
Composition abstraite
10,000-15,000
150,000-250,000
$16,000-23,000
$240,000-390,000
14,000-21,000
210,000-350,000
PROVENANCE:
PROVENANCE:
EXHIBITED:
Lot 348
80
Lot 349
81
l350
ALBERTO MAGNELLI (1888-1971)
Altitude magntique II
signed and dated Magnelli 46 (upper left); signed, dated and inscribed
Magnelli Altitude Magntique II Paris 1946 (on the reverse)
oil on canvas
51 x 38 in. (130.5 x 97.6 cm.)
Painted in Paris in 1946
50,000-80,000
$78,000-120,000
70,000-110,000
82
PROVENANCE:
l351
ALBERTO MAGNELLI (1888-1971)
Systme complexe
PROVENANCE:
40,000-60,000
LITERATURE:
$63,000-93,000
56,000-83,000
83
l352
MARINO MARINI (1901-1980)
Miracolo di colore
signed, dated and inscribed MARINI 1955 MIRACOLO di Colore (on the reverse)
oil on paper laid down on canvas
47 x 33 in. (121.6 x 85 cm.)
Painted in 1955
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
84
Dl353
GIORGIO DE CHIRICO (1888-1978)
Tempio in una stanza
signed G. de. Chirico (lower right)
oil on canvas
18 x 21 in. (46.7 x 55.2cm.)
Painted in Paris circa 1926
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
86
Reversing this idea, in Una camera nel museo, de Chirico has replaced
the Classical statues that usually adorn the rooms of museums, with a
landscape, which for its reference to ancient Greece roots the cultural
space of the museum into a distant, mythological past. Acknowledging
de Chiricos ability to establish links between extraneous realities,
Jean Cocteau, in Le mystre lac of 1928, celebrated de Chirico as a
dpaysagiste, stressing his ability to estrange objects from their expected
context, revealing unknown facets of their being.
Evoking the effect of an illusionistic backdrop, works such as Una
camera nel museo introduce a theatrical dimension to de Chiricos
work, placing these pictures in the context of the artists scenography
career. In 1928, de Chirico would be commissioned with the design for
the set of Diaghilevs Ballets Russes 1929 production Le bal. Echoing
the artists own paintings, the scenography for that ballet introduced
fragments of landscape into a room, confirming de Chiricos deep
fascination and dedication to the theme of enclosed outdoors.
Ultimately, however, the imagery of works such as Una camera nel
museo was part of de Chiricos eccentric reinterpretation of Greek
classical antiquity, which the artist re-invented as his own, personal
mythology, governing the universe of his art. In particular, images
of nature enclosed in rooms became a symbol of the emotional
proximity of gods and humans so characteristic of Greek mythology.
De Chirico explained: The intrusion of Nature upon dwellings, as Ive
tried to suggest it, is reminiscent of the alliance between gods and
men that imbues all of Greek art. By participating in human life, the
gods became only more divine (Giorgio de Chirico, Some Perspectives
on my Art, pp. 248-254, in G. de Chirico, Hebdomeros, Cambridge
Massachusetts, 1992, pp. 251).
l354
MASSIMO CAMPIGLI (1895-1971)
Le tenniste
PROVENANCE:
30,000-50,000
EXHIBITED:
$47,000-78,000
42,000-70,000
N. Campigli, E. & M. Weiss, Campigli, catalogue raisonn, vol. II, Milan, 2013,
no. 48-033, p. 583 (illustrated).
88
l355
GIORGIO DE CHIRICO (1888-1978)
Bagnanti
signed g. de Chirico (lower right)
oil on canvas
16 x 19 in. (40.4 x 50.5 cm.)
Painted circa 1948
40,000-60,000
$63,000-93,000
56,000-83,000
PROVENANCE:
89
l356
ANDR MASSON (1896-1987)
Porteuse doffrandes
signed with the initials AM (lower left)
oil on canvas
19 x 24 in. (49.8 x 61 cm.)
Painted in 1965
25,000-35,000
$39,000-54,000
35,000-49,000
90
PROVENANCE:
The Comit Andr Masson has confrmed the authenticity of this work.
l*357
VICTOR BRAUNER (1903-1966)
Lion, Lumire, Libert
signed and dated *VICTOR BRAUNER* 9*9*1945* (lower right)
encaustic painting on board
22 x 30 in. (56.8 x 77 cm.)
Executed on 9 September 1945
50,000-80,000
PROVENANCE:
$78,000-120,000
70,000-110,000
91
l*358
MAX ERNST (1891-1976)
Untitled (Soleil orange)
signed max ernst (lower right)
oil on canvasboard
9 x 13 in. (24 x 33 cm.)
Painted circa 1956
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
From the early 1960s, Max Ernst began to explore new avenues in
his art. Instead of placing his imagery in a deep, illusionistic space, or
using geometry or elements of cubism to compose the picture plane,
he increasingly adopted the practice of American postwar abstraction
in treating the canvas as an absolutely fat surface on which the artist
posited marks or signs.
The route to this new sense of fatness and a decentralized, 'all-over'
composition came by way of techniques that he developed in the
1920's: collage and frottage. He collected border-strips of wallpaper
and other fat objects in local markets, which he attached to fat,
painted surfaces, creating a series of large, elegantly composed panel
collages that form an interesting counterpart to Robert Rauschenberg's
rougher and more sprawling combine paintings. He further developed
his method of frottage, the practice of creating an impression of
the texture and confguration of a fat object by placing it beneath
the paper sheet and rubbing the surface with charcoal or pencil.
He invented this technique in 1925, and had already adapted it to
painting on canvas, which entailed 'the scraping of pigments upon a
ground prepared in colours and placed on an uneven surface' (from
'On Frottage', trans. D. Tanning, in H.C. Chipp, ed., Theories of
Modern Art, Berkeley, 1968, p. 429).
This practice is also related to the technique of intaglio etching, in
which the artist incises the image through a thin coat of the etching
ground applied to a metal plate. Around the time of Untitled (Soleil
orange), Ernst was working on his etchings for the book Maximiliana,
ou L'exercice illgal de l'astronomie (published in Paris, 1964; W.
Spies, Max Ernst, Das Graphische Werk, no. 95), and the use of the
etcher's needle may have once again suggested to the artist the idea
of scraping the canvas.
Max Ernst standing amid several of his paintings in his studio. Photographed by
Claude Huston / Pix Inc. / The LIFE Images Collection / Getty Images.
Claude Huston / Getty Images DACS 2015
92
93
*359
JEAN (HANS) ARP (1886-1966)
Ptolme II
stamped with the artists monogram and numbered HA 2/3;
stamped with the foundry mark Susse Fond. Paris (underneath)
bronze with golden brown patina
Height: 40 in. (101.6 cm.)
Conceived in 1958 and cast in bronze in an edition of fve, numbered 00/3 to 3/3;
this example cast in January 1961
150,000-250,000
$240,000-390,000
210,000-350,000
PROVENANCE:
E. Trier, Jean Arp, Sculptures 1957-1966, London, 1968, no. 167, p. 107
(another cast illustrated pl. 14).
L. Jianou, Jean Arp, Paris, 1973, p. 75.
S. Fauchereau, Arp, Barcelona, 1988, no. 101, p. 82 (another cast illustrated).
A. Hartog & K. Fischer, Hans Arp, Skulpturen, Eine Bestandsaufnahme,
Ostfldern, 2012, no. 167, p. 132 (another cast illustrated).
94
l360
JOAN MIR (1893-1983)
Femme (Woman)
signed and numbered Mir E.A. 1/1 and stamped with the foundry mark
'CIRE A. VALSUANI PERDUE' (at the lower back)
painted bronze
Height: 26 in. (66 cm.)
Conceived in 1971 and cast in a numbered edition of two, plus one artists proof
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
A. Jouffroy & J. Teixidor, Mir Sculptures, Paris, 1980, no. 199, p. 239
(another cast illustrated).
Exh. cat., Mir, Martigny, 1997, no. 107, p. 215 (another cast illustrated p. 196).
Exh. cat., The Shape of Color: Joan Mir Painted Sculptures, Washington, D.C.,
2002, no. 17, p. 167 (another cast illustrated p. 136).
E. Fernndez Mir & P. Ortega Chapel, Joan Mir, Sculptures. Catalogue
raisonn 1928-1982, Paris, 2006, no. 253, p. 243 (another cast illustrated).
l361
OSCAR DOMNGUEZ (1906-1958)
Don Quichotte
signed Dominguez (lower right)
oil on canvas
39 x 28 in. (99.3 x 72.7 cm.)
Painted circa 1949-1950
50,000-70,000
$78,000-110,000
70,000-97,000
98
PROVENANCE:
l362
OSCAR DOMNGUEZ (1906-1958)
Tauromachie
signed Dominguez (lower right)
oil on canvas
25 x 39 in. (64.5 x 99.5 cm.)
Painted circa 1950
70,000-100,000
$110,000-160,000
EXHIBITED:
98,000-140,000
PROVENANCE:
99
l363
GIORGIO DE CHIRICO (1888-1978)
Cavaliere frigio
signed g. de Chirico (lower right)
oil on canvas
11 x 16 in. (29.2 x 40.6 cm.)
Painted in the late 1930s
35,000-50,000
$55,000-78,000
49,000-70,000
100
PROVENANCE:
This work is sold with a photo-certificate from the Fondazione Giorgio e Isa
de Chirico, Rome.
l364
GIORGIO DE CHIRICO (1888-1978)
Cavaliere e scudiero
signed g. de Chirico (lower right)
oil on paper laid down on canvas
15 x 11 in. (40.4 x 30.2 cm.)
Painted late 1930s - early 1940s
35,000-50,000
PROVENANCE:
This work is sold with a photo-certificate from the Fondazione Giorgio e Isa
de Chirico, Rome.
$55,000-78,000
49,000-70,000
101
l365
REN MAGRITTE (1898-1967)
La vie prive
signed magritte (lower right); dated and inscribed LA VIE PRIVE 1946
(25 Points) (on the reverse)
oil on canvas
31 x 23 in. (79.4 x 60.6 cm.)
Painted in April 1946
350,000-500,000
$550,000-780,000
490,000-700,000
PROVENANCE:
Pierre Andrieu, Toulouse, by whom acquired directly from the artist in 1947.
Galerie Andr-Franois Petit, Paris, by whom acquired from the above in 1977.
Anonymous sale, Sothebys, London, 5 December 1979, lot 74.
Galleria Ippolito Simonis, Turin.
Galleria Tega, Milan.
Acquired from the above by the present owner in 1984.
EXHIBITED:
104
366
WILHELM LEHMBRUCK (1881-1919)
Kleine Sinnende
signed W. LEHMBRUCK (on the side of the base)
bronze with dark brown patina
Height: 20 in. (53 cm.)
Conceived in 1910-1911, this cast circa 1920, possibly by Cassirer
20,000-30,000
$32,000-47,000
28,000-42,000
PROVENANCE:
LITERATURE:
l367
ANTOINE PEVSNER (1884-1962)
Construction spatiale aux troisime et quatrime dimensions
signed, numbered PEVSNER 2/3 and stamped with the foundry mark Susse Fondeur Paris
(on the side of the base); inscribed DE Paris P O (underneath)
bronze with gold patina (two superimposed elements)
Height: 39 in. (100.5 cm.)
Conceived in 1961, this version cast in May 1962 in an edition of three
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Galerie Ren Drouin & Cie, Paris, by whom acquired directly from the artist
in 1962.
The Joseph H. Hazen Foundation Inc, New York; sale, Sotheby Parke Bernet,
New York, 25 October 1972, lot 52.
Acquired at the above sale by the present owner.
EXHIBITED:
106
368
ALEXANDER ARCHIPENKO (1887-1964)
The Queen of Sheba
signed, dated and numbered Archipenko 1961 2/8 (on the back at the right)
bronze with golden brown patina
Height: 65 in. (165 cm.)
Conceived in 1961, this version cast in in an edition of eight during the artists
lifetime
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Exh. cat., Alexander Archipenko, St. Gallen, 1962, no. 28 (another cast
illustrated p. 31).
New day for Old Cubist, in Life Magazine (European Edition), 26 March
1962 (another cast illustrated p. 78).
Journal of the Archives of American Art, vol. 7, no 2, April 1967 (another cast
illustrated p. 12).
Exh. cat., Archipenko, a memorial exhibition, Los Angeles, 1967, no. 64
(another cast illustrated p. 56).
D.H. Karshan, Archipenko, International Visionary, Washington, D.C., 1969,
no. 74 (another cast illustrated pl. 157, p. 99).
H. Schmoll & A. Heilman, Alexander Archipenko, Alexander Archipenkos Erbe
Werke von 1908 bis 1963 aus dem testamentarischen Vermchtnis, vol. I,
Saarbrcken, 1986, no. 105, p. 218 (another cast illustrated p. 219).
Exh. cat., Alexander Archipenko, A Centennial Tribute, Washington, 1986
(another cast illustrated fg. 40, p. 85).
A. Barth, Alexander Archipenkos plastisches uvre, vol. II, Werkverzeichnis,
Frankfurt, 1997, no. 348, p. 600 (the plaster version illustrated p. 601).
Exh. cat., Alexander Archipenko, Vision and Continuity, New York, 2005, no.
65 (another cast illustrated p. 212).
108
l369
MAX OPPENHEIMER (1885-1954)
Der kleine Haushalt: Nachttisch
signed MOPP. (lower right)
oil on canvas
25 x 19 in. (65 x 50.1 cm.)
Painted circa 1930
25,000-35,000
PROVENANCE:
Acquired directly from the artist by the father of the present owner in the late 1930s.
EXHIBITED:
$39,000-54,000
35,000-49,000
110
We are grateful to Mag. Paul Rachler, Knstlerhaus Archiv, Vienna, for the
confrmation that the above painting is documented in the Einlaufbuch
from 1932 where this work is registered as number 3112.
l370
WILLI BAUMEISTER (1889-1955)
Abraxas
signed and dated Baumeister 47 (lower right); dedicated and inscribed s.h.
Heinz 2.5.48. (lower left)
oil and resin on card laid down on panel
19 x 14 in. (49.2 x 37.5 cm.)
Executed in 1947
30,000-50,000
PROVENANCE:
W. Grohmann, Willi Baumeister, Life and Work, London, 1964, no. 1133, p.
314 (titled Schablone II).
P. Beye & F. Baumeister, Willi Baumeister, Werkkatalog der Gemlde, vol. II,
Ostfldern 2002, no. 1541 (illustrated).
$47,000-78,000
42,000-70,000
111
371
AUGUST MACKE (1887-1914)
Schlafende Reiter
oil on canvas
15 x 16 in. (38.5 x 43 cm.)
Painted in 1910
150,000-200,000
$240,000-310,000
210,000-280,000
PROVENANCE:
112
*372
LYONEL FEININGER (1871-1956)
Architecture with Stars II
signed Feininger (upper left); signed, dated and inscribed Lyonel Feininger, 1945,
Architecture with Stars, II (on the stretcher)
oil on canvas
16 x 28 in. (41.5 x 71.6 cm.)
Painted in 1945
250,000-350,000
$390,000-540,000
350,000-490,000
PROVENANCE:
l373
EMIL NOLDE (1867-1956)
Einschiffung (Embarkation)
signed Emil Nolde (lower right); signed and inscribed
Emil Nolde : Einschiffung. (on the stretcher)
oil on canvas
28 x 34 in. (73 x 88.3 cm.)
Painted in 1911
400,000-600,000
$630,000-930,000
560,000-830,000
PROVENANCE:
l374
ERICH HECKEL (1883-1970)
Junge Mnner
signed and dated Erich Heckel 24 (lower left); signed and dated Erich
Heckel 24 (on the reverse) and signed, dated and inscribed Erich Heckel:
Junge Mnner 1924 (on the stretcher)
oil on canvas
32 x 38 in. (83.2 x 96.5 cm.)
Painted in 1924
50,000-80,000
$78,000-120,000
70,000-110,000
118
PROVENANCE:
The sitters of this work are believed to be the artist and Stefan George,
whom the artist greatly admired.
(recto)
l375
CONRAD FELIXMULLER (1897-1977)
Der Floh (recto); Fltensonate (verso)
signed C.Felixmller. (recto, lower left); signed and dated
C.Felixmller 1940 (verso, lower right)
oil on canvas
52 x 29 in. (134 x 75 cm.)
Painted in 1928 (recto) and 1940 (verso)
80,000-120,000
$130,000-190,000
120,000-170,000
PROVENANCE:
The artists estate, and thence by descent; sale, Christies, London, 24 June
2010, lot 333.
Acquired at the above sale by the present owner.
(verso)
EXHIBITED:
376
ALEXEJ VON JAWLENSKY (1864-1941)
Stilleben mit Gockel
signed A.jawlensky. (upper left) and signed with the initials A.J. (upper right)
oil on board
21 x 19 in. (54 x 49.8 cm.)
Painted in 1910
200,000-300,000
$320,000-470,000
280,000-420,000
PROVENANCE:
Basel, Galerie Beyeler, Alexej von Jawlensky, January - February 1957, no. 5
[titled Stilleben mit kleiner Tonfgur (Gockel)].
Saarbrcken, Saarland-Museum, Zusatz-Blatt, July - August 1957, no. 3.
Dusseldorf, Kunstverein fr die Rheinlande und Westfalen, Alexej von
Jawlensky, September 1957, no. 23; this exhibition later travelled to
Hamburg, Kunstverein, October - November 1957.
Stuttgart, Wrttembergischer Kunstverein, Alexej von Jawlensky, February
- March 1958, no. 25 (titled Stilleben mit kleiner Tonfgur); this exhibition
later travelled to Mannheim, Stdtische Kunsthalle, March - April 1958.
Los Angeles, Stephen Silagy Galleries, Alexej von Jawlensky, 1958, no. 22
(illustrated).
London, Redfern Gallery, Alexej von Jawlensky, October 1960, no. 57.
LITERATURE:
120
377
OSKAR SCHLEMMER (1888-1943)
Mdchen mit Frchtekorb I
oil and India ink on glass
11 x 6 in. (30 x 15 cm.)
Executed circa 1940
20,000-30,000
$32,000-47,000
28,000-42,000
EXHIBITED:
PROVENANCE:
122
This subject is closely related to the large scale wall painting Frhling,
of the same year, one of a series of four large scale works depicting
the seasons which Schlemmer painted for the Robert Bosch Hospital in
Stuttgart (ibid., no. G 407).
378
ANTON FAISTAUER (1887-1930)
Stilleben mit Fischen und Steinkrug
oil on canvas
24 x 29 in. (62.5 x 75.2 cm.)
Painted in 1929
40,000-60,000
PROVENANCE:
$63,000-93,000
56,000-83,000
123
379
ANTON FAISTAUER (1887-1930)
Sdfranzsische Landschaft (Aix-en-Provence)
signed and dated a. faistauer 1926 (upper right)
oil on canvas laid down on panel
21 x 29 in. (54.2 x 73.5 cm.)
Painted in 1926
30,000-50,000
$47,000-78,000
42,000-70,000
124
PROVENANCE:
Pittsburgh, Carnegie Institute, International exhibition of paintings, October December 1930, no. 266 (titled Landscape).
LITERATURE:
l*380
FRANZ SEDLACEK (1891-1945)
Die Strae
signed with the monogram and dated f s 39 (lower left); signed and
inscribed FRANZ SEDLACEK WIEN DIE STRASZE (on the reverse)
oil on panel
29 x 43 in. (75 x 110 cm.)
Painted in 1939
PROVENANCE:
30,000-50,000
$47,000-78,000
LITERATURE:
42,000-70,000
125
l381
ELLEN THESLEFF (18691954)
Italian landscape
signed and dated 1925 Thesleff (lower left)
oil on canvas
15 x 17 in. (40.2 x 45.5 cm.)
Painted in Italy circa 1924-1925
20,000-30,000
$32,000-47,000
28,000-42,000
PROVENANCE:
Thesleff made altogether nine trips to Italy between 1895 and 1939
always including Florence for a longer sojourn. She was educated in
Paris at the Acadmie Colarossi which she attended 1891-1893, but
it was Florence which was to become her main source for inspiration.
The hills of the surrounding Tuscan counryside, the pictures in the
Uffzi Gallery with Botticelli taking the number one place, the bridges
of the Arno river, the city townscape with the cupola of the dome
seen from Fiesole, the seashore in Forte dei Marmi were food for
her phantasy and visionary ideas. She painted her inner landscapes
following her own voice thus always seeking to surprise herself: In art
you ought to surprise yourself, (ibid., p. 12), she wrote Thyra. Thesleff
was also an excellent fgure and portrait painter with fascinating
interpretations of character and movement.
382
PIET MONDRIAN (1872-1944)
Farm Buildings in White and Red near a Green Field
PROVENANCE:
oil on canvas
13 x 15 in. (34.8 x 40 cm.)
Painted circa 1906-1907
40,000-60,000
LITERATURE:
$63,000-93,000
56,000-83,000
127
l383
GEORG KOLBE (1877-1947)
Kniende I - Nereide
signed with the initials GK (on the left foot) and stamped with the foundry
mark H. NOACK BERLIN FRIEDENAU (on the right foot)
bronze with red-brown patina
Height: 12 in. (30.6 cm.)
Conceived in 1922, this work is one of twenty fve examples cast between
May 1923 and early 1924, and one of only three known examples with this
foundry mark
30,000-50,000
$47,000-78,000
42,000-70,000
128
PROVENANCE:
l384
TAMARA DE LEMPICKA (1898-1980)
Femme au turban blanc II
PROVENANCE:
oil on canvas
13 x 10 in. (35 x 27 cm.)
Painted circa 1954
60,000-80,000
LITERATURE:
$94,000-120,000
84,000-110,000
129
l385
BALTASAR LOBO (1910-1993)
lan moyen
signed and numbered Lobo 6/8 (on top of the base); with the foundry
mark Susse Fondeur Paris (on the back of the base)
bronze with golden brown patina
Height: 29 in. (73.8 cm.) including the bronze base
Conceived in 1977 and cast in 1979 in an edition of eight plus four
artists proofs
40,000-60,000
LITERATURE:
$63,000-93,000
56,000-83,000
130
Galera Freites will include this work in their forthcoming Baltasar Lobo
catalogue raisonn under the archive number 7716.
l*386
OSSIP ZADKINE (1890-1967)
Torse de femme
signed O ZADKINE (on the marble base)
ebony on a marble and wooden base
Height: 17 in. (43.5 cm.) excluding base
Executed in 1953; this work is unique
80,000-120,000
PROVENANCE:
S. Lecombre, Ossip Zadkine, luvre sculpt, Paris, 1994, no. 441, pp. 501 &
704 (illustrated p. 501).
$130,000-190,000
120,000-170,000
131
PROPERTY FROM THE COLLECTION OF SHMUEL AND TAMARA GIVON, TEL AVIV
l*387
JANKEL ADLER (1895-1949)
Venus of Kirkcudbright
signed Adler (lower right)
oil on canvas
43 x 34 in. (111.5 x 86.4 cm.)
Painted in 1943
70,000-100,000
$110,000-160,000
98,000-140,000
PROVENANCE:
Shmuel and Tamara Givon, Tel Aviv, by whom acquired in the 1960s.
EXHIBITED:
London, Redfern Gallery, Jankel Adler, June - July 1943, no. 10.
New York, Kndler Gallery, Jankel Adler, 1948. no. 4.
Dsseldorf, Kunsthalle, Jankel Adler, November - December 1985, no. 76,
p. 129 (illustrated); this exhibition later travelled to Tel Aviv, Museum of Art,
January - February 1986, and Lodz, Sztuki Musuem, March - April 1986.
LITERATURE:
132
l*388
GEORGES ROUAULT (1871-1958)
Le tribunal de province
signed G Rouault (lower right); signed again G Rouault (on the reverse)
and inscribed Tribune de Province (on the stretcher)
oil on paper laid down on canvas
25 x 40 in. (65.1 x 102.2 cm.)
Painted in 1938
150,000-200,000
$240,000-310,000
210,000-280,000
PROVENANCE:
New York, The Museum of Modern Art, Forty Paintings from the Edward
G. Robinson Collection, March - April 1953, no. 29; this exhibition later
travelled to Washington D.C., The National Gallery of Art, Smithsonian
Institute, May - June 1953.
LITERATURE:
B. Dorival & I. Rouault, Rouault, Luvre peint, vol. II, Monte Carlo, 1988,
no. 1809, p. 141 (illustrated; with inverted dimensions).
134
389
EDOUARD VUILLARD (1868-1940)
La manche gigot
stamped with the signature E Vuillard (Lugt 2497a; lower left)
oil on board
8 x 7 in. (21.5 x 19.4 cm.)
Painted circa 1890-1891
25,000-35,000
$39,000-54,000
35,000-49,000
PROVENANCE:
136
*390
ODILON REDON (1840-1916)
Femme nue au rocher
signed ODILON REDON (lower left)
oil on canvas
19 x 25 in. (50.5 x 65.5 cm.)
70,000-100,000
$110,000-160,000
98,000-140,000
PROVENANCE:
137
l*391
ANDR DERAIN (1880-1954)
Arlequin tenant une guitare
oil on canvas
45 x 35 in. (116 x 88.9 cm.)
Painted circa 1930
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Stockholm, Liljevalchs Konsthall, Czanne till Picasso, Fransk konst i svensk go,
September 1954, no. 109 (titled Tsigane la guitare).
Bordeaux, Galerie des Beaux-Arts, La peinture franaise en Sude, Hommage
Alexander Roslin et Adolf Ulrik Wertmller, May - September 1967, no. 70, p.
65 (titled Tsigane la guitare, and dated 1932).
LITERATURE:
138
l*392
MOSE KISLING (1891-1953)
Mme Jacques Gurard
PROVENANCE:
25,000-35,000
$39,000-54,000
35,000-49,000
140
LITERATURE:
J. Kessel & J. Kisling, Kisling, vol. I, 1891-1953, Turin, 1971, no. 116, p. 169
(illustrated).
l393
MOSE KISLING (1891-1953)
Nu au divan rouge
PROVENANCE:
40,000-60,000
H. Troyat & J. Kisling, Kisling, vol. II, 1891-1953, Turin, 1982, no. IV,
p. 285 (illustrated).
$63,000-93,000
LITERATURE:
56,000-83,000
141
l*394
LEONARD TSUGUHARU FOUJITA
(1886-1968)
Deux flles
signed Foujita (lower right); signed again and inscribed Foujita Paris
(on the stretcher)
oil on canvas
9 x 8 in. (24.1 x 19.3 cm.)
50,000-80,000
$78,000-120,000
70,000-110,000
PROVENANCE:
l395
LEONARD TSUGUHARU FOUJITA
(1886-1968)
Jeune flle la marguerite
signed L. Foujita (lower centre); signed and dated XI 60 L. Foujita
(on the reverse)
oil on canvas
13 x 8 in. (33.2 x 22.4 cm.)
Painted in November 1960
PROVENANCE:
S. Buisson, Lonard-Tsuguharu Foujita, vol. II, Paris, 2001, no. 60.70, p. 481
(illustrated).
50,000-70,000
$78,000-110,000
70,000-97,000
143
396
HENRI LEBASQUE (1865-1937)
Jeunes flles et enfants sur la terrasse Sainte-Maxime
signed Lebasque (lower left)
oil on canvas
63 x 51 in. (162 x 130.3 cm.)
Painted in 1914
400,000-600,000
$630,000-930,000
560,000-830,000
PROVENANCE:
Paris, Galerie Georges Petit, Henri Lebasque, March 1927, no. 21 or 26.
Paris, Galerie Odette Ptrids, Henri Lebasque, exposition de quelques
uvres, peintures, aquarelles et dessins, November - December 1938, no. 1.
Nice, Galerie des Ponchettes, Henri Lebasque, July - September 1957, no. 34.
Nice, Muse Massna, Henri Lebasque, April - May 1965, no. 19.
Le Cannet-Rocheville, Htel de Ville, En hommage Henri Lebasque qui vcut
et peignit au Cannet de 1922 1937, March 1970, no. 11 (illustrated).
LITERATURE:
144
Both paintings feature a frame of foliage around two sides of the canvas,
but Lebasque moves this border from the left and upper edges of the
canvas in La Terrasse to the upper and right edges in Jeunes filles et enfants
sur la terrasse Sainte-Maxime. The fruit that spills across the table in the
earlier painting is replaced with lush red fowers in the present works
lower right corner. Finally, the introspective, even isolated feeling of the
young women in the frst painting is supplanted by a frm sense of their
interconnectedness in the present canvas.
Banner locates in Lebasques work a characteristic mysterious aspectthe
absence of detail in his portrayal of faces. She goes on to note that the
artist achieves greater intimacy with his subjects by this technique, leaving
them the anonymity of disguise by careful omission of facial distinction and
coaxing greater expression from the limbs and body poses of his sitters
(ibid). Indeed, in the present composition, the fve fgures dispositions are
conveyed more through their physical attitudes than their miens. One fgure
is turned away from the viewer entirely, and three others wear sun hats
which further mask their already ambiguous facial expressions.
Though their faces are obscured, the angles of the fgures heads,
emphasized by the slants of their bonnets, create an intimate play of
regards. The viewers eye frst rests on the girl with the black-banded
hat, then follows her gaze toward the pink-clad fgure holding out her
necklace. The slope of this girls glance then directs the onlookers eye
toward the woman in blue, whose own down-turned profle gestures
toward the child playing with the dog in the canvass lower left corner. By
choreographing this subtle dance of gazes, the artist invites the spectator
into the close circle of his family. Though the scene takes place outdoors,
under the dappled light of the French Riviera, Lebasque achieves an
intimacy that rivals the interior domesticity of his contemporaries Edouard
Vuillard and Pierre Bonnard.
*397
PIERRE-AUGUSTE RENOIR (1841-1919)
Etude de femmes
signed Renoir (lower left)
oil on canvas
11 x 11 in. (29.1 x 30.2 cm.)
Painted circa 1890
100,000-200,000
$160,000-310,000
140,000-280,000
146
PROVENANCE:
*398
PIERRE-AUGUSTE RENOIR (1841-1919)
La couseuse
indistinctly signed Renoir (lower left)
oil on canvas
12 x 7 in. (32.6 x 20 cm.)
200,000-300,000
PROVENANCE:
$320,000-470,000
280,000-420,000
l*399
AFTER PIERRE-AUGUSTE RENOIR
(1814-1919) AND LOUIS MOREL (1887-1975)
Danseuse au tambourin I
LITERATURE:
signed Renoir (lower centre left); numbered A, stamped with the foundry
mark CIRE C.VALSUANI PERDUE and inscribed BRONZE (lower right)
bronze with dark brown patina
24 x 17 in. (62 x 44.2 cm.)
Conceived in plaster in 1918
P. Hsrts, Renoir Sculptor, New York, 1947, no. 22 (the terracotta version
illustrated, pl. XLIV).
B. Ehrlich White, Renoir, his life, art, and letters, New York, 1984, p. 277 (the
terracotta version illustrated).
15,000-20,000
$24,000-31,000
21,000-28,000
PROVENANCE:
400
PIERRE-AUGUSTE RENOIR (1841-1919)
Paysage avec maison
stamped with the signature Renoir. (Lugt 2137b; lower right)
oil on canvas
7 x 11 in. (20 x 28.8 cm.)
Painted circa 1905
70,000-100,000
$110,000-160,000
98,000-140,000
PROVENANCE:
EXHIBITED:
149
*401
HENRI LEBASQUE (1865-1937)
La danse (tude)
signed and dated Lebasque (lower left)
oil on canvas
27 x 47 in. (69 x 120.8 cm.)
Painted in 1917
30,000-50,000
$47,000-78,000
42,000-70,000
150
PROVENANCE:
402
MAXIMILIEN LUCE (1858-1941)
Rolleboise, la baignade
PROVENANCE:
120,000-180,000
LITERATURE:
$190,000-280,000
170,000-250,000
151
l*403
JEAN-PIERRE CASSIGNEUL (B. 1935)
Le bal de province
signed CASSIGNEUL (lower centre); signed, dated and inscribed
Cassigneul 1969 le Bal de province (on the reverse)
oil on canvas
24 x 19 in. (61 x 50 cm.)
Painted in 1969
25,000-35,000
$39,000-54,000
35,000-49,000
152
404
HENRI LEBASQUE (1865-1937)
Femme dans un fauteuil
signed Lebasque (lower right)
oil on canvas
23 x 36 in. (60.2 x 92.4 cm.)
Painted circa 1934
45,000-65,000
PROVENANCE:
$71,000-100,000
63,000-90,000
153
405
MAXIMILIEN LUCE (1858-1941)
Une rue de Paris
signed Luce (lower left)
oil on paper laid down on canvas
18 x 14 in. (48 x 37.1 cm.)
Painted in 1905
30,000-50,000
$47,000-78,000
42,000-70,000
154
PROVENANCE:
Private collection, London; sale, Christies, London, 7 February 2007, lot 227.
Acquired at the above sale by the present owner.
LITERATURE:
D. Bazetoux, Maximilien Luce, Catalogue de luvre peint, vol. II, Paris, 1986,
no. 218, p. 61 (illustrated p. 62).
l*406
JEAN-PIERRE CASSIGNEUL (B. 1935)
Avenue Foch
signed CASSIGNEUL (lower left); signed again and inscribed Avenue Foch
Cassigneul (on the reverse)
oil on canvas
28 x 36 x in. (73 x 92.2 cm.)
Painted in 1976
PROVENANCE:
40,000-60,000
$63,000-93,000
56,000-83,000
155
l407
GEORGES BRAQUE (1882-1963)
La vague
PROVENANCE:
30,000-50,000
EXHIBITED:
$47,000-78,000
42,000-70,000
Maeght, ed., Catalogue de luvre de Georges Braque, Peintures 19281935, Paris, 1962, p. 91 (illustrated).
J. Prvert, Varengeville, Paris, 1968, (illustrated).
156
l408
ANDR DERAIN (1880-1954)
Paysage de Provence
signed aDerain (lower right)
oil on canvas
25 x 51 in. (63.5 x 130 cm.)
Painted circa 1931-1932
35,000-55,000
$55,000-86,000
49,000-77,000
PROVENANCE:
G. Hilaire, Derain, Genve, 1959, no. 143, p. 196 (illustrated pl. 143; titled
Le Chteau and dated 1925).
M. Kellermann, Andr Derain, Catalogue raisonn de luvre peint, vol. II,
1915-1934, Paris, 1996, no. 643, p. 64 (illustrated).
157
l*409
BERNARD BUFFET (1928-1999)
Bouquet dans une cruche
signed Bernard Buffet (centre right) and dated 1998 (lower right); inscribed
Bouquet dans une cruche (on the stretcher)
oil on canvas
25 x 19 in. (65 x 50 cm.)
Painted in 1998
40,000-60,000
$63,000-93,000
56,000-83,000
158
PROVENANCE:
l*410
BERNARD BUFFET (1928-1999)
La rivire
signed Bernard Buffet (upper right) and dated 1993 (upper left); inscribed
La rivire (on the stretcher)
oil on canvas
23 x 31 in. (60 x 81 cm.)
Painted in 1993
50,000-80,000
PROVENANCE:
$78,000-120,000
70,000-110,000
159
411
ARMAND GUILLAUMIN (1841-1927)
Roquebrune, cte de lEstrel
signed Guillaumin (lower right)
oil on canvas
18 x 21 in. (46 x 55 cm.)
Painted circa 1920
20,000-30,000
$32,000-47,000
28,000-42,000
160
PROVENANCE:
PROVENANCE:
*412
GUSTAVE CAILLEBOTTE (1848-1894)
70,000-100,000
$110,000-160,000
98,000-140,000
EXHIBITED:
Paris, Galerie Schmit, 25e exposition, Matres franais, XIX-XXe sicles, 1987,
no. 9 (illustrated; dated 1890).
LITERATURE:
161
413
EUGNE BOUDIN (1824-1898)
Trouville, le port
PROVENANCE:
50,000-80,000
LITERATURE:
$78,000-120,000
70,000-110,000
162
R. Schmit, Eugne Boudin, vol. III, 1824-1898, Paris, 1973, no. 3314, p. 271
(illustrated).
414
EUGNE BOUDIN (1824-1898)
Laveuses au bord de la Touques
signed and dated E. Boudin 85. (lower right)
oil on panel
10 x 16 in. (25.6 x 41.5 cm.)
Painted in 1885
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
LITERATURE:
R. Schmit, Eugne Boudin, vol. II, 1824-1898, Paris, 1973, no. 1942, p. 243 (illustrated).
Eugne Boudin is famous among the great late 19th century painters for
his beach views, his seascapes and his bustling northern French ports.
But, inspired by the work of Daubigny and Corot, the artist also liked
to paint modest washerwomen on riverbanks, in particular the banks of
the Touques river in Normandy, making these working-class women the
central focus of his composition.
'In their subject these paintings are the antithesis of Boudins beach
scenes. Unlike the fashionable visitors idling in the sand, these local
women are hard at work. Boudin rarely shows them turning to each
other and chattering; instead they are seen from behind, their backs bent,
intent on their task. [...] By the nature of their task, these washerwomen
provided Boudin with an ideal subject combining as it did observation
of the human fgure with description of water, sky and landscape.' (V.
Hamilton, Boudin at Trouville, Glasgow, 1992, p. 123).
163
415
ACHILLE LAUG (1861-1944)
La route de Belvze vers le relais
signed and dated A.Laug 1918 (lower right)
oil on canvas
21 x 28 in. (53.7 x 72.3 cm.)
Painted in 1918
25,000-35,000
$39,000-54,000
35,000-49,000
164
PROVENANCE:
416
ACHILLE LAUG (1861-1944)
Vue gnrale d'Alet-les-Bains
PROVENANCE:
The artists atelier sale, Htel Drouot, Paris, 5 March 1976, lot 77.
Private collection, by whom acquired at the above sale; sale, Htel Drouot,
Paris, 8 December 2014, lot 44.
Acquired at the above sale by the present owner.
35,000-45,000
$55,000-70,000
49,000-63,000
165
l*417
MAURICE DE VLAMINCK (1876-1958)
Les deux meules
PROVENANCE:
30,000-50,000
$47,000-78,000
42,000-70,000
166
l*418
MAURICE DE VLAMINCK (1876-1958)
Voiliers dans le port
signed Vlaminck (lower right)
oil on canvas
35 x 45 in. (89.4 x 116.2 cm.)
Painted circa 1937
80,000-120,000
$130,000-190,000
PROVENANCE:
120,000-170,000
167
*419
MAURICE UTRILLO (1883-1955)
Rue Corte (Corse)
signed Maurice Utrillo. V. (lower right)
oil on canvas
23 x 32 in. (60 x 81.2 cm.)
Painted circa 1913-1914
150,000-250,000
$240,000-390,000
210,000-350,000
PROVENANCE:
Paris, Galerie Hortense Fiquet, Maurice Utrillo de 1905 1925, May 1925,
no. 30 (illustrated).
Paris, Galerie Paul Ptrids, Maurice Utrillo, uvres importantes de 19051914, May - June 1953, no. 35, p. 15 (titled 'Rue en Corse').
Paris, Galerie Charpentier, Cent tableaux par Utrillo, 1959, no. 52 (titled Rue
en Corse).
Munich, Haus der Kunst, Maurice Utrillo - Suzanne Valadon, June September 1960, no. 42.
Paris, Galerie Paul Ptrids, 50 toiles de matres, May - June 1969, no. 40
(illustrated; titled Rue Murato en Corse).
Tokyo, Grand Magasin Mitsukoshi, Utrillo - Valadon, May - August 1972,
no. 19 (illustrated); this exhibition later travelled to Osaka, Grand Magasin
Mitsukoshi, Matsuyama, Grand Magasin Mitsukoshi, Takamatsu, Grand
Magasin Mitsukoshi, Sapporo, Grand Magasin Mitsukoshi, Nagoya, Maison
de la culture du dpartement dAichi and Matsue, Grand Magasin Ichihata.
Tokyo, Galeries Isetan, Maurice Utrillo et Suzanne Valadon, October November 1978, no. 32 (illustrated; dated 1913); this exhibition later
travelled to Nara, Art Museum, Nagoya, Aichi Prefectural Museum of Art,
and Fukuoka, Prefectural Centre of Culture.
Albi, Muse Toulouse-Lautrec, Maurice Utrillo, Suzanne Valadon, June
September 1979, no. 20 (titled Rue Corte en Corse).
Tokyo, Tokyo Shimbun, Utrillo, October 1985 - February 1986, no. 15
(illustrated); this exhibition later travelled to Kasama, Nichido Museum of
Arts, February - March 1986.
Tokyo, Gallery Art Point, Utrillo, June - July 1987, no. 3 (illustrated).
Osaka, Kintetsu Museum of Art, Utrillo et les artistes de Montmartre, June
- October 1990, no. 2 (illustrated); this exhibition later travelled to Kyoto,
Daimaru Museum of Art and Tokyo, Daimaru Museum of Art.
Jean Fabris and Cdric Paillier have confrmed the authenticity of this work.
168
420
HENRY MORET (1856-1913)
Paysage
signed and indistinctly dated Henry Moret 19.. (lower left)
oil on canvas
32 x 23 in. (81.5 x 60.5 cm.)
Painted circa 1905
40,000-60,000
$63,000-93,000
56,000-83,000
170
PROVENANCE:
Acquired in Paris in the 1920s, and thence by descent to the present owner.
421
MAURICE UTRILLO (1883-1955)
Varennes-sous-Dun (Sane-et-Loire)
signed and dated Maurice, Utrillo, V, 1928 (lower left); signed, dated and
inscribed Varennes-sous-Dun-(Sane-et-Loire) Maurice, Utrillo, V, 1928,
(on the reverse)
oil on board
15 x 20 in. (38.5 x 51.1 cm.)
Painted in 1928
PROVENANCE:
45,000-65,000
$71,000-100,000
63,000-90,000
171
422
EUGNE BOUDIN (1824-1898)
Les bords de la Touques, clair de lune
PROVENANCE:
M. Grard, Paris.
Anonymous sale, Galerie Fischer, Lucerne, 21 November 1961, no. 1727.
Anonymous sale, Christies, London, 30 March 1981, lot 39B.
Acquired at the above sale by the present owner.
30,000-50,000
$47,000-78,000
42,000-70,000
172
LITERATURE:
R. Schmit, Eugne Boudin, vol. III, 1824-1898, Paris, 1973, no. 2713, p. 59
(illustrated)
423
EUGNE BOUDIN (1824-1898)
Environs de Brest. Embouchure de llorn
signed and dated E. Boudin - 73. (lower left)
oil on canvas
21 x 35 in. (55.5 x 90.2 cm.)
Painted in 1873
60,000-80,000
$94,000-120,000
84,000-110,000
PROVENANCE:
L. Cario, Eugne Boudin, Paris, 1928 (illustrated pl. 13; titled La rade de Brest).
R. Schmit, Eugne Boudin, Catalogue raisonn de luvre peint, vol. I,
1824-1898, Paris, 1973, no. 865 (illustrated p. 306).
173
*424
TAKANORI OGUISS (1901-1986)
Terrasse de lhtel
signed and dated 1931 Oguiss (lower right)
oil on canvas
23 x 31 in. (60 x 81 cm.)
Painted in 1931
30,000-50,000
$47,000-78,000
42,000-70,000
174
PROVENANCE:
This work is sold with a certifcate from Mrs Emiko Oguiss Halpern.
*425
MAURICE UTRILLO (1883-1955)
Eglise de Stains (Seine)
PROVENANCE:
70,000-100,000
Jean Fabris and Cdric Paillier have confrmed the authenticity of this work.
$110,000-160,000
98,000-140,000
175
l*426
ANDR DERAIN (1880-1954)
Vase de feurs
signed Derain. (lower right)
oil on canvas
25 x 21 in. (65 x 54 cm.)
Painted circa 1919
PROVENANCE:
18,000-25,000
$29,000-39,000
26,000-35,000
176
l427
KEES VAN DONGEN (1877-1968)
Roses dans un vase
signed van Dongen. (lower right)
oil on Masonite
18 x 10 in. (46.1 x 27.5 cm.)
Painted circa 1930-1940
40,000-60,000
PROVENANCE:
Jacques Chalom des Cordes will include this work in his forthcoming
Van Dongen catalogue critique being prepared under the sponsorship
of the Wildenstein Institute.
$63,000-93,000
56,000-83,000
177
l428
LOUIS VALTAT (1869-1952)
Le fchu rouge
stamped with the initials L.V (Lugt L.1771 bis, lower left)
oil on canvas
15 x 18 in. (38.1 x 46.2 cm.)
Painted in 1902
12,000-18,000
$19,000-28,000
17,000-25,000
178
PROVENANCE:
NOTES
6 WITHDRAWAL
Christies may, at its option, withdraw any lot at any
time prior to or during the sale of the lot. Christies
has no liability to you for any decision to withdraw.
2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above,
a financial reference or a deposit as a condition
of allowing you to bid. If you have not bought
anything from any of our salerooms in the last two
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires years or if you want to spend more than on previous
and emeralds) may have been treated to improve occasions, please contact our Credit Department on
their look, through methods such as heating and +44 (0)20 7839 9060.
oiling. These methods are accepted by the international jewellery trade but may make the gemstone 3 IF YOU FAIL TO PROVIDE THE
RIGHT DOCUMENTS
less strong and/or require special care over time.
(b) All types of gemstones may have been improved If in our opinion you do not satisfy our bidder
by some method. You may request a gemmological identification and registration procedures including,
report for any item which does not have a report if the but not limited to completing any anti-money
request is made to us at least three weeks before the laundering and/or anti-terrorism financing checks
date of the auction and you pay the fee for the report. we may require to our satisfaction, we may refuse
(c) We do not obtain a gemmological report for to register you to bid, and if you make a successful
every gemstone sold in our auctions. Where we bid, we may cancel the contract for sale between
do get gemmological reports from internationally you and the seller.
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from 4 BIDDING ON BEHALF OF
American gemmological laboratories will describe
ANOTHER PERSON
any improvement or treatment to the gemstone. If you are bidding on behalf of another person,
Reports from European gemmological laboratories that person will need to complete the registration
will describe any improvement or treatment only requirements above before you can bid, and supply
if we request that they do so, but will confirm a signed letter authorising you to bid for him/
when no improvement or treatment has been her. A bidder accepts personal liability to pay the
made. Because of differences in approach and purchase price and all other sums due unless it
technology, laboratories may not agree whether a has been agreed in writing with Christies before
particular gemstone has been treated, the amount commencement of the auction that the bidder is
of treatment or whether treatment is permanent. acting as an agent on behalf of a named third party
The gemmological laboratories will only report acceptable to Christies and that Christies will only
on the improvements or treatments known to the seek payment from the named third party.
laboratories at the date of the report.
(d) For jewellery sales, estimates are based on the 5 BIDDING IN PERSON
information in any gemmological report or, if no If you wish to bid in the saleroom you must
report is available, assume that the gemstones may register for a numbered bidding paddle at least
have been treated or enhanced.
30 minutes before the auction. You may register
online at www.christies.com or in person. For
8 WATCHES & CLOCKS
help, please contact the Credit Department on +44
(a) Almost all clocks and watches are repaired in (0)20 7839 9060.
their lifetime and may include parts which are
not original. We do not give a warranty that 6 BIDDING SERVICES
any individual component part of any watch is The bidding services described below are a free
authentic. Watchbands described as associated service offered as a convenience to our clients and
are not part of the original watch and may not be Christies is not responsible for any error (human
authentic. Clocks may be sold without pendulums, or otherwise), omission or breakdown in providing
weights or keys.
these services.
(b) As collectors watches often have very fine and
complex mechanisms, a general service, change of (a) Phone Bids
battery or further repair work may be necessary,
Your request for this service must be made no
for which you are responsible. We do not give a
later than 24 hours prior to the auction. We
warranty that any watch is in good working order.
will accept bids by telephone for lots only if our
Certificates are not available unless described in
staff are available to take the bids. If you need
the catalogue.
to bid in a language other than in English, you
(c) Most wristwatches have been opened to find out must arrange this well before the auction. We
the type and quality of movement. For that reason, may record telephone bids. By bidding on the
wristwatches with water resistant cases may not be telephone, you are agreeing to us recording your
waterproof and we recommend you have them conversations. You also agree that your telephone
checked by a competent watchmaker before use.
bids are governed by these Conditions of Sale.
Important information about the sale, transport and
shipping of watches and watchbands can be found
(b) Internet Bids on Christies Live
in paragraph H2(h).
For certain auctions we will accept bids over
the Internet. Please visit www.christies.com/
B
REGISTERING TO BID
livebidding and click on the Bid Live icon to see
1 NEW BIDDERS
details of how to watch, hear and bid at the auction
(a) If this is your first time bidding at Christies or from your computer. As well as these Conditions
you are a returning bidder who has not bought of Sale, internet bids are governed by the Christies
anything from any of our salerooms within the last LIVE terms of use which are available on www.
two years you must register at least 48 hours before christies.com.
an auction to give us enough time to process and
approve your registration. We may, at our option, (c) Written Bids
decline to permit you to register as a bidder. You You can find a Written Bid Form at the back of our
will be asked for the following:
catalogues, at any Christies office or by choosing
(i) for individuals: Photo identification (driving the sale and viewing the lots online at www.
licence, national identity card or passport) and, if christies.com. We must receive your completed
not shown on the ID document, proof of your Written Bid Form at least 24 hours before the
current address (for example, a current utility bill auction. Bids must be placed in the currency of the
or bank statement).
saleroom. The auctioneer will take reasonable steps
(ii) for corporate clients: Your Certificate of to carry out written bids at the lowest possible price,
Incorporation or equivalent document(s) showing taking into account the reserve. If you make a
your name and registered address together with written bid on a lot which does not have a reserve
documentary proof of directors and beneficial and there is no higher bid than yours, we will bid
owners; and
on your behalf at around 50% of the low estimate
(iii) for trusts, partnerships, offshore companies or, if lower, the amount of your bid. If we receive
and other business structures, please contact us in written bids on a lot for identical amounts, and at
advance to discuss our requirements.
the auction these are the highest bids on the lot,
(b) We may also ask you to give us a financial we will sell the lot to the bidder whose written bid
reference and/or a deposit as a condition of we received first.
allowing you to bid. For help, please contact our
Credit Department on +44 (0)20 7839 9060.
C
AT THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our
premises or decline to permit participation in any
auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a
reserve. We identify lots that are offered without
reserve with the symbol next to the lot number.
The reserve cannot be more than the lots low
estimate.
3 AUCTIONEERS DISCRETION
The auctioneer can at his sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any
way he or she may decide, or change the order of
the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more
lots;
(e) reopen or continue the bidding even after the
hammer has fallen; and
(f) in the case of error or dispute and whether
during or after the auction, to continue the bidding,
determine the successful bidder, cancel the sale of
the lot, or reoffer and resell any lot. If any dispute
relating to bidding arises during or after the auction,
the auctioneers decision in exercise of this option is
final.
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders, and internet bidders through
Christies LIVE (as shown above in Section B6);
and
(c) written bids (also known as absentee bids or
commission bids) left with us by a bidder before the
auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid
on behalf of the seller up to but not including
the amount of the reserve either by making
consecutive bids or by making bids in response
to other bidders. The auctioneer will not identify
these as bids made on behalf of the seller and will
not make any bid on behalf of the seller at or above
the reserve. If lots are offered without reserve, the
auctioneer will generally decide to open the bidding
at 50% of the low estimate for the lot. If no bid
is made at that level, the auctioneer may decide to
go backwards at his or her sole option until a bid
is made, and then continue up from that amount.
In the event that there are no bids on a lot, the
auctioneer may deem such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments). The auctioneer
will decide at his or her sole option where the
bidding should start and the bid increments. The
usual bid increments are shown for guidance only on
the Written Bid Form at the back of this catalogue.
7 CURRENCY CONVERTER
The saleroom video screens (and Christies LIVETM)
may show bids in some other major currencies as
well as sterling. Any conversion is for guidance only
and we cannot be bound by any rate of exchange
used. Christies is not responsible for any error
(human or otherwise), omission or breakdown in
providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her
discretion as set out in paragraph C3 above, when
the auctioneers hammer strikes, we have accepted
the last bid. This means a contract for sale has been
formed between the seller and the successful bidder.
We will issue an invoice only to the registered
bidder who made the successful bid. While we
send out invoices by post and/or email after the
auction, we do not accept responsibility for telling
you whether or not your bid was successful. If you
have bid by written bid, you should contact us by
telephone or in person as soon as possible after the
auction to get details of the outcome of your bid
to avoid having to pay unnecessary storage charges.
F
PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you must
pay the purchase price being:
(i) the hammer price; and
(ii) the buyers premium; and
(iii) any amounts due under section D3 above; and
(iv) any duties, goods, sales, use, compensating or
service tax or VAT.
Payment is due no later than by the end of the
seventh calendar day following the date of the
auction (the due date).
(b) We will only accept payment from the
registered bidder. Once issued, we cannot change
the buyers name on an invoice or re-issue the
invoice in a different name. You must pay
immediately even if you want to export the lot and
you need an export licence.
(c) You must pay for lots bought at Christies in
the United Kingdom in the currency stated on the
invoice in one of the following ways:
(i) Wire transfer
You must make payments to:
Lloyds Bank Plc, City Office, PO Box 217, 72
Lombard Street, London EC3P 3BT. Account
number: 00172710, sort code: 30-00-02 Swift
code: LOYDGB2LCTY. IBAN (international bank
account number): GB81 LOYD 3000 0200 1727
10.
(ii) Credit Card.
We accept most major credit cards subject to certain
conditions. To make a cardholder not present
(CNP) payment, you must complete a CNP
authorisation form which you can get from our
Cashiers Department. You must send a completed
CNP authorisation form by fax to +44 (0)20 7389
2869 or by post to the address set out in paragraph
(d) below. If you want to make a CNP payment
over the telephone, you must call +44 (0)20 7839
9060. CNP payments cannot be accepted by all
salerooms and are subject to certain restrictions.
Details of the conditions and restrictions applicable
to credit card payments are available from our
Cashiers Department, whose details are set out in
paragraph (d) below.
(iii) Cash
We accept cash subject to a maximum of 5,000
per buyer per year at our Cashiers Department only
(subject to conditions).
(iv) Bankers draft
You must make these payable to Christies and there
may be conditions.
(v) Cheque
You must make cheques payable to Christies.
Cheques must be from accounts in pounds sterling
from a United Kingdom bank.
(d) You must quote the sale number, your
invoice number and client number when making
a payment. All payments sent by post must be sent
to: Christies, Cashiers Department, 8 King Street,
St Jamess, London SW1Y 6QT.
(e) For more information please contact our
Cashiers Department by phone on +44 (0)20 7839
9060 or fax on +44 (0)20 7389 2869.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of
the lot will not pass to you until we have
received full and clear payment of the
purchase
price, even in circumstances
where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will
transfer to you from whichever is the earlier of the
following:
(a) When you collect the lot; or
(b) At the end of the seventh day following the
date of the auction or, if earlier, the date the lot is
taken into care by a third party warehouse as set out
on the page headed Storage and Collection, unless
we have agreed otherwise with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full
by the due date, we will be entitled to do one or
more of the following (as well as enforce our rights
under paragraph F5 and any other rights or remedies
we have by law):
(i) to charge interest from the due date at a rate of
5% a year above the UK Lloyds Bank base rate from
time to time on the unpaid amount due;
We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyers premium
and shown separately on our invoice.
For qualifying books only, no VAT is payable on the hammer price or the buyers premium.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyers premium but will not be shown separately
on our invoice.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see symbol above)
For wine offered in bond only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be
charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the
buyers premium and shown on the invoice.
EU VAT registered
buyer
* and
Subject to HMRCs rules, you can reclaim the Import VAT charged on the hammer price through
your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT
amount in the buyers premium is invoiced under Margin Scheme rules so cannot normally be
claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under
standard VAT rules (as if the lot had been sold with a symbol) then, subject to HMRCs rules,
you can reclaim the VAT charged through your own VAT return.
No Symbol and
If you provide us with your EU VAT number we will not charge VAT on the
buyers premium. We will also refund the VAT on the hammer price if you
ship the lot from the UK and provide us with proof of shipping, within three months
of collection.
* and
The VAT amount on the hammer and in the buyers premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol).
See above for the rules that would then apply.
If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:
Non EU buyer
No Symbol
and
We will refund the VAT charged on the hammer price. VAT on the buyers premium can
only be refunded if you are an overseas business.
The VAT amount in the buyers premium cannot be refunded to non-trade clients.
(wine only)
No Excise Duty or Clearance VAT will be charged on the hammer price providing you export
the wine while in bond directly outside the EU using an Excise authorised shipper. VAT on the
buyers premium can only be refunded if you are an overseas business. The VAT amount in
the buyers premium cannot be refunded to non-trade clients.
* and
We will refund the Import VAT charged on the hammer price and the VAT amount
in the buyers premium.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.
EXPLANATION OF
CATALOGUING PRACTICE
PAYMENT
BOOKS
Free of Charge
Free of Charge
70.00
5.25
35.00
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
185
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AND EUROPEAN OFFICES
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14/04/15
186
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KEY TO ABBREVIATIONS
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Paris
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09/04/15
187
Contact
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christies.com
Contact
2024 June
85 Old Brompton Road
London SW7 3LD
Imogen Kerr
[email protected]
+44 (0)20 7752 3177
christies.com
Invitation to consign
Art Moderne
Paris October 22nd 2015 Evening sale
October 23rd 2015 Day sale
Contact
tudor Davies
[email protected]
+33 1 40 76 86 18
Viewing
Contact
King Street
59 June
8 King Street
London SW1Y 6QT
South Kensington
1925 June
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[email protected]
+44 (0)20 7389 2293
christies.com
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Contemporary Art
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Certifcate in
Collecting Contemporary Art
IMPRESSIONIST &
MODERN ART
DAY SALE
Written bids must be received at least 24 hours before the auction begins.
Christies will confirm all bids received by fax by return fax. If you have not received
confirmation within one business day, please contact the Bid Department.
Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870 on-line www.christies.com
10380
Client Number (if applicable)
Sale Number
BIDDING INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments) of up to 10 per cent.
The auctioneer will decide where the bidding should
start and the bid increments. Written bids that do not
conform to the increments set below may be lowered
to the next bidding interval.
Address
Post Code
Daytime Telephone
Evening Telephone
Fax (Important)
Please tick if you prefer not to receive information about our upcoming sales by e-mail
UK50 to UK 1,000
by UK50s
UK1,000 to UK2,000
by UK100s
UK2,000 to UK3,000
by UK200s
UK3,000 to UK5,000
Signature
UK5,000 to UK10,000
by UK500s
UK10,000 to UK20,000
by UK1,000s
If you have not previously bid or consigned with Christies, please attach copies of the following documents.
Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or
passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank
statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore
companies or partnerships: please contact the Compliance Department at +44(0)20 7839 9060 for advice on
the information you should supply. If you are registering to bid on behalf of someone who has not previously
bid or consigned with Christies, please attach identification documents for yourself as well as the party on
whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients,
clients who have not made a purchase from any Christies office within the last two years, and those wishing
to spend more than on previous occasions will be asked to supply a bank reference.
UK20,000 to UK30,000
by UK2,000s
UK30,000 to UK50,000
UK50,000 to UK100,000
by UK5,000s
UK100,000 to UK120,000
by UK10,000s
Above UK200,000
at auctioneers discretion
I have read and understood thIs WrItten BId Form and the CondItIons oF sale - Buyers agreement
The auctioneer may vary the increments during the course of the
auction at his or her own discretion.
1. I request Christies to bid on the stated lots up to the
maximum bid I have indicated for each lot.
2. I understand that if my bid is successful, the amount payable
will be the sum of the hammer price and the buyers
premium (together with any taxes chargeable on the hammer
price and buyers premium and any applicable Artists Resale
Royalty in accordance with the Conditions of Sale - Buyers
Agreement). The buyers premium rate shall be an amount
equal to 25% of the hammer price of each lot up to and
including 50,000, 20% on any amount over 50,000 up to and
including 1,000,000 and 12% of the amount above 1,000,000.
For wine and cigars there is a flat rate of 17.5% of the hammer
price of each lot sold.
3. I agree to be bound by the Conditions of Sale printed in
the catalogue.
4. I understand that if Christies receive written bids on a lot for
identical amounts and at the auction these are the highest bids on
the lot, Christies will sell the lot to the bidder whose written bid
it received and accepted first.
5.
Written bids submitted on no reserve lots will, in the
absence of a higher bid, be executed at approximately 50% of the
low estimate or at the amount of the bid if it is less than 50%
of the low estimate.
I understand that Christies written bid service is a free service
provided for clients and that, while Christies will be as careful as
it reasonably can be, Christies will not be liable for any problems
with this service or loss or damage arising from circumstances
beyond Christies reasonable control.
Maximum Bid UK
(excluding buyers premium)
Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
30.03.15
195
20/21 DESIGN
Code
Subscription Title
Location
L53
N53
P53
K126
20/21 Design
20/21 Design
20/21 Design
20/21 Design
Lalique Glass
King Street
New York
Paris
South Kensington
www.christies.com/shop
Photographs, Posters and Prints Impressionist and Modern Art
Jewellery, Watches and Wine Antiquities and Tribal Art
Asian and Islamic Art Russian Art
Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings
Issues
2
4
2
2
UKPrice
US$Price
38
95
38
27
61
152
61
44
EURPrice
57
144
57
40
CHRISTIES
CHRISTIES INTERNATIONAL PLC
Patricia Barbizet, Chairwoman and CEO
Stephen Brooks, Global Chief Operating Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Hlose Temple-Boyer,
Jussi Pylkknen, Global President
CHRISTIES EMERI
SENIOR DIRECTORS
Mariolina Bassetti, Giovanna Bertazzoni,
Edouard Boccon-Gibod, Prof. Dr. Dirk Boll,
Olivier Camu, Roland de Lathuy,
Eveline de Proyart, Philippe Garner,
Roni Gilat-Baharaff, Richard Knight,
Francis Outred, Christiane Rantzau,
Andreas Rumbler, Franois de Ricqles,
Jop Ubbens, Juan Varez
ADVISORY BOARD
Pedro Girao, Chairman,
Patricia Barbizet, Arpad Busson, Loula Chandris,
Kemal Has Cingillioglu, Ginevra Elkann,
I. D. Frstin zu Frstenberg, Laurence Graff,
H.R.H. Prince Pavlos of Greece,
Marquesa de Bellavista Mrs Alicia Koplowitz,
Viscount Linley, Robert Manoukian,
Rosita, Duchess of Marlborough,
Countess Daniela Memmo dAmelio, Usha Mittal,
Leopoldo Rods, igdem Simavi
CHRISTIES UK
CHAIRMANS OFFICE
Orlando Rock, Chairman
Nol Annesley, Honorary Chairman;
Richard Roundell, Vice Chairman;
Robert Copley, Deputy Chairman;
The Earl of Halifax, Deputy Chairman;
Francis Russell, Deputy Chairman;
Julia Delves Broughton, James Hervey-Bathurst,
Amin Jaffer, Nicholas White, Mark Wrey
SENIOR DIRECTORS
Dina Amin, Simon Andrews, Daniel Baade,
Philip Belcher, Jeremy Bentley,
Ellen Berkeley, Jill Berry, Peter Brown,
James Bruce-Gardyne, Sophie Carter,
Benjamin Clark, Christopher Clayton-Jones,
Karen Cole, Isabelle de La Bruyere,
Leila de Vos, Nicole Dembinska,
Paul Dickinson, Harriet Drummond,
Julie Edelson, Hugh Edmeades, David Elswood,
David Findlay, Margaret Ford, Daniel Gallen,
Karen Harkness, Philip Harley, James Hastie,
Karl Hermanns, Paul Hewitt, Rachel Hidderley,
Mark Hinton, Nick Hough, Michael Jeha,
Donald Johnston, Erem Kassim-Lakha,
Nicholas Lambourn, William Lorimer,
Catherine Manson, John McDonald,
Nic McElhatton (Chairman, South Kensington),
Alexandra McMorrow, Jeremy Morrison,
Nicholas Orchard, Clarice Pecori-Giraldi,
Benjamin Peronnet, Henry Pettifer, Steve Phipps,
Will Porter, Paul Raison, Tara Rastrick,
Amjad Rauf, William Robinson, John Stainton,
Alexis de Tiesenhausen, Lynne Turner, Jay Vincze,
Andrew Ward, David Warren, Andrew Waters,
Harry Williams-Bulkeley, Martin Wilson,
Andr Zlattinger
DIRECTORS
Richard Addington, Zoe Ainscough,
Georgiana Aitken, Marco Almeida, Maddie Amos,
Alexandra Baker, Helen Baker, Karl Barry,
Rachel Beattie, Sven Becker, Jane Blood,
Piers Boothman, David Bowes-Lyon,
Anthony Brown, Lucy Brown, Robert Brown,
Lucy Campbell, Jason Carey, Sarah Charles,
Romilly Collins, Ruth Cornett, Nicky Crosbie,
Armelle de Laubier-Rhally, Sophie DuCret,
Anna Evans, Arne Everwijn, Adele Falconer,
Nick Finch, Emily Fisher, Peter Flory,
Elizabeth Floyd, Christopher Forrest,
Giles Forster, Sarah Ghinn, Zita Gibson,
Alexandra Gill, Sebastian Goetz, John Green,
Simon Green, David Gregory, Mathilde Heaton,
Annabel Hesketh, Sydney Hornsby,
Peter Horwood, Kate Hunt, Simon James,
Sabine Kegel, Hans-Peter Keller, Tjabel Klok,
Robert Lagneau, Joanna Langston, Tina Law,
Darren Leak, Adriana Leese, Brandon Lindberg,
Laura Lindsay, David Llewellyn, Murray Macaulay,
Sarah Mansfield, Nicolas Martineau,
Roger Massey, Joy McCall, Neil McCutcheon,
Daniel McPherson, Neil Millen, Edward Monagle,
Jeremy Morgan, Leonie Moschner,
Giles Mountain, Chris Munro, Rupert Neelands,
Liberte Nuti, Beatriz Ordovs, Rosalind Patient,
05/05/15
INDEX
A
Adler, J., 387
Archipenko, A.,
Arp, J. H., 359
368
B
Baumeister, W., 370
Bonnard, P., 332, 335
Boudin, E., 413, 414, 422, 423
Braque, G., 407
Brasilier, A., 303, 304
Brauner, V., 357
Buffet, B., 314, 315, 317, 409, 410
C
Caillebotte, G., 412
Campigli, M., 354
Cassigneul, J.-P., 301, 302, 403, 406
Chagall, M., 311, 323, 326
Chirico, G. de, 353, 355, 363, 364
D
Degas, E., 336, 338
Derain, A., 391, 408, 426
Domnguez, O., 361, 362
Dongen, K. van, 310, 427
Dufy, J., 305
Dufy, R., 308, 309
E
Ernst, M.,
M
Macke, A., 371
Magnelli, A., 350, 351
Magritte, 365
Maillol, A., 321
Marc, R., 348
Marini, M., 352
Martin, H., 329, 330
Masson, A., 356
Metzinger, J., 343
Mir, J., 360
Mondrian, P., 382
Moret, H., 420
N
Nolde, E.,
O
Oguiss, T., 424
Oppenheimer, M.,
369
P
Pevsner, A., 367
Picasso, P., 347
Pissarro, C., 339
358
F
Faistauer, A., 378, 379
Feininger, L., 372
Felixmuller, C., 375
Foujita, L. T., 325, 394, 395
Friesz, E.-O., 331
G
Giacometti, D., 312, 313
Gilot, F., 316
Gris, J., 342
Guillaumin, A., 411
R
Redon, O., 322, 390
Renoir, P.-A., 340, 341, 397, 398, 399,
400
S
Schlemmer, O., 377
Sedlacek, F., 380
Sisley, A., 334
J
Jawlensky, A. von,
373
376
K
Kisling, M., 392, 393
Kolbe, G., 383
L
Laug, A., 415, 416
Laurencin, M., 337
Laurens, H., 318
Lebasque, H., 333, 396, 401, 404
Thesleff, E.,
Utrillo, M.,
381
V
Valtat, L., 428
Vlaminck, M. de,
Vuillard, E., 389
Z
Zadkine, O.,
386