19Th Century European & Orientalist Art
19Th Century European & Orientalist Art
King Street
15 June 2015
IFC2
15 JUNE
19 TH CENTURY EUROPEAN ART
LONDON, KING STREET
10 SEPTEMBER
19 TH CENTURY EUROPEAN ART
LONDON, SOUTH KENSINGTON
23-24 JUNE
OLD MASTERS, 19 TH CENTURY &
DUTCH IMPRESSIONISM
AMSTERDAM
28 OCTOBER
19 TH CENTURY EUROPEAN ART
NEW YORK
Subject to change.
17-18 NOVEMBER
OLD MASTERS, 19 TH CENTURY ART &
DUTCH IMPRESSIONISM
AMSTERDAM
15 DECEMBER
19 TH CENTURY EUROPEAN ART
LONDON, KING STREET
14/04/15
AUCTION
VIEWING
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28 May - 1 June
Friday
Saturday
Sunday
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12 June
13 June
14 June
15 June
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AUCTIONEER
Alexandra McMorrow
CONDITIONS OF SALE
AUCTION RESULTS
Contents
Calendar of Auctions
Auction Information
180
183
184
185
186
188
197
198
Catalogue Subscriptions
IBC
Index
opposite:
Lot 50
front cover:
Lot 35
back cover:
Lot 12
Lot 5
Lot 80
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11
12
*1
8,000-12,000
$13,000-18,000
12,000-17,000
PROVENANCE:
R. & M. Schmit, Stanislas Lpine 1835-1892. Catalogue raisonn de luvre peint, Paris, 1993, p. 267, no. 662
(illustrated).
The present lot is sold with a letter of authenticity (dated 3 October 1984) from Robert Schmit of the
Galerie Schmit, Paris.
13
14
VARIOUS PROPERTIES
Jean-Baptiste-Camille Corot
(FRENCH, 1796-1875)
30,000-50,000
$46,000-76,000
42,000-70,000
PROVENANCE:
15
35,000-55,000
$53,000-83,000
49,000-77,000
PROVENANCE:
16
17
Gustave Courbet
(FRENCH, 1819-1877)
40,000-60,000
$61,000-91,000
56,000-84,000
PROVENANCE:
18
19
Jean-Baptiste-Camille Corot
(FRENCH, 1796-1875)
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
A. Robaut, Luvre de Corot, Catalogue raisonn et illustr, Paris, 1965, vol. II, p.
198, no. 554 (illustrated, p. 199).
By the 1850s, Jean-Baptiste-Camille Corots reputation as one of the most
sensitive painters of French landscape was secure. So atmospheric was the
artists depiction of a spring morning or hazy summer afternoon, that he
was lauded as instinctively connected with his natural subjects. As the critic
Auguste Desplaces described in his review of the Salon of 1850-1851,
nature fnds in M. Corot an innocent and well informed interpreter. This is
no academic tracing, no copy of earlier images: one sees a familiarity with and
inspired knowledge of the subject (A. Desplaces, Salon de 1850, LUnion,
22 February 1851, pp. 119-122).
Or as ve de Balzac pronounced with enthusiasm in a letter to Champfeury
in 1851: Nature seen through the eyes of a Dupr or a Corot! ...Oh, how
lovely it is! ...one could not be more innately, more fnely original. ((in
translation) cited in Corot, Met 1996, p. 227. Letter April 27 1851, Quoted
in Balzac, 1989, p. 14.)
20
22
23
*6
Henri Fantin-Latour
(FRENCH, 1836-1904)
La Coiffeuse
signed Fantin (upper left)
oil on canvas
11 x 8 in. (28 x 22.2 cm.)
12,000-18,000
$19,000-27,000
17,000-25,000
PROVENANCE:
25
VARIOUS PROPERTIES
12,000-18,000
$19,000-27,000
17,000-25,000
PROVENANCE:
26
27
Le Port dOuistreham
signed Lpine (lower left)
oil on canvas
7 x 13 in. (19 x 33.6 cm.)
15,000-25,000
$23,000-38,000
21,000-35,000
PROVENANCE:
28
29
8A
Charles-Franois Daubigny
(FRENCH, 1817-1878)
12,000-15,000
PROVENANCE:
30
$19,000-23,000
17,000-21,000
31
32
Jean-Baptiste-Camille Corot
(FRENCH, 1796-1875)
30,000-50,000
$46,000-76,000
42,000-70,000
PROVENANCE:
33
VARIOUS PROPERTIES
10
Route de campagne
signed S. Lpine (lower right)
oil on canvas
12 x 9 in. (31.1 x 23 cm.)
Painted circa 1876-1880.
15,000-20,000
$23,000-30,000
21,000-28,000
PROVENANCE:
34
35
11
Jean-Franois Raffalli
(FRENCH, 1850-1924)
Le Chiffonier
signed J.F. RAFFALLI (lower left)
oil on canvas
16 x 14 in. (43 x 37.7 cm.)
30,000-50,000
$46,000-76,000
42,000-70,000
PROVENANCE:
37
*12
Gustave Courbet
(FRENCH, 1819-1877)
Le Chasseur 1 laffNt
signed `G. Courbet. (lower left)
oil on canvas
25.3/4 x 32 in. (65.5 x 81 cm.)
Painted circa 1864.
500,000-700,000
$760,000-1,100,000
700,000-980,000
PROVENANCE:
Mr. Rey.
Anonymous sale; Galerie George Petit, Paris, 8 May 1900, lot 9.
Acquired at the above sale by Mr Tron (for 1600 frs.)
Acquired in the 1920s by the grandfather of the present owner, Paris.
And thence by descent to the present owner.
LITERATURE:
R. Fernier, La vie et luvre de Gustave Courbet, vol. I, Geneva, 1977, no. 385
(illustrated p. 215)
38
12
41
fg. 1 Claude Monet, La Seine Bougival, oil on canvas, painted in 1869, private
collection, 2006 Christies
Courbet laid down his paint with palette knife, spatula, sponges and
blotting rags, building up an image out of darkness and creating a
richly textured surface. His paintings of landscapes chilled by winter
afforded him the opportunity to employ these techniques in the
spirit of mimicking nature most creatively and to greatest effect.
Having played the part of the sun, illuminating his subjects from
blackness, Courbets elemental role also encompassed that of the
snowstorm which blustered through his compositions, blanketing
Franche-Comts limestone ravines and tree-lined watering spots. In
La Chasseur a laffut, Courbets varied application of paint perfectly
captures the irregularity and complexity of his natural subject. Snow
is faked onto the canvas with a palette knife in its various textures,
forming crunchy snow-packed banks and feathery sprays on winterstripped trees. Cool blue ice is slicked smooth with large soft brushes.
Drawing on the palette Courbet had introduced earlier in the decade,
the painting is a harmony of tinted whites, steely greys and blues. A
gifted colourist, Courbet laced the startling whiteness of the painting
with the rusted browns and black of rock and earth which peek
darkly from underneath a blanket of snow white.
Landscape painting was the driving force of the second half of
Courbets career. His passion for the subject was motivated in part
by his attachment to his native Franche-Comt. He found great
freedom in the unexplored territories of the Jura mountains and
delighted in the mystery of the regions undiscovered places. As
Castagnary described in his preface to the retrospective exhibition
at the cole des Beaux-Arts in 1882,[T]he landscape according
to Courbet does not hand itself over easily. It uses its secrets, its
metaphors, and its double meanings carefully, and remains, like
the entire oeuvre, fundamentally open to interpretation.(Gustave
Courbet, 2008, exh. cat., p.228, citing the preface to retrospective)
Partly as a consequence of its unspoiled secrecy, landscape subjects
provided Courbet with a powerful platform from which to continue
his project of social dissent. (This case is made by Klaus Herding)
Le Chne de Flagey (fg.2), painted in the same year as the present
fg. 2 Gustave Courbet, Le Chne de Flagey, oil on canvas, 1864, Musee Gustave
Courbet, Ornans, 2015, Muse Gustave Courbet
43
13
Alfred Stevens
(BELGIAN, 1823-1906)
Femme 1 la colombe
signed AStevens. (lower right)
oil on canvas
49 x 18 in. (124.5 x 46.3 cm.)
50,000-70,000
$76,000-110,000
70,000-98,000
PROVENANCE:
Paris, cole des Beaux Arts, Luvre dAlfred Stevens, 1900, no. 172.
LITERATURE:
45
14
At the well
signed and dated V THIRION/1873 (lower right)
oil on canvas
24 x 20 in. (61.5 x 51 cm.)
20,000-30,000
PROVENANCE:
46
$31,000-45,000
28,000-42,000
15
Thodore Grard
(BELGIAN, 1829-1895)
8,000-12,000
$13,000-18,000
12,000-17,000
PROVENANCE:
Mr Arthur Holmes.
And thence by descent to the present owner.
48
50
16
30,000-50,000
$46,000-76,000
42,000-70,000
PROVENANCE:
51
52
VARIOUS PROPERTIES
17
Alexandre Cabanel
(FRENCH, 1823-1889)
Loves messenger
signed and dated Alex-Cabanel-1883 (lower right)
oil on canvas
31 x 18 in. (80 x 47.3 cm.)
Painted in 1883.
25,000-35,000
$38,000-53,000
35,000-49,000
PROVENANCE:
53
18
30,000-50,000
$46,000-76,000
42,000-70,000
EXHIBITED:
54
55
19
Alfred Stevens
(BELGIAN, 1823-1906)
La boulle argente
signed AStevens (lower left)
oil on panel
28 x 20 in. (73 X 52 cm.)
80,000-120,000
$130,000-180,000
120,000-170,000
PROVENANCE:
In the 1870s, Stevens began to enjoy the patronage of the most important
collectors and arbiters of taste in Europe and America. Such was the
combination of his innate sense of colour and taste, and his ability to
constantly develop and perfect his technique, that his success with both the
public and potential patrons was guaranteed.
The present lot is one of a few compositions that the artist made exploring the
theme of a model refected in the silver gazing ball. Gazing balls originated
in 13th century Venice, where they were hand-blown by skilled craftsmen.
King Ludwig II of Bavaria, sometimes referred to as Mad King Ludwig,
adorned his Herrenchiemsee palace these with lawn balls. Thereafter, they
became a fxture of European gardens. It is not surprising that Alfred Stevens
would have such a fashionable object grace his garden and would choose to
make it into a subject for his paintings. Not unlike his celebrated depiction of
contemporary interiors, he set about depicting equally en vogue exteriors.
56
57
VARIOUS PROPERTIES
*20
Jacques-mile Blanche
(FRENCH, 1861-1942)
20,000-30,000
$31,000-45,000
28,000-42,000
PROVENANCE:
59
21
Jean-Franois Raffalli
(FRENCH, 1850-1924)
40,000-60,000
$61,000-91,000
56,000-84,000
PROVENANCE:
60
22
Jacques-mile Blanche
(FRENCH, 1861-1942)
20,000-30,000
$31,000-45,000
28,000-42,000
PROVENANCE:
63
23
25,000-35,000
$38,000-53,000
35,000-49,000
LITERATURE:
64
65
24
Joaqun Mir i Trinxet was a member of la Colla del Safr, a group of young
Catalan artists who painted the countryside outside Barcelona. The group
was recognised for their innovative experimentation and modern techniques,
particularly evident in their use of colour. The new availability of tubes of
paint allowed the artist to paint freely in the open air with no need for the
preparation and mixing of colours that had previously been necessary in the
more restricted environment of the studio; this led to a freedom of style and
brushstroke typical of the Post-Impressionists.
(SPANISH, 1873-1940)
15,000-25,000
$23,000-38,000
21,000-35,000
Es Molinar presents a very similar composition to other works the artist painted
in his frst stay in Majorca, between 1900 and 1901. Mirs love of light is
emphasised by his use of bright blue and orange pigments, to capture the
landscape at the end of the day and create a playful contrast. The typical white
windmills of Es Molinar appear lit in a warm orange glow.
The present work is sold with certifcate of authenticity by Francesc Miralles
(Barcelona, 29 March 2013) and with an essay on the painting by Teresa
Camp Mir (March 2013).
66
67
68
25
15,000-20,000
$23,000-30,000
21,000-28,000
69
26
Encuentro en la plaza
signed, inscribed and dated .Ricardo Brugada-Sevilla-1901- (lower right)
oil on canvas
64 x 72 in. (163 x 183.2 cm.)
10,000-20,000
70
$16,000-30,000
14,000-28,000
72
27
The Picnic
signed G. Bilbao (lower right)
oil on canvas
46 x 70 in. (118.5 x 178 cm.)
18,000-25,000
$28,000-38,000
26,000-35,000
73
28
The Marriage
signed and inscribed Pablo Salinas/Roma (lower right)
oil on canvas
34 x 52 in. (88.2 x 134.4 cm.)
35,000-50,000
$53,000-76,000
49,000-70,000
PROVENANCE:
74
75
29
Hermenegildo Anglada-Camarasa
(SPANISH, 1872-1959)
At the theatre
signed H.ANGLADA-CAMARASA (upper left)
oil on panel
12 x 17 in. (32.7 x 44.1 cm.)
Painted circa 1904.
80,000-120,000
$130,000-180,000
120,000-170,000
PROVENANCE:
76
77
78
30
Fishing boats
signed C.M-CUBELLS.RUIZ. (lower left)
oil on canvas
41 x 53 in. (105.3 x 135 cm.)
15,000-20,000
$23,000-30,000
21,000-28,000
79
80
31
Fuente Santa
signed Julio Romero/De Torres (lower right); and signed and inscribed Julio Romero/de Torres/Pintado al/temple y al
oleo/Fuente Santa (on the reverse)
oil on canvas
32 x 24 in. (83 x 62 cm.)
30,000-40,000
$46,000-61,000
42,000-56,000
PROVENANCE:
Exh. cat., Crdoba, Julio Romero de Torres, Smbolo, Materia y Obsesin, February-May 2003, p. 109
(illustrated).
81
32
El pozo
signed Julio Romero/de Torres- (lower centre); and signed and inscribed Julio Romero/
de Torres/pintado al oleo/y al temple-/de la plaza del potro (on the reverse)
oil and tempera on canvas
29.3.4 x 35 in. (75.4 x 91.1 cm.)
80,000-120,000
$130,000-180,000
120,000-170,000
LITERATURE:
82
83
33
Hermenegildo Anglada-Camarasa
(SPANISH, 1872-1959)
12,000-18,000
$19,000-27,000
17,000-25,000
PROVENANCE:
84
34
Hermenegildo Anglada-Camarasa
(SPANISH, 1872-1959)
50,000-70,000
$76,000-110,000
70,000-98,000
PROVENANCE:
85
35
2,500,000-3,500,000
$3,800,000-5,300,000
3,500,000-4,900,000
PROVENANCE:
Bought directly from the artist by Mrs B.B. Graham, St. Louis, 1911.
Thence by descent to her daughter Mrs Samuel Breckinridge Long, ne
Christine Graham, St. Louis.
with Knoedler & Co., New York (by 1944).
Acquired from the above by Alberto Baccolini, Buenos Aires, October 1945 ($2,200).
Anonymous sale; Sala Witcomb, Buenos Aires (before 1953).
Private collection, Argentina.
Acquired from the above by the present owner in 1984.
EXHIBITED:
48
88
35
89
fg. 1 Joaqun Sorolla y Bastida, Retour de pche, halage de la barque 1894, Paris, muse dOrsay,
Photo RMN-Grand Palais (muse dOrsay) / Grard Blot / Herv Lewandowski.
which the present painting is a part, the focus shifted from grand
social narratives with a strongly patriotic element, to paintings in
which the stress was above all on acutely observed effects of nature,
and on the subtleties of people interacting with each other, whether
at work or at play. Sorolla was a master at interpreting the subtlest
nuances of human gesture and expression, whether the boisterous play
of children chasing each other across the sand or a mother tenderly
drying a child exiting from the water, playing across a wide range of
emotional keys. The artist had already hinted at this extraordinary
ability in his famous painting of 1899, Sad Inheritance, a pathos-flled
representation of a priest shepherding a group of young, naked and
profoundly disabled children down to the shoreline, which is quite
different to the more exuberant displays of youth and energy which
typically describe the artists depiction of children on the beach, and
which was acquired by an American collector in 1902. As the writer
Thomas Ybarra related, following one of his many interviews with
the artist in New York:
In everything he does and says, Seor Sorolla gives evidence of that
joyous inner self which fnd constant expression in his sparkling,
sun-bathed canvases, in the rollicking beach-children of Valencia
and Malvarrosa and Jvea, whom he delights to picture in all their
litheness and innocence. A Sad Inheritance!, loaned by the Church of
the Ascension in New York, was the only gloomy painting in the
exhibition. Like many of the pictures, it shows the beach at Valencia,
but the fgures, instead of happy bathers in sunshine and water, are
a score or moer of imbecile and crippled children in the charge of
a dark-robed priest. In speaking of this picture Seor Sorolla said:
91
Sorolla leaving the Hispanic Society after visiting his exhibition in 1909 courtesy of the Hispanic Society of America, New York
Sorolla in America
Recently the subject of a major exhibition held at the Meadows
Museum in Dallas, the San Diego Museum of Art and the
Mapfre Foundation in Madrid, in which the present painting was
included, Sorollas relationship with America was fundamental to
his international career and commercial success. Although best
understood in terms of patronage, it also served to reinforce the
artists self-belief and to consolidate his position as an artist who was
simultaneously accepted by the offcial establishment, as vouched
for by the many Salon and Exposition prizes he won in Europe and
America in the 1890s and early 1900s, and by leading collectors and
artists of the modern school. America allowed Sorolla to develop
a European tradition into fertile and receptive territory that could
embrace both the old and the new. As he once observed: Your
American artists, such as Chase, Sargent, Cecilia Beaux and Gari
Melchers all of whom I am proud to number among my personal
friends of long standing what are they but children of Velazquez,
like myself?
92
The present painting on display at the exhibition Paintings from St. Louis Homes.
A Collection of works owned in St. Louis and lent to the Museum, The City Art
Museum 1912 image courtesy of the Saint Louis Art Museum.
The frst owners of the present work were typical of the kind of
American establishment fgures whose patronage Sorolla enjoyed.
Its frst owner, Mrs Benjamin Brown Graham (1852-1915), ne
Christine Biddle Blair, was the daughter of Francis Preston Blair,
Jr. (1821-1875), a Union general in the US civil war, member
of Congress, unsuccessful candidate for US vice-president, and
senator for Missouri. She married Benjamin Brown Graham, a
paper manufacturer and banker. One of the wealthiest women in St.
Louis, Mrs. Graham was active in philanthropy and was interested
in womens suffrage. Her daughter, Christine Alexander Graham,
married the diplomat Samuel Miller Breckinridge Long and inherited
her mothers estate in 1915. Her husband served as American
ambassador in Rome from 1936 to 1939, and as Assistant Secretary of
State from January 1940, retiring in November 1944.
The present lot is recorded in Blanca Pons Sorollas Archive under
the number BPS 1939.
93
36
Feria Valenciana
signed J. Agrasot (lower left)
oil on canvas
17 x 32 in. (44.5 x 82.5 cm.)
10,000-15,000
PROVENANCE:
94
$16,000-23,000
14,000-21,000
95
96
*37
Mozos de escuadra
signed and dated -Carlos VAZQUEZ-/1906. (lower left)
oil on canvas, unframed
78 x 97 in. (199 x 247 cm.)
25,000-35,000
$38,000-53,000
35,000-49,000
PROVENANCE:
97
38
100,000-150,000
$160,000-230,000
140,000-210,000
PROVENANCE:
Notcias de las Islas. Sller, La Almudaina, Palma, no. 6414, 11 December 1902,
p. 1.
Crnica local, Sller, no. 819, 13 December 1902, p. 3.
J. Pujol y Brull, Arts Grfcas, in Joventut, IV, 5 February 1903, p. 97.
F. Casanovas, Bellas Artes. Saln Pars, in La Publicidad, no. 2578, 5 February
1903, p. 1.
B. Bassegoda, Saln Pars. Exposicin de Santiago Rusiol, in Diario de
Barcelona, 6 February 1903, p. 1.
A. Opisso, Exposicin Rusiol, in La Vanguardia, no. 8424, 7 February 1903, p. 4.
R. Suriach Sentes, A Can Pars. Exposici dobras dEn Santiago Rusiol, in
El Eco de Sitges, no. 876, 8 February 1903, p. 2.
A. Arsne , Les Salons de 1904. La Socit nationale des Beaux-Arts, in Le
Figaro, no. 107, 16 April 1904, p. 4.
L. Bello, Desde Pars, Madrid, 20 April 1904.
V. Pica, Artisti contemporanei: Santiago Rusiol, in Emporium, vol. XXI,
March 1905, no. 123, p. 181 (illustrated), as: Strada di villaggio.
Forma, II, 1907, p. 63 (illustrated), as.: Crepsculo.
J. de C. Laplana, Santiago Rusiol, el pintor, lhome, Barcelona, 1995, no. 15.7.6,
p. 584.
J. de C. Laplana M. Palau-Ribes OCallaghan, La pintura de Santiago Rusiol.
Obra completa, Barcelona, 2004, vol. III, p. 152, no. 15.8.4 (illustrated).
Rusiols poetic artistic language has its roots in the time he spent in Paris in
the early 1890s, and his association with the Brussels based avant-garde group
of artists known as Les XX in the 1890s, whose founder members included
Fernand Khnopff and James Ensor. The group gradually became a focus
point for symbolist and modernist artists, poets and writers, including James
McNeill Whistler, whose infuence on the Spanish artist was particularly
notable.
98
The present lot hanging at the Saln Pars during the Rusiol exhibition, 1903,
Courtesy of Mercedes Palau-Ribes.
99
100
38
101
39
A captive audience
signed and inscribed -Pablo Salinas-/-Roma- (lower right)
oil on canvas
19 x 27 in. (50.1 x 70.2 cm.)
10,000-15,000
102
$16,000-23,000
14,000-21,000
103
40
Market day
signed and inscribed MARIANO BARBASN/ROMA (lower left)
oil on canvas
18 x 27 in. (46.6 x 69.9 cm.)
30,000-50,000
104
$46,000-76,000
42,000-70,000
105
41
120,000-180,000
$190,000-270,000
170,000-250,000
We are grateful to Blanca Pons Sorolla for confrming the authenticity of the
present painting (certifcate dated 11 May 1998), which will be included in
her forthcoming catalogue raisonn with the provisional number BPS 3696.
106
107
108
42
Virgo
signed and dated L- USABAL.08 (lower left); and signed and inscribed VIRGO/
L-USABAL (on the reverse)
oil on canvas
80 x 44 in. (205 x 113 cm.)
20,000-30,000
$31,000-45,000
28,000-42,000
EXHIBITED:
109
43
An evening in Paris
signed Camillo Innocenti (lower left)
oil on canvas
45 x 55 in. (114.5 x 141.5 cm.)
35,000-50,000
$53,000-76,000
49,000-70,000
EXHIBITED:
110
111
44
COMPARATIVE LITERATURE:
A. Lettau, Zur Plastik von Franz von Stuck, in Ausst. Kat. Franz von Stuck,
Munich, 1982, p. 70, no. 136.
A. Heilmann, Die Plastik Franz von Stucks, Munich 1985, p. 408, no. 16
(illustrated), p. 226 ff.
J.-A. Birnie Danzker (Ed.), Franz von Stuck. Die Sammlung des Museums Villa
Stuck, Munich, 1997, 57 (ill.), p. 174, no. 57 (illustrated).
Beethoven
titled BEETHOVEN (lower centre) and signed FRANZ/STUCK (lower right)
gilt and polychrome stucco
18 x 18 x 5 in. (47.5 x 47.5 x 12.5 cm.)
15,000-20,000
PROVENANCE:
112
$23,000-30,000
21,000-28,000
45
7,000-10,000
$11,000-15,000
9,800-14,000
113
46
30,000-50,000
114
$46,000-76,000
42,000-70,000
115
47
15,000-20,000
PROVENANCE:
116
$23,000-30,000
21,000-28,000
117
*48
Roberto Bompiani
(ITALIAN, 1821-1908)
20,000-30,000
118
EXHIBITED:
$31,000-45,000
28,000-42,000
LITERATURE:
F. de Filippi and al., Le Belle Arti a Torino. Lettere sulla IV Esposizione Nazionale,
Milan, 1880, p. 126.
119
120
49
PROVENANCE:
Antonio Mancini
(ITALIAN, 1852-1930)
EXHIBITED:
La Pittrice
oil on canvas
66 x 45 in. (169.5 x 115.5 cm.)
Painted circa 1915.
60,000-80,000
$91,000-120,000
84,000-110,000
We are grateful to Dott.ssa Cinzia Virno for her assistance in cataloguing the
present lot which will be included in the catalogue raisonn on the artist,
currently in preparation, and edited by Cinzia Virno, De Luca Editori darte,
Rome.
121
50
Giuseppe De Nittis
(ITALIAN, 1846-1884)
Signora Napoletana
oil on canvas
37 x 29 in. (95 x 75 cm.)
150,000-250,000
$230,000-380,000
210,000-350,000
PROVENANCE:
P. Dini and G.L. Marini, De Nittis: La vita, i documenti, le opere dipinte, vol. I, Turin,
1990, p. 406 and vol. II, no. 733 (illustrated).
Giuseppe de Nittis worked in Paris and in London and was, like Giovanni Boldini,
immensely successful, moving in the highest artistic and social circles. The artists
fame, however, rested less exlusively on portraiture than his compatriot and he
created numerous portraits - both private commissions and studies of feminine
beauty - in which the sitters identity remains unknown.
In the present painting the sitters carefully modelled features are given added
emphasis by the contrast with the more vigorous, but less defned background
brushwork. This canvas bears strong comparisons with the later portraiture
of Boldini.
122
123
PROPERTY OF A LADY
51
Antonio Mancini
(ITALIAN, 1852-1930)
70,000-100,000
$110,000-150,000
98,000-140,000
PROVENANCE:
124
125
126
VARIOUS PROPERTIES
52
7,000-10,000
$11,000-15,000
9,800-14,000
PROVENANCE:
127
53
The Lagoon,Venice
signed and inscribed H. Corrodi.Roma. (lower left)
oil on canvas
24 x 45 in. (62 x 115 cm.)
15,000-20,000
PROVENANCE:
128
$23,000-30,000
21,000-28,000
129
VARIOUS PROPERTIES
*54
Eugne Galien-Laloue
(FRENCH, 1854-1941)
12,000-18,000
130
a pair (2)
$19,000-27,000
17,000-25,000
131
132
55
Vincenzo Caprile
(ITALIAN, 1856-1936)
15,000-20,000
$23,000-30,000
21,000-28,000
133
56
10,000-15,000
PROVENANCE:
134
$16,000-23,000
14,000-21,000
57
Carl Spitzweg
(GERMAN, 1808-1885)
10,000-15,000
$16,000-23,000
14,000-21,000
PROVENANCE:
A gift from the artist to Ms Funk (daughter of the artist Heinrich Funk (1807-1877)), 1884.
Anonymous sale; Christies, Amsterdam, 17 October 2007, lot 189.
Acquired at the above sale by the present owner.
135
58
Die Kranzljungfer
signed and dated Waldmller 1843 (lower right)
oil on panel
19 x 16 in. (50 x 42 cm.)
200,000-300,000
$310,000-450,000
280,000-420,000
PROVENANCE:
Basel, Kunsthalle, Ausstellung von Werken des 19. Jahrhunderts aus Basler Privatbesitz, 1943, no. 153
Vienna, sterreichische Galerie Belvedere, Ferdinand Georg Waldmller, 1793-1865, no. 41.
LITERATURE:
F. von Boetticher, Malerwerke des neunzehnten Jahrhunderts, vol. II, Dresden, 1901, p. 969, no. 119.
B. Grimschitz, Ferdinand Georg Waldmller, Salzburg, 1957, p. 326, no. 544 (illustrated).
R. Feuchtmller, Ferdinand Georg Waldmller, Vienna, 1996, p. 121 and p. 478, no. 601 (illustrated and
incorrectly dated 1839).
....die uns umgebende Natur, unsere Zeit Sitte ist es, welche wir in unsern Kunstschoepfungen zur
Anschauung bringen muessen.(F.G. Waldmller, Das Bedrfniss eines zweckmssigeren Unterrichtes in der Malerei
und plastischen Kunst. Angedeutet nach eigenen Erfahrungen von Ferdinand Georg Waldmller, 1874, p. 14)
The combination of realistic and idealistic elements in the art of the Biedermeier period particularly its
characteristic depictions of scenes taken from everyday life - was not a purely stylistic movement: it was also
an attempt to represent in some way the ineffable spirit of the age, the Lebensgefhl.
Waldmller and his fellow students of the Wiener Akademie and the Kunstschule were trying to interpret and
recreate the work of their Dutch seventeenth century predecessors: amongst Waldmllers earliest known oil
paintings, for example, are copies of works by Jan van Huysum and Rachel Ruys.
Aside from the Dutch seventeenth century masters, Waldmller was also heavily infuenced by the fashionable
European eighteenth century taste for art rich in sentiment and, frequently, humour, evident in the public
enthusiasm for the stage comedy and the pictures of Chardin and Greuze in France and Hogarth in England.
The quintessential precision of Biedermeier art and the premium it awarded painterly fnish - the particular
legacy of the Leiden fjnschilders - meant that many artists concentrated their attentions on one particular feld.
Waldmller, however, was amongst the most notable artists to practice his art outside one individual area,
turning his hand to portraiture as readily as to still-life or interiors. His visit to Italy in the mid 1820s amplifed
further his pictorial imagination and interest in the play of light on the landscape.
According to Rudolf M. Bisanz, Waldmller is now universally regarded as the greatest Austrian painter of
the 19th Century (Bisanz, The Ren von Schleinitz Collection of the Milwaukee Art Center, Milwaukee, 1980, p.
25). By the 1840s, Waldmller, having been a successful painter of portraiture and of Sittenbilder - pictures
of morals and manners - moved on to a yet different compositional structure in his painting. At this time, he
concentrated on executing multi-fgured Genrebilder, everyday scenes, that were composed of a small stage like
foreground using a wall to compress the characters into a tight space. In these paintings his fgures are piled up
one after another allowing little room for physical or emotional movement. When compared with his previous
or later works, Waldmllers strict colour palette also adds to the tension created by this tightly packed space.
The only venue Waldmller allowed himself to express outbursts of emotion in his fgures was in their faces.
136
137
59
Betrayed
signed, inscribed and dated Meyer von Bremen Berlin 1875 (lower centre)
oil on canvas
25 x 19 in. (63.5 x 48.9 cm.)
Painted in 1875.
15,000-20,000
PROVENANCE:
138
$23,000-30,000
21,000-28,000
60
Josef Gisela
(AUSTRIAN, 1851-1899)
The scolding
signed Josef Gisela (lower right)
oil on panel
9 x 7 in. (24 x 19.7 cm.)
4,000-6,000
$6,100-9,100
5,600-8,400
PROVENANCE:
139
140
61
La lecture
signed and dated David de Noter 58. (lower left)
oil on canvas
32 x 41 in. (82.5 x 104.7 cm.)
25,000-35,000
PROVENANCE:
$38,000-53,000
35,000-49,000
David Emile Joseph de Noter began his artistic training in Ghent, Belgium,
with his father Jean-Baptiste Andr de Noter (1787-1855), a well-known
painter of urban life who exhibited in both Belgium and France. De Noter
eventually settled in Brussels, where he developed his own style of highly
accomplished interiors and meticulously detailed still lives. He often travelled
to Algiers and frequently exhibited at the Paris Salons.
The present work, though created relatively early in the artists career in
1858, typifes the best aspects of his mature style. The domestic interior,
simultaneously rustic and elegant, displays the harmony and balance that de
Noter sought to achieve in his work. He takes great care in rendering even
the slightest detail, from the creases of the ladys dress to the ruffed edge of
lettuce lying at her feet.
De Noter was held in high esteem during his career. He later became
acquainted with the Baron Henri Leys, who employed him in his studio for
the sole purpose of rendering vegetables, fruits and fowers. He won several
medals, taking frst a bronze at the Paris Salon of 1845 and later a gold medal
in Brussels in 1854.
141
62
Willem Koekkoek
(DUTCH, 1838-1895)
40,000-60,000
$61,000-91,000
56,000-84,000
PROVENANCE:
142
143
63
Adrianus Eversen
(DUTCH, 1818-1897)
12,000-18,000
PROVENANCE:
Mr Arthur Holmes.
And thence by descent to the present owner.
144
$19,000-27,000
17,000-25,000
145
146
64
40,000-60,000
$61,000-91,000
56,000-84,000
PROVENANCE:
147
65
66
148
65
66
Johan-Laurents Jensen
Johan-Laurents Jensen
(DANISH, 1800-1856)
(DANISH, 1800-1856)
40,000-60,000
$61,000-91,000
56,000-84,000
8,000-12,000
PROVENANCE:
PROVENANCE:
$13,000-18,000
12,000-17,000
EXHIBITED:
149
PROPERTY OF A GENTLEMAN
*67
Filippo Palizzi
(ITALIAN, 1818-1899)
40,000-60,000
150
$61,000-91,000
56,000-84,000
151
68
Wilhelm Kuhnert
(GERMAN, 1865-1926)
70,000-100,000
$110,000-150,000
98,000-140,000
152
153
VARIOUS PROPERTIES
69
4,000-6,000
154
$6,100-9,100
5,600-8,400
70
Smoking a hookah
signed TH. FRERE (lower right)
oil on panel
13 x 9 in. (33 x 24.1 cm.)
4,000-6,000
$6,100-9,100
5,600-8,400
155
71
3,000-5,000
156
$4,600-7,600
4,200-7,000
72
Victor-Pierre Huguet
(FRENCH, 1835-1902)
7,000-10,000
$11,000-15,000
9,800-14,000
157
*73
Gordon B. Coutts
(AMERICAN, 1868-1937)
Ashura Rituals,Tangier
signed and inscribed Gordon Coutts/TANGIER (lower right)
oil on canvas
57 x 84 in. (145.4 x 213.4 cm.)
40,000-60,000
$61,000-91,000
56,000-84,000
PROVENANCE:
158
159
160
*74
Fabio Fabbi
(ITALIAN, 1861-1946)
In the Harem
signed F. Fabbi (lower left)
oil on canvas
28 x 36 in. (71.7 x 92 cm.)
40,000-60,000
$61,000-91,000
56,000-84,000
161
162
75
10,000-15,000
$16,000-23,000
14,000-21,000
163
*76
Rudolf Ernst
(AUSTRIAN, 1854-1932)
50,000-70,000 $76,000-110,000
70,000-98,000
164
165
77
70,000-100,000
$110,000-150,000
98,000-140,000
PROVENANCE:
Commissioned from the artist by Joseph Crosfeld and Sons Ltd., Warrington.
with Dicksee & Co., Liverpool (1919).
The Erasmic Co. Ltd, Warrington.
EXHIBITED:
166
167
78
Fausto Zonaro
(ITALIAN, 1854-1929)
12,000-18,000
$19,000-27,000
17,000-25,000
The present painting has been authenticated by Professor Cesare Mario Trevigne, the artists greatgrandson, and is sold with a letter dated 21 February 2014. It will be included in Professor Trevignes
archive under the title Vallata di Nisantasi 6.
168
VARIOUS PROPERTIES
79
Fabius Brest
(FRENCH, 1823-1900)
30,000-50,000
$46,000-76,000
42,000-70,000
Fabius Brest was a pupil of mile-Charles-Joseph Loubon in Marseille and Constant Troyon in Paris,
where he exhibited in the Salon from 1851 to 1896. He visited Constantinople in 1855, where the
splendor of the Ottoman capital captured his imagination and infuenced the direction of his future work.
He abandoned his landscape paintings of Piedmont and Provence, and dedicated his uvre to orientalist
subjects. He became widely regarded as a great Orientalist painter. He remained in Turkey until 1859. In
this time he would paint numerous views of daily life in and around Constantinople.
In the present lot the wide perspective takes in the stretch of the Golden Horn towards Seraglio Point.
Compositionally this has allowed him to highlight a number of signifcant landmarks, balancing the
Topkapi Palace with the Hagia Sophia either side of the Golden Horn. In the background the Princes
Islands provide a sheltering backdrop.
169
80
Carlo Bossoli
(ITALIAN, 1815-1884)
200,000-300,000
$310,000-450,000
280,000-420,000
LITERATURE:
Bossoli was the leading topographical painter of his age, and a superb
draftsman, noted for the format of his broad vistas and an amazing wanderlust
which took him beyond Italy, through Europe to the Middle East. His city
views, which were often dramatically lit, included Moscow, St. Petersburg,
Venice, Prague, Warsaw Paris, and London, and he travelled extensively
through North Africa, painting in Egypt, Morocco and Algeria. He was also
a major chronicler of the Italian Risorgimento. Above all, his pictures deftly
manage to combine both the picturesque and the modernity of his age.
Bossoli frst travelled through Constantinople in 1839, on his way back to
Italy from Odessa, where his family had emigrated when he was a child. The
city, which was a regular staging post on the journeys he made between the
Crimea and Italy in the early 1840s, made an indelible impression upon him,
and throughout his life he combined into highly fnished compositions the
drawings he had made whilst there.
Bossoli received commissions from the highest quarters: his patrons included
Empress Eugnie, Prince Eugene of Savoy and Queen Victoria. The present
work dates from a period when he executed an unusually large number of
pictures of the Crimea and the Bosphorus, in part to meet demand from
English patronsboth private collectors and commercial print-makers
whose interest in the region was stoked by the countrys involvement in the
Crimean War.
The exact view here looks South-West down the Bosphorus towards the
main landmarks of Constantinople, and over Leanders Tower, a 12th-century
structure which lies on a small islet just off the coast of Uskudar. The
confagration on the far bank takes place in the Hills of Galata, its famous
tower starkly set in profle by the fames behind it. Although this painting
is tentatively dated to circa 1848 by Peyrot (op. cit.), the exact event recorded
here by Bossoli is unknown; Constantinoples wooden architectural fabric
was nonetheless an on-going danger to the city throughout its history, as
several hundred major fres were recorded in the 19th century, notably in
1856 and 1865.
For Bossoli, the artistic opportunities afforded by such a dramatic occasion
were obvious, and it seems that he was striving in the present work above
all to create an image which fuses the naturalism of topographical detail with
a profoundly Romantic and timeless atmosphere. The latter is reinforced by
a sense of human presence which is suggested rather than explicitly stated;
indeed, Bossoli has eschewed the staffage and normally bustling atmosphere
he uses on other occasions to describe the city (fg. 2), with only the twinkling
windows in the foreground hinting at any activity. Compositionally, the work
is notable not only for the broadness of its vista, but the visual contrast created
by the sea of small verticals trees, minarets, towers and ships at anchor
which all reinforce each other and root the image immutably in time and
space. The city, like the Galata Tower, stands as an eternal symbol, able to
withstand all that man and nature can throw at it.
170
fg. 1. Pierre-Jacques Volaire, Mount Vesuvius erupting by night seen from the Atrio
del Cavallo with spectators in the foreground, a panoramic view of the city and the
Bay of Naples beyond, oil on canvas, Private Collection 2013 Christies.
171
80
173
174
VARIOUS PROPERTIES
81
Fabius Brest
(FRENCH, 1823-1900)
20,000-30,000
$31,000-45,000
28,000-42,000
175
176
82
Fabio Fabbi
(ITALIAN, 1861-1946)
40,000-60,000
$61,000-91,000
56,000-84,000
177
*83
Jacques Majorelle
It is to this period of exploration and travel that the present lot belongs,
recording in minute detail the topography and architecture of a land that
seemed both preserved from, and alien to, Western culture.
(FRENCH, 1886-1962)
40,000-60,000
$61,000-91,000
56,000-84,000
LITERATURE:
F. Marcilhac, Les Orientalistes, La vie et luvre de Jacques Majorelle (18861962), Courbevoie,1988, vol. 7, pp. 152-153 (illustrated).
Drawn by the allure of remote landscapes and exotic cultures, like many of
his contemporaries, French-born Jacques Majorelle sought inspiration beyond
178
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(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;
181
182
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.
Furniture/
Large Objects
Transfer/Admin
Storage per day
Extended
Liability Charge:
42.00
21.00
5.25
2.65
The lower amount of 0.6% of
Hammer Price or 100% of the
above charges
Pictures/
Small Objects
185
CANADA
BUENOS AIRES
TORONTO
+54 11 43 93 42 22
Cristina Carlisle
AUSTRALIA
CHILE
SYDNEY
SANTIAGO
+56 2 2 2631642
Denise Ratinoff
de Lira
AUSTRIA
COLOMBIA
VIENNA
BOGOTA
+571 635 54 00
Juanita Madrinan
DENMARK
BRUSSELS
COPENHAGEN
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
BRITTANY AND THE
LOIRE VALLEY
+33 (0)6 09 44 90 78
Virginie Greggory
(Consultant)
GREATER EASTERN
FRANCE
+33 (0)6 07 16 34 25
Jean-Louis Janin
Daviet (Consultant)
INDIA
MUMBAI
PARIS
+33 (0)1 40 76 85 85
POITOU-CHARENTE
AQUITAINE
+33 (0)5 56 81 65 47
Marie-Ccile
Moueix
PROVENCE - ALPES
CTE DAZUR
DELHI
MONACO
+377 97 97 11 00
Nancy Dotta
INDONESIA
THE NETHERLANDS
JAKARTA
RHNE ALPES
TEL AVIV
+33 (0)6 61 81 82 53
Dominique Pierron
(Consultant)
DSSELDORF
HAMBURG
TOKYO
+49 (0)89 24 20 96 80
Marie Christine
Grfin Huyn
MEXICO CITY
+33 (0)6 71 99 97 67
Fabienne AlbertiniCohen
GERMANY
MEXICO
KUALA LUMPUR
AMSTERDAM
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne
Schweizer
NORD-PAS DE CALAIS
+33 (0)6 09 63 21 02
Jean-Louis Brmilts
(Consultant)
DENOTES SALEROOM
ENQUIRIES?
186
14/04/15
RUSSIA
SWEDEN
MOSCOW
STOCKHOLM
SINGAPORE
SINGAPORE
SWITZERLAND
GENEVA
UNITED KINGDOM
LONDON,
KING STREET
NORTH AND
NORTHEAST
DALLAS
LOS ANGELES
SOUTH
TURKEY
ISTANBUL
CHANNEL ISLANDS
UNITED ARAB
EMIRATES
IRELAND
BOSTON
DUBAI
UNITED STATES
MIAMI
Carmen Schjaer
MADRID
16/02/15
187
INDIAN
CONTEMPORARY ART
POSTERS
PRINTS
JAPANESE
WORKS OF ART
JEWELLERY
AUSTRALIAN PICTURES
MARITIME PICTURES
BOOKS AND
MANUSCRIPTS
SWISS ART
MINIATURES
TOPOGRAPHICAL
PICTURES
MODERN DESIGN
ORIENTAL CERAMICS
AND WORKS OF ART
SILVER
TWENTIETH CENTURY
BRITISH ART
EUROPEAN CERAMICS
AND GLASS
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
SCULPTURE
TRIBAL AND
PRE-COLUMBIAN ART
CONTEMPORARY ART
COSTUME, TEXTILES
AND FANS
MUSICAL INSTRUMENTS
London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com
New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu
Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES
New York
+1 212 974 4570
[email protected]
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.
com
CHRISTIES
INTERNATIONAL
REAL ESTATE
PRIVATE SALES
New York
Tel +1 212 468 7182
Fax +1 212 468 7141
VALUATIONS
London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
[email protected]
WINE
POST-WAR ART
CHRISTIES EDUCATION
VICTORIAN PICTURES
PHOTOGRAPHS
CORPORATE
COLLECTIONS
Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
POPULAR CULTURE
AND ENTERTAINMENT
OTHER SERVICES
AUCTION SERVICES
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
09/04/15
188
Contact
1922 June
Cornelis Schuytstraat 57
1071 JG Amsterdam
Sarah de Clercq
[email protected]
+31 (0)20 575 82 81
christies.com
189
Russian Art
London, King Street 1 June 2015
190
Viewing
Contact
2931 May
8 King Street
London SW1Y 6QT
christies.com
Contact
1216 June
8 King Street
London SW1Y 6QT
Peter Brown
[email protected]
+44 (0)20 7389 2435
christies.com
Harriet Drummond
[email protected]
+44 (0)20 7389 2278
191
ARTISTIC VILLA
GRNWALD, MUNICH, GERMANY
This exceptional villa is located just 14 kilometers outside Munich in one of the most sought-after
addresses of Munich. The extraordinary 3,410-square-meter property boasts approximately
830 square meters of living space, a spectacular indoor pool, a wellness zone with jacuzzi
and steam room, as well as a beautiful natural outdoor pool. Inspired by Sardinian round
houses, this rarity has no straight walls or corners with rooms that fow into each other.
Price upon request
CHRISTIES INTERNATIONAL REAL ESTATE
www.christiesrealestate.com
192
Contact
46 July
8 King Street
London SW1Y 6QT
Benjamin Peronnet
[email protected]
+44 (0)20 7389 2272
christies.com
193
194
Viewing
Contact
49 July
8 King Street
London SW1Y 6QT
Henry Pettifer
[email protected]
+44 (0) 207 389 2084
christies.com
Contact
[email protected]
+44 (0) 20 7665 4350
Christies Education
153 Great Titchfeld Street
London W1W 5BD
christies.edu/
renaissancetomodern
195
196
10399
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
197
Code
Subscription Title
Location
A1
L193
L1
L195
L98
N193
N1
P1
K193
K9
K1
K2
K97
W9
Amsterdam
King Street
King Street
King Street
King Street
New York
New York
Paris
South Kensington
South Kensington
South Kensington
South Kensington
South Kensington
Worldwide
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
198
Issues
2
2
5
2
1
2
3
1
2
1
4
5
1
4
UKPrice
US$Price
EURPrice
27
48
119
48
20
48
71
38
43
14
57
71
14
95
44
72
181
76
32
76
108
61
71
24
95
119
24
152
40
76
190
72
30
72
114
57
66
22
87
109
22
144
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, 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, 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, William Robinson, John Stainton,
Alexis de Tiesenhausen, Lynne Turner, Jay Vincze,
Andrew Ward, David Warren, Andrew Waters,
Harry Williams-Bulkeley, Martin Wilson,
Andr Zlattinger
DIRECTORS
Richard Addington, Zoe Ainscough,
Georgiana Aitken, Marco Almeida, Maddie Amos,
Simon Andrews, Helen Baker, Karl Barry,
Rachel Beattie, Sven Becker, Jane Blood,
Piers Boothman, David Bowes-Lyon,
Anthony Brown, Lucy Brown,
Robert Brown, Lucy Campbell, Jason Carey,
Romilly Collins, Ruth Cornett, Nicky Crosbie,
Armelle de Laubier-Rhally, Sophie DuCret,
Anna Evans, Arne Everwijn, Adele Falconer,
Nick Finch, 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, Simon James,
Sabine Kegel, Hans-Peter Keller, Tjabel Klok,
Robert Lagneau, Nicholas Lambourn,
Joanna Langston, Tina Law, Darren Leak,
Adriana Leese, Brandon Lindberg, Laura Lindsay,
David Llewellyn, Murray Macaulay,
Sarah Mansfield, Nicolas Martineau,
ASSOCIATE DIRECTORS
Guy Agazarian, Cristian Albu, Jennie Amos,
Ksenia Apukhtina, Katharine Arnold,
Alexis Ashot, Alexandra Baker,
Fiona Baker, Virginie Barocas-Hagelauer,
Carin Baur, Sarah Boswell, Mark Bowis,
Clare Bramwell, John Caudle, Dana Chahine,
Marie-Louise Chaldecott, Sophie Churcher,
Marion Clermont, Helen Culver Smith,
Laetitia Delaloye, Charlotte Delaney,
Freddie De Rougemont, Grant Deudney,
Eva-Maria Dimitriadis, Howard Dixon,
Virginie Dulucq, Joe Dunning, Antonia Essex,
Kate Flitcroft, Nina Foote, Eva French,
Pat Galligan, Keith Gill, Andrew Grainger,
Leonie Grainger, Julia Grant, Pippa Green,
Angus Granlund, Christine Haines, Coral Hall,
Charlotte Hart, Evelyn Heathcoat Amory,
Anke Held, Valerie Hess, Carolyn Holmes,
Amy Huitson, Adrian Hume-Sayer,
James Hyslop, Helena Ingham, Pippa Jacomb,
Guady Kelly, Clementine Kerr, Hala Khayat,
Alexandra Kindermann, Mark Henry Lamp,
Tom Legh, Timothy Lloyd, Graeme Maddison,
Stephanie Manstein, Astrid Mascher,
Michelle McMullan, Kateryna Merkalenko,
Toby Monk, Sarah OBrien, Samuel Pedder-Smith,
Suzanne Pennings, Louise Phelps, Sarah Rancans,
Lisa Redpath, David Rees, Alexandra Reid,
Sumiko Roberts, Sangeeta Sachidanantham,
Pat Savage, Catherine Scantlebury,
Julie Schutz, Hannah Schweiger, James Smith,
Graham Smithson, Mark Stephen,
Annelies Stevens, Charlotte Stewart,
Dean Stimpson, Gemma Sudlow,
Dominique Suiveng, Cornelia Svedman,
Nicola Swain, Iain Tarling, Sarah Tennant,
Timothy Triptree, Flora Turnbull, Lisa Varsani,
Julie Vial, Anastasia von Seibold, Amelia Walker,
Tony Walshe, Chris White, Rosanna Widen,
Ben Wiggins, Annette Wilson, Julian Wilson,
Elissa Wood
23/04/15
199
Index
A
Koekkoek, W., 62
Kryer, P.S., 56
Kuhnert, W., 68
B
Barbasn Lagueruela, M., 40
Bilbao Martinez, G., 27
Blanche, J.E., 20-21
Bompiani, R., 48
Bossoli, C., 80
Bree, P.-J. van, 16, 18
Brest, F., 79, 81
Brugada y Panizo, R., 26
C
Cabanel, A., 17
Caprile, V., 55
Collier, J. Sir, 77
Corot, J.-B.-C., 2, 5, 9
Corrodi, H.D.S., 46, 53
Cubells y Ruiz, E.M., 30
Courbet, G., 4, 12
Coutts, G., 73
D
Daubigny, C.-F., 8a
E
Ernst, R., 76
Eversen, A., 63
L
Lpine, S.V.E., 1, 3, 8
M
Majorelle, J., 83
Mancini, A., 49, 51
Meifren y Roig., 25
Meyer von Bremer, J., 59
Mir y Trinxet, J., 24
N
Nittis, G. de., 50
Noter, D. E. J. de., 61
P
Palizzi, F., 67
R
Rusiol y Prats, S., 38
S
Salinas, J.P., 28, 39
Senet y Perez, R., 52
Sorolla y Bastida, J., 23, 35, 41
Spitzweg, C., 57
Stevens, A., 13, 19
Stuck, F. von, 44-45
Unterberger, F.R., 47
Usabal y Hernandez, L., 42
Galien-Laloue, E., 54
Grard, T., 15
Gisela, J., 60
Thirion, C.V., 14
Torres, J. R. de,. 31-32
V
Vzquez beda, C., 37
Verheyen, J.H., 64
Huguet, V.P., 72
Waldmller, F. G., 58
Innocenti, C.G., 43
Zonaro, F., 78