Prints & Multiples

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17 SEPTEMBER 2014  2014  LONDON

Specialists for this Auction

International Prints Department INTERNATIONAL HEAD OF DEPARTMENT Richard Lloyd Tel +1 212 636 2286

Tim Schmelcher 

Murray Macaulay

Lucia Tro Santafe

HEAD OF DEPARTMENT

DIRECTOR

SPECIALIST

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SENIOR SPECIALIST (PARIS)

05/02/14

AUCTION CALENDAR 2014 To include your property in these sales please consign ten weeks before the sale date. Contact the specialists or representative office for further information. 18 SEPTEMBER MODERN MASTERS & POLÍGRAFA: CELEBRATING 50 YEARS OF PRINTMAKING LONDON, SOUTH KENSINGTON

22 SEPTEMBER SWISS ART ZURICH

16 OCTOBER POST-WAR & CONTEMPORARY ART EVENING AUCTION LONDON, KING STREET

16 OCTOBER THE ITALIAN SALE LONDON, KING STREET

16-28 OCTOBER NOW IN TECHNICOLOUR: PRINTS FROM THE 1960’S TO NOW ONLINE ONLY

17 OCTOBER POST-WAR & CONTEMPORARY ART DAY AUCTION

19 NOVEMBER MODERN BRITISH & IRISH ART EVENING AUCTION

LONDON, KING STREET

LONDON, KING STREET

23-24 OCTOBER PRINTS & MULTIPLES

20 NOVEMBER MODERN BRITISH & IRISH ART DAY AUCTION

NEW YORK

4-5 NOVEMBER POST-WAR & CONTEMPORARY ART AMSTERDAM

5 NOVEMBER IMPRESSIONIST & MODERN ART EVENING AUCTION

LONDON, KING STREET

3 DECEMBER OLD MASTER PRINTS LONDON, KING STREET

4 DECEMBER PRINTS & MULTIPLES

NEW YORK

LONDON, SOUTH KENSINGTON

6 NOVEMBER IMPRESSIONIST & MODERN WORKS ON PAPER AUCTION

12 DECEMBER MODERN BRITISH & IRISH ART

NEW YORK

6 NOVEMBER IMPRESSIONIST & MODERN ART DAY AUCTION

LONDON, SOUTH KENSINGTON

16 DECEMBER MODERN ART AMSTERDAM

NEW YORK 29/07/14

2

Prints & Mul M ultiples tiples Wednesday 17 September 2014 PROPERTIES FROM The Ahlers Collection The Peter Bendixen Collection The Mira Jacob Collection

AUCTION

Wednesday 17 September 2014 at 2.00 pm 8 King Street, St. James’s London SW1Y 6QT

SERVICES ABSENTEE AND TELEPHONE BIDS Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870 Internet: www.christies.com AUCTION RESULTS UK: +44 (0)20 7839 9060 US: +1 212 703 8080 Internet: www.christies.com CATALOGUES ONLINE Lotfinder® Internet: www.christies.com CLIENT SERVICES Tel: +44 (0)20 7839 9060 Fax: +44 (0)20 7389 2869 Email : [email protected] PAYMENT Buyers Tel: +44 (0)20 7839 9060 Fax: +44 (0)20 7389 2869 Consignors Tel: +44 (0)20 7389 2586 Fax: +44 (0)20 7581 5295

VIEWING

Saturday

13 September

12.oopm - 5.00pm

Sunday

14 September

1.oopm - 5.00pm

Monday

15 September

9.ooam - 4.30pm

Tuesday

16 September

9.ooam - 8.00pm

AUCTIONEER

Richard Lloyd AUCTION CODE AND NUMBER

CONDITIONS OF SALE

In sending absentee bids or making enquiries, this sale should be referred to as R E A P E R - 1 5 5 3

This auction is subject to Important Notices, Conditions of Sale and to reserves. [20]

COPYRIGHT NOTICE No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, photocopying, recording or otherwise, without the prior written permission of Christie’s. © COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2014)

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Contents

2

Calendar of Auctions

2

Christie’s International Print Department

2

Specialists and Services for this Auction

3

Auction Information

6

Property for Sale

132 

Index

133

Important Notices and Explanation of Cataloguing Practice

134

Buying at Christie’s

135

Storage and Collection

136

Conditions of Sale and Limited Warranty

138

Salerooms and Offices Worldwide

140

Christie’s Specialist Departments and Services

145

Absentee Bids Form

146

Catalogue Subscriptions

FRONT

COVER

:

Lot 100 (detail) © Succession Succe ssion Picasso/DACS, Pi casso/DACS, London 2014 INSIDE

FRONT

COVER

:

Lot 173 (detail) : Lot 37 (detail) OPPOSITE

INSIDE

BACK

COVER

:

Lot 156 (detail) BACK

COVER

:

Lot 53

christies.com

5

19TH CENTURY PRI NTS (LOTS 1-37)

1 RUDOLPHE BRESDIN (1822-1885)

Le Bon Samaritain chine collé  collé , a good, clear lithograph, 1861, on two types of chine  impression, Préaud’s first state B, before the transfer to a new stone and the addition of the title in the lower margin, one of approximately 175 impressions from the second or third edition on these papers (there were also 125 on a single sheet of chine  collé ), ), printed by Lemercier, Paris, 1867, on a wove support sheet, probably the full sheet, a few pale foxmarks mainly in the margins, the support sheet with pale mount-staining and surface dirt, a short tear at the lower sheet edge, the subject in very good condition L. 565 x 445 mm., S. 890 x 629 mm.

£2,500-3,500  

$4,300-5,900 €3,200-4,400

LITERATURE:

Van Gelder 100; Préaud 29

2 RUDOLPHE BRESDIN

La comédie de la mort  lithograph, 1854, on chine appliqué , a fine impression of Préaud’s very rare first state (of five), with wide margins, a small surface abrasion in the upper subject, a pale stain in the upper right margin, other minor defects L. 218 218 x 151 mm., S. 320 x 240 mm.

£6,000-8,000  

$11,000-13,000 €7,600-10,000

LITERATURE:

Van Gelder 84; Préaud 129 Préaud records seven impressions of the first state, including the present one. Four of these are in public collections: The Hague, Gemeentemuseum;; Paris, Bibliothèque National; Washington Gemeentemuseum National Gallery; and New York, Public Library.

6

3 FÉLICIEN ROPS (1833 -1898)

Les Sataniques the complete set of five burnished heliogravures, circa 1880, the frontispiece Satan semant l’ivraie (Le Semeur d’Ivraie) (E. 783) on cream simili  Japan paper, a fine proof impression, impression, inscribed ‘Les Démoniques/ No. 1 Le Semeur d’Ivraie’ in pencil, presumably by the artist, plates 1-4 on wove paper, watermark J. WHATMAN TURKEY MILL 1889, fine proof impressions, signed in red crayon, titled and inscribed with extensive explanations by the artist in pencil, the full sheets with deckle edges, paper tape along the sheet edges verso, the sheets slightly cockled, generally in good condition   (5) P. 282 x 207 mm. (and similar), simil ar), S. 568 x 390 39 0 mm. (and similar) simi lar)

£6,000-8,000  

$11,000-13,000 €7,600-10,000

PROVENANCE:

Roger Marx (1859-1913), Paris (L. 1800b); probably his posthumous sale, Drouot (expert L. Delteil), Paris, 26 April – 2 May 1914, lot 1105 (fr. 340). Heinrich Stinnes (1867-1932), Mühlheim a. d. Ruhr, Cologne (L. 1376) (frontispiece only); possibly R. Puppel, Berlin, 19-20 May 1938. Sotheby’s, London, 14 December 1978, lot 359 (frontispiece; £220) and lot 360 (plate 1-4, £900). LITERATURE:

Exsteens 784-787

7

4 ODILON REDON (1840-1916)

Tentation de Saint Sai nt Antoine – Texte de d e Gustave Gusta ve Flaubert  Flauber t  the complete set of ten lithographs, 1888, on chine appliqué paper, fine, rich impressions, from the edition of sixty, printed by Becquet, published by Deman, Brussels, the full sheets, within the original paper folder with the lithographic frontispiece and title (some repaired tears and creases, the back of folder replaced), generally in good condition (portfolio) L. 291 x 208 mm. (and smaller), S. 450 x 310 mm. (and similar), 451 x 317 317 mm. mm . (overall)   (10)

£30,000-50,000   PROVENANCE:

Sotheby’s, London, 5 December 1984, lot 251 (£13,000). LITERATURE:

Mellerio 83-93

8

$51,000-84,000 €38,000-63,000

5 ODILON REDON

Songes the complete set of six lithographs, 1891, on chine appliqué paper, fine, rich impressions from the edition of eighty, printed by Becquet, published by Dumont, Paris, the full sheets, the support sheets each with a moisture stain at upper left, scattered foxing mostly in the margins, within the original grey paper folder with the title on the front (some minor wear and discolouration) (portfolio) L. 275 x 208 mm. (and smaller), S. 454 x 317 mm. (and similar), 464 x 325 mm. mm . (overall) (overall)   (6)

£25,000-35,000  

$43,000-59,000 €32,000-44,000

PROVENANCE:

Christie’s, London, 6 December 1984, lot 344 (£10,000). LITERATURE:

Mellerio 110-115

9

λ 6

JAMES ENSOR (1860-1949)

Mon portrait en 1960 etching, 1888, on simili Japan paper, signed, dated and titled in pencil, counter-signed and titled in pencil verso, light-staining, pale scattered foxing, framed P. 63 x 11 1122 mm., m m., S. 227 x 275 mm. mm .

£3,000-5,000  

$5,100-8,400 €3,800-6,300

PROVENANCE:

With Bob de Gryse, Ostende. Purchased from the above, then by descent. LITERATURE:

Delteil, Croquez, Taevernier, Elesh 34

λ 7

JAMES ENSOR

La Mort poursuivant le troupeau des humains etching and drypoint, 1896, on simili Japan paper, Elesh’s third state (of four), signed, dated, titled and dedicated ‘pour Ernestine Mollet’ in pencil, counter-signed and titled in pencil verso, with wide margins, light-staining, a few pale foxmarks in the upper subject, a small stain in the left margin, other staining at the upper and lower sheet edges, otherwise generally in good condition P. 240 x 182 mm., m m., S. 476 x 353 mm.

£7,000-10,000  

$12,000-17,000 €8,800-13,000

PROVENANCE:

Ernestine Mollet, a gift from the artist. With Bob de Gryse, Ostende. Purchased from the above, then by descent. LITERATURE:

Delteil, Croquez, Taevenier Taevenier 104; Elesh 106 Ernestine Mollet was the wife of Ensor’s servant August Van Yper.

10

λ 8

λ 9

JAMES ENSOR

JAMES ENSOR

L’orgueil ’orgueil,, from: Les sept péchés capitaux c apitaux etching extensively handcoloured with watercolour, gouache and crayon, 1904, on Japan paper, Elesh’s fourth, final state, signed in pencil, with small margins, remains of old glue at the upper sheet corners verso, otherwise in very good condition P. 98 x 150 mm., S. 160 x 251 mm.

La luxure, from: Les sept péchés capitaux c apitaux etching extensively handcoloured with watercolour, 1888, on Arches laid paper, signed, dated and titled in pencil, counter-signed and titled in pencil verso, with wide margins, pale time staining, otherwise in good condition P. 96 x 137 mm., S. 226 x 298 29 8 mm. mm .

£10,000-15,000  

£8,000-12,000  

$17,000-25,000 €13,000-19,000

$14,000-20,000 €11,000-15,000

PROVENANCE:

PROVENANCE:

Mira Jacob Wolfovska (1912-2004), Paris, with her blindstamp (not in Lugt).

Mira Jacob Wolfovska (1912-2004), Paris, with her blindstamp (not in Lugt).

EXHIBITED:

 James Ensor - Oeuvre gravé Collection Mira Jacob Jacob, Editions Les Musée de

EXHIBITED:

 James Ensor - Oeuvre gravé Collection Mira Jacob, Editions Les Musée de

la Ville, Strasbourg/ Kunstmuseum Basel, 1995-96, no. 145.

la Ville, Strasbourg/ Kunstmuseum Basel, 1995-96, no. 70.

LITERATURE:

LITERATURE:

Delteil; Croquez; Taevernier 122; Elesh 127

Delteil, Croquez, Taevernier, Elesh 59

11

λ 10 10

JAMES ENSOR

Rue de Bon Secours à Bruxelles drypoint, 1887, on light simili Japan paper, signed and dated 1888 in pencil, a fine early impression, printing with considerable burr and a light plate tone, with margins, taped to the front paper mount, generally in good condition P. 129 x 90 mm., S. 175 x 132 mm.

£1,000-1,500  

$1,700-2,500 €1,300-1,900

PROVENANCE:

Auguste Joye (1878-1959), Brussels (L. 3084); possibly his posthumous sale, Galerie Georges Giroux, Brussels, 9-10 June 1960. Sotheby’s, London, 6 December 1983, lot 473 (£450). LITERATURE:

Deleteil, Croquez, Taevernier, Elesh 17 λ 11 11

JAMES ENSOR

Prise d’une ville étrange  etching extensively handcoloured with watercolour and touches of zinc white, 1888, on simili Japan paper, Elesh’s Elesh’s fourth, final state, state, signed, dated, titled, and dedicated ‘Epreuve teinté de mes couleurs/ pour mon grand ami de France/ Albert Croquez./ James Ensor ’ in pencil, countersigned and titled by the artist and inscribed by Croquez ‘Epreuve coloriée par J. Ensor en août 1930’ in pencil verso, with wide margins, some soft creasing in the margins, remains of old tape at lower left verso, faintly showing through recto, otherwise in good condition P. 179 x 239 mm., S. 355 x 477 mm.

£8,000-12,000  

$14,000-20,000 €11,000-15,000

PROVENANCE:

Albert Croquez (1886-1949), Paris; a gift from the artist in 1930. Mira Jacob Wolfovska (1912-2004), Paris, with her blindstamp (not in Lugt). EXHIBITED:

 James Ensor - Oeuvre gravé Collection Mira Jacob Jacob, Editions Les Musée de la Ville,

Strasbourg/ Kunstmuseum Basel, 1995-96, no. 40. LITERATURE:

Delteil, Croquez, Taevernier, Elesh 33 λ 12 12

JAMES ENSOR

La kermesse au moulin etching extensively handcoloured with watercolour, 1889, on China paper, signed, dated and titled in pencil, with wide margins, in very good condition P. 139 x 178 mm., S. 233 x 284 mm.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

PROVENANCE:

Mira Jacob Wolfovska (1912-2004), Paris, without her blindstamp. LITERATURE:

 J. Janssens, Janssens, James Ensor , Bonfini Press Corporation, Naefels, Switzerland, Paris, p. 42 (this impression illustrated). Delteil, Croquez, Taevernier, Elesh 72 12

13 CAMILLE PISSARRO (1830-1903)

Cours-la-Rei ne, ou Bords de Cours-la-Reine, d e la Seine, à Rouen etching with touches of drypoint, 1884, on light wove paper, not signed but titled and annotated ‘bords de la seine à Rouen/ Zinc ’ in pencil, inscribed ‘no. 1-2e etat (a revoir?)’ (partially erased), a very fine, unique impression of the second state (of three), printing with much tone and sharp plate edges, probably the full sheet, with deckle edges at left and below, a few pinpoint foxmarks, otherwise in very good condition P. 123 123 x 139 mm., mm ., S. 205 x 260 2 60 mm.

£7,000-10,000  

$12,000-17,000 €8,800-13,000

PROVENANCE:

Christie’s, London, 2 December 1982, lot 208 (£3,600). LITERATURE:

Delteil 49 Loys Delteil records one impression of the first state; the present, unique impression of the second state; two of the third state and a posthumous edition of 18 impressions.

14 CAMILLE PISSARRO

Rue du Gros-Horloge à Rouen etching with drypoint, 1883-84, on Van Gelder laid paper, signed in pencil, titled and annotated annotated ‘cuivre’ and ‘2e etat – no 2’, a fine, rich impression of the rare second state (of three), printing with much tone, the full sheet, with deckle edges at left and below, some mount-staining and a few foxmarks, otherwise in good condition P. 192 192 x 147 mm., mm. , S. 370 x 270 2 70 mm. m m.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

PROVENANCE:

Christie’s, London, 2 December 1982, lot 210 (£1,600). LITERATURE:

Delteil 54 Loys Delteil records two impressions of the first state; five of the present second state (four of which are numbered); about 12 of the third, final state and another 15 posthumous impressions.

15 CAMILLE PISSARRO

Mendiant a la Béquille  lithograph, 1897, on chine collé , a fine impression of this very rare print, second, final state, numbered No. 1 in pencil, with wide margins, scattered foxing and other minor defects in the margins, otherwise generally in good condition L. 252 x 308 mm. mm.,, S. S. 314 314 x 452 mm.

£8,000-12,000  

$14,000-20,000 €11,000-15,000

LITERATURE:

Delteil 182 Delteil cites only two impressions of the first state, and three to four impressions of this, the second, final state.

13

16 CAMILLE PISSARRO

Baigneuse debout et Baigneuse agenouillée  monotype in colours, circa 1895-6, on laid paper, signed with the monogram in ink, with margins, some discolouration and minor staining in the margins, a small hole towards the right sheet edge, generally in very good condition, framed in a fine early Louis XIV carved and gilt oak frame L. 125 x 178 mm., S. 170 170 x 225 mm. mm .

£15,000-20,000   LITERATURE:

cf. Pissarro & Venturi 941; cf. Wildenstein 1103

14

$26,000-34,000 €19,000-25,000

Pissarro referred to his monotypes as ‘ dessins imprimés’, or printed drawings, and, like Degas, he revelled in the experimentatio experimentation n and freedom the monotype technique allows. From letters written to his son Lucien, we know that Pissarro worked first in black in order to define composition and tonal values, later heightening the composition with colour (Letters, pp. 339-40). In the present example, the black ink was applied and then wiped to create the tree. The pointed end of a brush was used to define the two bathers. Whilst the majority of the c olour appears to be printed, there are areas where the pigment remains proud of the surface, suggesting that the artist continued working on the sheet after the plate was printed. The present work relates directly to a painted version of Baigneuse debout et Baigneuse agenouillée (The Nikon Television Corporation collection, Japan). In common with other instances where Pissarro re-interpreted subjects in different media, the present monotype displays great spontaneity with brisk application of pigment and bold colour.

17 JAMES ABBOTT MCNEILL WHISTLER (1834-1903)

Yellow House, Lannion lithograph in colours, 1893, on Japan paper, a very good impression of this rare print, third, final state, with wide margins, time staining, a soft horizontal crease in the subject, scattered pinpoint foxing L. 242 x 162 mm., S. 381 x 279 mm.

£15,000-25,000  

$26,000-42,000 €19,000-31,000

PROVENANCE:

Unidentified collectors mark, initials P.P. in a diamond (not in Lugt). LITERATURE:

Way 101; Levy 196; Spink/Stratis/Tedeschi 67

18 JAMES ABBOTT MCNEILL WHISTLER

Churchyard  lithograph, 1887, on wove paper, a good lifetime impression of the only state (Way calls for 12 impressions only), with margins, in good condition; together with  Drury Lane Rags , lithograph, 1888, on laid paper, a good lifetime impression of the only state (Way calls for 14 impressions), with margins, some foxing and time staining at the sheet edges, generally in good condition S. 320 x 201 mm. S. 325 x 203 mm.   (2)

£3,000-4,000  

$5,100-6,700 €3,800-5,000

PROVENANCE:

Churchyard: Mlle. Rosalind Birnie Philip (1921), London (Lugt 406). Drury Lane Rags: Roger Marx (1859-1913), Paris (Lugt 2229). LITERATURE:

Way 17; Levy 30; Spink, Stratis & Tedeschi 21 Way 21; Levy 34; Spink, Stratis & Tedeschi 25

15

19 HENRI DE TOULOUSE-LAUTREC (1864-1901)

Sortie de théâtre  lithograph, 1896, on wove paper, a fine impression of this rare print, with wide margins, deckle edges above and below, the sheet slightly toned, otherwise in very good condition L. 320 x 265 mm., S. 474 x 349 mm.

£5,000-7,000  

$8,500-12,000 €6,300-8,800

LITERATURE:

Delteil 169; Adhémar 218; Adriani 195; Wittrock 147 Wittrock records an edition of approximately twenty impressions, eleven of which are in public collections.

20 PAUL CÉSAR HELLEU (1859-1927)

Madame Helleu derrière la harpe  drypoint, circa 1900-05, on Arches laid paper, a superb impression of this very rare, presumably unique subject, printing with rich burr,  planche signed in black crayon, inscribed in pencil by another hand ‘ planche détruite / unique épreuve’, épreuve’, with margins, the sheet slightly reduced at left, pale time staining, otherwise in very good condition P. 437 x 335 mm., mm. , S. 558 x 380 mm. m m.

£6,000-8,000  

$11,000-13,000 €7,600-10,000

PROVENANCE:

 J. Chavasse Chavasse (d. 1919) (L. (L. 1430). 1430). Unidentified collector’s mark, initials P.P. in a diamond (not in Lugt). EXHIBITED:

Paul Helleu 1859-1927 , Musée Eugène Boudin, Honfleur, 1993, no. 124.

21 ÉMILE BERNARD (1868 – 1941)

Le retour du pardon ou Bretons en barque  lithograph printed in black with hand-colouring in yellow and pale blue, 1889, on wove paper, initialled in ink at lower left, light and mount verso,, framed staining, backboard staining verso S. 329 x 251 mm.

£2,500-3,500   LITERATURE:

Morane 10

16

$4,300-5,900 €3,200-4,400

THE PARIS RAGE FOR PRINTS `No one pays attention nowadays to anything but prints; it’s a rage, the young generation produces nothing else’ . (Camille Pissarro, in a letter to his son Lucien, 1897, quoted in: Carvalho/Vellekoop, p. 11). In the 1890’s a passion for printmaking swept through Paris. Inspired by the vivid, flat colours, strong contours and non-linear perspective of Japanese woodcuts, many artists turned to colour lithography as a truly modern Nabis.. The name derived medium. This revolution in taste was led by a young group of artist’s known as the Nabis from the Hebrew word ‘navi  ‘navi ’ for ‘prophet’, reflected the group’s mystical bent – their search search for a purer, more subjective vision of reality, characterised characterised by expressive colour and decorative form. The artists were supported by a coterie of influential publishers, critics and collectors, most notably André Marty, the publisher of seminal quarterly originale, the art critic and writer Claude Roger-Marx, and the publicist and editor André print album L’Estampe originale, Nabis Mellerio. In addition to the Nabis  - Pierre Bonnard, Maurice Denis, Paul Ranson and Edouard Vuillard - lithography was enthusiastically embraced by other imminent artists of the Parisian avant-garde, perhaps most famously by Henri de Toulouse-Lautrec, whose prints and posters came to define the Belle Epoque. The present collection compris es several key works of the period as well as great rarities, including : a trial proof Blanchisseuse (lot 28); colour decompositions for Bonnard’s famous La Petite Blanchisseuse (lot decompositions for Maurice Denis’s Tendresse che (lot (lot 32); the Albu the  Albu m d e la Revu e B lan che  (lot 24), a ground-breaking publication of the its time, rarely found Paris  (lot 29), a beautiful complete and in good condition; Bonnard’s series Quelques aspects de la vie de Paris (lot evocation of Parisian street-life in the 1890’s; and Paul Elie Ranson’s delightfully fierce and comical Tigre dans les jungles (lot jungles (lot 37), which perhaps reveals its Asian influence most clearly. Multiples at Christie’s South The second part of the collection will be offered in the sale of Prints and Multiples at Kensington on 4 December 2014. LITERATURE:

C. Feller Ives, The Great Wave - The Influence of Japanese Woodcuts on French Prints , Metropolitan Museum of Art, New  York, 1974. 1974. P. Dennis Cate/ G. B. Murray/ R. Thompson, Prints Abound - Paris in the 1890’s, National Gallery of Art, Washington, D.C., London, 2000. F. Roos Rosa de Carvalho/M. Vellekoop, Printmaking in Paris - The rage for prints at the fin de siècle , Van Gogh Museum, Amsterdam, Brussels, 2013.

22 λ 22 PIERRE BONNARD (1867-1947)

 Affiche de La Revue Revue Blanche  lithograph in colours, 1894, on thin wove paper, a very good impression, printed by E. Ancourt, Paris, probably the full sheet, laid on canvas, a repaired tear in the lower subject, occasional soft creasing S. 798 x 614 mm.

£3,000-5,000  

$5,100-8,400 €3,800-6,300

LITERATURE:

Roger-Marx 32; Bouvet 30

17

23 λ 23 PORTFOLIO

L’Estampe Moderne  the complete edition in 24 volumes, 1897-99, comprising 96 lithographs and collotypes after designs by contributing artists, mostly in colours, on simili Japan, with the suite of 96 duplicate impressions printed in black only, on China paper, and the four additional prints reserved for subscribers, all stamped TIRAGE de LUXE and numbered No. 89 verso, each subject with title and commentary on a tissue-thin cover sheet, with two text folders with title, cover-page, preface and table of contents (without the second year), from the deluxe edition of 150 (the total edition was 2000), published by Ch. Masson & H. Piazza, Paris, each with the publisher’s blindstamp (Lugt 2790) recto, the full sheets, in very good condition, loose (as issued), in the original greenish-grey paper wrappers with title and cover design by Alphonse Mucha, each covered with glacine, in two brown, marbled portfolio boxes, not original, all in  very good condition (portfolio) 560 x 415 mm. (each volume) 600 x 440 mm. (each box)

£4,000-6,000  

$6,800-10,000 €5,100-7,500

Including works after: A. Agache, A. Artigue, P. Balluriau, J. Baseilhac, C. Bellanger, H. Bellery-Desfontaines, E. Berchmans, A. Berton, J. G. Besson, L. Borgex, P. Bouisset, H. Boutet, P. Braquemond, L. Breslau, E. Burne-Jones, Burne-Jones, G. Bussière, A. Calbet, P. de Chavannes, H. Christiansen, R. Collin, Cormon, G. Darbour, E. Delatre, M. Delorme, M. Desvallières, H. Detouche, Dillon, E. Dinet, A. Donnay, C. Doudelet, G. Dubufe,M. Eliot, R. Engels, E. Evenepoele, H. Fantin-Latour, G. de Feure, J. Flandrin, A. Giraldon, L. –A. Girardot, F.-A. Gorguet, F. Gottlob, J. Granès, E. Grasset, C. Guérin, F. Guiguet, H. Guinier, M. Guyon, L.-W. Hawkins, P.-C. Helleu, H. Héran, C. Huard, A. Ibels, P. Jouve, J. Jacquemin, A. Jean, F. Jourdain, A. Laurens, G. de Latenay, E. Laurent, C. Léandre, M. Lenoir, A. Lepère, P. Leroy, A. Lévy, Lévy-Dhurmer, F. Luigini, L. Malteste, H. Martin, F. –M. Melchers, R. Ménard, L.-O. Merson, H. Meunier, L.-H. Monod, A. Mucha (Bridges R10b & R10c), A. Muller, J.-A. Muenier, F. Piet, A. Point, R.-X. Prinstet, V. Prouvé, R. Ranft, A. Rassenfosse, M. Réalier-Dumas, P. Renouard, L. Rhead, M. Robbe, Roedel, H. le Sidaner, L. Simon, T. Steinlen, G.-H. Stevens, E. Trigoulet, R.-A. Ulmann, J. Wély, E.-A. Wéry, A. Willette and A. Yank.

18

λ 24 24

PORTFOLIO

 Album de la Revue Blanche  the rare complete portfolio comprising 11 lithographs, including seven printed in colours, and one wood engraving, 1895, on various papers, signed in pencil or crayon, the print by Ibels unsigned, each numbered, copy number 10, from the edition of fifty, published by the Natanson Brothers, Paris, the full sheets, time-staining to several sheets, some minor defects, generally in good condition, loose (as issued), in the original folder with a lithograph by Bonnard on the cover, with cloth ties, in very good condition (portfolio) 398 x 290 mm. (album)

£8,000-12,000  

$14,000-20,000 €11,000-15,000

The portfolio includes: Pierre Bonnard, Bonnard , cover (Roger-Marx 33) and Femme au paraplui  (R.-M.  (R.-M. 35); Charles Cottet, Cottet , Bretonnes; Maurice Denis , La visitation; Henri-Gabriel Ibels, Ibels , Paysanne avec panier ; Paul Ranson, La liseuse couchée; Odilon Redon, Redon , Cheval ailé (Mellerio 127); József Rippl-Ronai, Rippl-Ronai , La liseuse avec la lampe ; Ker Xavier Roussel, La fantôme; Paul Sérusier, La marchande de chiffons ; Henri de Toulouse-Lautrec, Toulouse-Lautrec , Carnaval  (Delteil  (Delteil 64; Adriani 42; 42; Adhémar 54; Wittrock 61); Felix Vallotton,, Les trois baigneuses (Godefroy 132) and Edouard Vuillard, Vallotton Vuillard , La couturiere (R.-M. 13).

λ 25 25

PIERRE BONNARD (1867-1947)

Scène de famille  lithograph in colours, 1893, on smooth wove paper, signed in pencil, numbered 59, from the edition of one hundred, published by Claude Roger-Marx and André Marty for the third issue of L’Estampe Originale , Paris, printed by Charpentier with his blindstamp, with wide margins, irregularly trimmed at left and right, the upper and lower sheet edges with horizontal creases, pale foxing, some adhesive stains and surface dirt L. 310 x 180 mm., S. 580 x 400 mm.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

Roger-Marx, Bouvet 4

26 λ 26 PIERRE BONNARD

Couverture du 2me Album d’estampes originales lithograph in colours, 1897, on cap China paper, from the edition of one hundred, printed by A. A. Clot, published by A. Vollard, Paris, Paris, with irregular margins, the sheet reduced, some handling creases, repairs and made-up losses at the sheet edges L. 570 x 870 mm., S. 670 x 920 mm.

£2,000-3,000  

$3,400-5,100 €2,600-3,800

LITERATURE:

Roger-Marx 41; Bouvet 41

λ 27 27

PIERRE BONNARD

Dans la rue  lithograph in colours, circa 1900, on wove paper, signed in pencil, numbered 25, from the edition of one hundred, with wide margins, presumably the full sheet, with light-and time staining, a backed tear at the lower sheet edge, another, shorter tear at the upper left sheet edge, some small nicks and paper losses at the sheet edges L. 265 x 130 mm., S. 490 x 320 mm.

£2,000-3,000   LITERATURE:

Roger-Marx 46; Bouvet 71

20

$3,400-5,100 €2,600-3,800

λ 28 28

PIERRE BONNARD

La petite blanchisseuse  lithograph in colours, 1896, on China paper, signed in pencil, inscribed ‘4e etat’, a rare trial proof, lacking the yellow stone, before the edition of one hundred, published in L’Album des Peintres-Graveurs, printed by A. Clot, Paris, the full sheet, the colours fresh, an unobtrusive scuff in the upper subject, otherwise in very good condition L. 295 x 200mm., S. 573 x 437 mm.

£25,000-35,000  

$43,000-59,000 €32,000-44,000

LITERATURE:

Roger-Marx 42; Bouvet 40

21

λ 29 29

PIERRE BONNARD

Quelques aspects de la vie de Paris the complete set of 12 lithographs in colours and the title-page, 1899, the title-page on China paper, otherwise on fine wove paper, R.-M. 61, 68 & 70 signed in pencil, R.-M. 61 numbered no. 66 , R.-M. 68 & 70 numbered no. 16 , published by A. Vollard, Paris, R.-M. 63 trimmed above and below, otherwise the full sheets, some with pale mount staining and scattered foxing in the margins, generally in good condition   (12) S. 530 x 403 mm. (and similar) simil ar)

£15,000-20,000  

$26,000-34,000 €19,000-25,000

LITERATURE:

Roger-Marx 56-68; Bouvet 58-70 ‘No one better captures the look of the street, the coloured patch seen through the Parisian mist, the passing silhouettes, a young girl’s frail grace. A searching hand moving with simian pliancy seizes the passing gesture, the evanescent faces of the street, born and vanished on the instant. It is the poetry of life that is gone, a remembrance of things, of animals, of human beings’. (Gustave Geffroy, quoted in: Rediscovered Printmakers Printmakers of the 19th Century , Merrill Chase Gallery, Chicago, 1978).

22

30 EDOUARD VUILLARD (1868-1940)

Cuisiniè re, from: Paysages Cuisinière, Paysages et Intérieurs Intér ieurs lithograph in colours, 1899, on China paper, signed in pencil, second, final state, a rare signed impression from the mostly unsigned edition of one hundred, published by A. Vollard, Paris, with narrow margins, laid on card (as issued), very pale discolouration at the sheet edges, otherwise in good condition L. 350 x 280 mm., S. 370 x 290 mm.

£6,000-8,000  

$11,000-13,000 €7,600-10,000

LITERATURE:

Roger-Marx 42

31 EDOUARD VUILLARD

Intéri eur aux tentures roses, from: Paysages Intérieur Paysages et Intérieurs Intér ieurs lithograph in colours, 1899, on China paper, not signed, from the edition of one hundred, published by A. Vollard, Paris, the full sheet, in good condition; with Intérieur a la suspension , from the same series, trimmed just within the image R.-M. 36: L. 340 x 273 mm., S. 391 x 308 mm.   (2) R.-M. 35: S. 345 x 273 mm.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

Roger-Marx 35 & 36

23

32 λ 32

33 λ 33

MAURICE DENIS (1870-1943)

MAURICE DENIS

Tendresse, from: L’Estampe origi originale, nale, Album I  lithograph in colours, 1893, on wove paper, signed in purple ink, numbered No 1, published in the Journal des Artistes, Paris, the full sheet with deckle edges on three sides, very pale light-staining, scattered foxing, otherwise generally in good condition; with three working proofs, one signed in pencil   (4) L. 250 x 298 mm., S. 580 x 415 mm. (and smaller)

£3,000-5,000  

$5,100-8,400 €3,800-6,300

PROVENANCE:

Henri M. Petiet (1894-1980), Paris (not in Lugt). LITERATURE:

Callier 70 The three proofs include an impression printed in red ink only, from the red and brown stones, inscribed ‘refaire les mains/les cheveux/ couvres la main d’ombre/ marques les plis très foncés’; another printed from the red and blue stones; and an impression from the red, blue and brown stones, signed in pencil.

24

 Amour  twelve lithographs in colours including the title-page, 1892-99, the title-page on laid paper, otherwise on wove paper, , plates III, V and XI signed in pencil (C. 110, 112 & 118), plates V and XI numbered No. 96  (?)  (?) and 6 respectively, lacking plate X (C. 117), from an edition of one hundred, printed by A. Clot, published by A. Vollard, Paris, 1910, with wide margins, the colours slightly attenuated on some plates, mount-staining, occasional unobtrusive scattered foxing, the title-page with a short tear in the lower margin, otherwise generally in good condition; with two addition impressions, a duplicate of the title-page (C. 107) and of plate III (C. 110)   (14) S. 527 x 400 mm. (approximately)

£5,000-7,000   LITERATURE:

Cailler 107-116, 118-119

$8,500-12,000 €6,300-8,800

34 JÓZSEF RIPPL-RÓNAI (1861-1927)

La fête de village  lithograph in colours, 1896, on Ingres Ecoles Canson laid paper, signed in pencil, inscribed no.1, from the edition of one hundred, published in the Album des Peintres-Gravures by Ambroise Vollard, Paris, with wide margins, light-staining, pale scattered foxing in the margins, taped to the front mount, framed L. 395 x 535 mm., S. 450 x 600 mm.

£3,000-5,000  

$5,100-8,400 €3,800-6,300

LITERATURE:

 Jackson 36 36

35 ÉMILE BERNARD (1868-1941)

La promenade ou Cinq femmes à Paris lithograph, circa 1888, on thin wove paper, signed and dated 89 in pencil, dedicated ‘A mon ami Albert Aurier’, with margins, a short repaired tear in the upper margin just touching the subject, other minor defects L. 198 198 x 230 mm., mm ., S. 240 x 317 317 mm. mm .

£1,200-1,800  

$2,100-3,000 €1,600-2,300

LITERATURE:

cf. Morane 4

36 PAUL GAUGUIN (1848-1903)

Mahna No Varua Ino woodcut printed in red, yellow and black with touches of handcolouring in red watercolour, 1893-94, on heavy Japan paper, an impression of the fourth, final state, from the edition of approximately 25-35 impressions printed by Louis Roy, Paris, 1894, the sheet reduced by circa 130 mm. into the subject at right, otherwise trimmed to the subject, a tiny paper loss at the left sheet edge S. 202 x 226 22 6 mm.

£10,000-15,000  

$17,000-25,000 €13,000-19,000

LITERATURE:

Guérin, Mongan, Kornfeld 19.IV.D

25

37 PAUL ELIE RANSON (1864-1909)

Tigre dans les jungles lithograph in black and canary yellow, 1893, on simili Japan paper, signed in pencil, numbered N. 1, from the edition of one hundred, published by Le Journal des Artistes in L’Estampe Original (album I), Paris, with margins, the sheet reduced, the subject in good condition L. 369 x 283 mm., S. 450 x 323 mm.

£12,000-18,000   26

$21,000-30,000 €16,000-23,000

MODERN PRINTS (LOTS 38-117)

VARIOUS PROPERTIES

38 λ 38 EDVARD MUNCH (1863-1944)

Self-Portrait  lithograph, 1895, on soft laid China paper, signed in pencil, a fine, rich impression of Woll’s second state (of four), printing very evenly, with wide margins, trimmed slightly irregularly at left, a diagonal printer’s crease at upper right, some minor creases and surface dirt in the margins, generally in very good condition L. 462 x 320 mm., S. 587 x 382 mm.

£50,000-70,000  

$85,000-120,000 €63,000-88,000

PROVENANCE:

Christie’s, London, 6 December 1984, lot 241 (£13,500). LITERATURE:

Schiefler 31; Woll 37 E. Prelinger/ M. Parke-Taylor, The symbolist prints of Edvard Munch – The Vivian and David Campbell Collection, Collection , Art Gallery of Ontario, Toronto (exh. cat.), 1997, no. 14, p. 93-96 (another impression illustrated).

In his best prints Munch perfectly matched medium and content and created highly condensed images, which are visually as simple as they are complex.  is reduced to four elements charged with meaning: the skeleton Self-Portrait  is arm alludes to the hand of the artist, whilst presaging his inevitable death; his white disembodied face hovers on a dark surface, calling to mind a death mask, as well as that first of all prints, the veil of Veronica with the face of Christ; the inscription of the artist’s name and the date of the print at the top mimics the entablature of a tombstone, a reference also to the lithographic stone; and finally the intense, velvety black of the background, the colour of mourning, signifying eternal night. The present second state is the definitive version of Edvard Munch’s SelfPortrait . In the first, unfinished state the background is still patchy, without the impenetrable blackness. In the third and fourth states, the skeleton arm and the inscription at the top are obliterated, thus losing all the memento  connotations, which make this image one of the most chilling yet mori  connotations, touching self-portraits of modern art – reminiscent in essence, if not in spirit or style, to James Ensor’s Ensor’s Mon portrait en 1960 (see lot 6).

27

λ 39 39

EDVARD MUNCH

Madonna lithograph, 1895, on thin greyish-white China paper, not signed, a fine, early impression of this highly important print, Woll’s rare first state (of seven), with narrow margins outside the borderline, laid down onto tan card, the upper left corner torn and with associated paper losses partially made up, a short tear at the lower left sheet corner, a long vertical crease from the upper left to the chin, some pinpoint foxing, various other, lesser defects L. 605 x 441 mm., mm ., S. S. 610 610 x 443 mm., support sheet 703 x 53 531 1 mm.

£50,000-70,000   LITERATURE:

Schiefler 33; Woll 39

28

$85,000-120,000 €63,000-88,000

PROPERTY FROM THE AHLERS COLLECTION λ 40 40

EDVARD MUNCH

The Brooch (Eva Mudocci) lithograph, 1903, on tissue-thin Japan paper, signed in pencil, a fine, early impression of the very rare first state (of five), before the image was transferred to a new stone, printing quite lightly and transparently (Woll’s type 1), with wide margins, presumably the full sheet, with deckle edges at left and right, the tip of the l ower right corner made-up, a skilfully repaired tear in the upper margin, another at the upper right sheet corner, pale mount staining in the margins, some minor adhesive stains at the sheet edges, otherwise in good condition, framed L. 605 x 460 mm., S. 775 x 575 mm.

£80,000-120,000  

$140,000-200,000 €110,000-150,000

LITERATURE:

Schiefler 212; Woll 244 Woll records only four impressions of the first state, excluding this example: two in the Munch Museum, Oslo; one in the Bergesen Collection, Oslo; and one in another private collection. Another impression, with the upper left part of the subject made up, was sold in these room on 18 September 2013.

29

THE PETER BENDIXEN COLLECTION THE PETER BENDIXEN COLLECTION λ 41 41

MAX BECKMANN (1884-1950)

Martyr ium, from: Hölle  Martyrium, lithograph, 1919, on simiiliJapan paper, signed and titled in pencil, numbered 34/75, published by I. B. Neumann, Berlin, with wide margins, the sheet slightly reduced in width, a few small brown stains in the upper margin at centre, tape stains at upper right and lower left sheet edges, two short tears at the sheet edges, the lower left sheet edge creased, pinpoint foxing in the margins, and other minor defects, the subject in good condition L. 545 x 750 mm., S. 622 x 823 mm.

£15,000-25,000  

$26,000-42,000 €19,000-31,000

LITERATURE:

Hofmaier 142 Although published in an edition of 75, Hölle is today perhaps the rarest of Beckmann’s graphic graphic cycles. At the time of publication publication,, 25 of the sets were taken apart and the prints sold individually by the publisher I. B. Neumann. Of the remaining fifty complete sets, very few seem to have remained intact. Only two complete sets have been offered at auction within the last thirty years and even individual plates rarely come to the market. The large format – the largest in Beckmann’s printed oeuvre – and the unusually dark and gruesome nature of the scenes depicted probably contributed to the low survival rate of these lithographs. With an unflinching eye and a wicked sense of humour - reminiscent of Otto Dix’s most morbid and grotesque images – Beckmann in eleven plates summarized his experience of life in Berlin in 1918-19. It is a vision of a society torn apart by war, poverty, hunger, violence, ideology and decadence; a journey into the abyss.

Martyrium (lot 41) depicts the assassination of the socialist leader Rosa L uxemburg in Berlin on 15 January 1919, as it was reported in the communist newspaper militia. ‘Die Rote Fahne’ nearly a month later. Luxemburg was hit with the butt of a rifle, then shot in the head by members of the Social-Democratic Party’s militia.

λ 42 42

MAX BECKMANN

Malepart us, from: Hölle  Malepartus, lithograph, 1919, on simili Japan paper, signed and titled in pencil, numbered 5/75, a fine, rich and slightly tonal impression, published by I. B. Neumann, Berlin, with margins, the sheet reduced on all sides, a pale moisture stain in the right margins, a short tear at the right sheet edge, some minor creases and handling marks in the margins, the subject in very good condition L. 662 x 403 mm., S. 710 x 545 mm.

£20,000-30,000  

$34,000-51,000 €26,000-38,000

LITERATURE:

Hofmaier 146 Malepartus was the name of a nightclub in Frankfurt, which borrowed its name from the fox’s residence in Goethe’s epic poem ‘Reineke Fuchs’ . It is the juxtaposition of images of violence and misery with those of glamour and decadence, which gives Beckmann’s depictions of the inter-war years their bite.

30

λ 43 43

MAX BECKMANN

Die Familie, Famil ie, from: Hölle  lithograph, 1919, on simili Japan paper, signed and titled in pencil, numbered 31/75, published by I. B. Neumann, Berlin, the full sheet, the upper left sheet corner torn and re-attached, a few small brown stains in the upper right margin, two very short tears at the upper sheet edge, some minor creases in the margins, generally in good condition L. 745 x 440 mm. mm.,, S. 870 x 61 6133 mm. mm .

£15,000-25,000  

$26,000-42,000 €19,000-31,000

LITERATURE:

Hofmaier 149 In Die Familie Beckmann shows how war and violence has entered his own domestic world, as his little son Peter plays enthusiastically with a soldier’s helmet and hand grenades.

λ 44 44

MAX BECKMANN

Eislauf  lithograph, 1922, on laid paper, signed in pencil, numbered 5/40 (one of forty numbered impressions from the total edition of two hundred), published by Verlag R. Piper, Munich, the full sheet, in  very good condition L. 405 x 240 mm., S. 707 x 527 mm.

£8,000-12,000  

$14,000-20,000 €11,000-15,000

LITERATURE:

Hofmaier 223 This print was probably intended for the portfolio ‘ Berliner Reise’, which shows the life and amusements of different strata of society in 1920s Berlin. The plate which became plate 5 of the portfolio, ‘ Der Schlittschuhläufer ’ (H. 217) is also a skating scene, but decidedly more gloomy and ‘under-class’ than this rather cheerful plate.

31

45 λ 45 PABLO PICASSO (1881-1973)

L’homme au chien (Rue Schœlcher) etching, 1915, on laid vieux japon paper, signed in red crayon, a very good, tonal and selectively wiped impression from the edition of forty on this paper (there were also sixty impressions on Arches and two on japon nacré ), ), Baer’s third, final state, after the steel-facing of the plate, published by Lucien Vollard-Marcel Lecomte, printed by Macquart, Paris, 1947, the full sheet, with deckle edges at left, above and below, very pale mount staining and a few small, unobtrusive stains at the deckle edges, generally in good condition P. 280 x 219 mm., mm. , S. S. 462 x 295 2 95 mm. mm .

£7,000-10,000  

$12,000-17,000 €8,800-13,000

LITERATURE:

Bloch 28; Baer 39 Picasso first composed this print in 1915, but must have printed only a few proofs at the time - Baer records only two impressions from this period. He returned to the plate 15 years later, together with the printer Louis Fort, and made a few small changes with the scraper, but again printed only only a handful of impressions impressions (one before and a total of four after some changes to the image), before an edition was finally printed in 1947.

46 ROBERT DELAUNAY (1885-1941)

Saint Severin 1907  lithograph, 1926-28, on Arches wove paper, not signed, a very rare proof, for the planned edition to be published by Editions Spes, Paris, the full sheet, a deckle edge at left and below, a short repaired tear the upper sheet edge at centre, otherwise in good condition L. 550 x 390 mm., S. 765 x 568 mm.

£2,500-3,500  

$4,300-5,900 €3,200-4,400

LITERATURE:

cf. Loyer & Perussaux 2 (this version not recorded) Delaunay first created a lithograph (L. & P. 2) of this subject, closely related to his cubist painting of 1909 (Solomon R. Guggenheim Museum, New York) around 1923-1925. Not much later, probably in 1926, the idea arose of producing a portfolio of ten lithographs, all based on Delaunay’s Delaunay’s paintings of the church of Saint-Severin Saint-Severin in Paris - a building he had been been fascinated by since 1907. 1907. The portfolio was to be accompanied by a text on the history of the church by JorisKarl Huysmans and published published by Editions Spes in Paris. Paris. However, the project was abandoned and the present lithograph is the only plate realised and presumably was printed in only a few proof impressions. In 1992 an impression of this lithograph, printed in black and ochre, was offered at Kornfeld in Bern (26 June 1992, lot 22); together with a maquette of the portfolio case, covered with cloth designed by Sonia Delaunay, and a label reading ‘DIX LITHOGRPAHIES /DE /  SAINT SEVERIN /PAR /R. DELAUNAY/ EDITIONS SPES/ PARIS, as well as the printed text by Huysmans and two printed prospects for the publication. It remains unclear why the portfolio was never produced.

32

47 LYONEL FEININGER (1871-1956)

The Gate  etching and drypoint, 1912, on tan simili Japan paper, signed in pencil, a very good impression printing with much burr, from the edition of 125 signed impressions (there was also a numbered edition of 125 impressions), published by Paul Westheim, Weimar, in the portfolio Die Schaffenden, 1919 (vol. 1), with their blindstamp, the sheet trimmed on all sides, the blindstamp partially trimmed and with a paper split, otherwise in good condition P. 270 x 198 mm., m m., S. 326 x 288 mm.

£6,000-8,000  

$11,000-13,000 €7,600-10,000

LITERATURE:

Prasse E 52

48 LYONEL FEININGER

Strasse in Paris woodcut, 1918, on thin, fibrous Kozo Japan paper, signed and titled in pencil, erroneously inscribed with the work number 1880 at lower centre and with the correct work number number 1883 at lower right, right, a good impression of this rare, monumental print, second, final state, with wide margins, probably the full sheet, pale mount staining, a small paper loss at the upper sheet edge and the upper right corner, a few minor nicks at the sheet edges and corners, pale mount staining, generally in good condition B. 543 x 412 mm., S. 696 x 496 mm.

£8,000-12,000  

$14,000-20,000 €11,000-15,000

LITERATURE:

Prasse W 97

33

49 λ 49 OTTO DIX (1891-1969)

Matrose und Mädchen lithograph printed in three colours, 1923, on laid paper, signed and dated in pencil, numbered 15/65, Karsch’s third, final state b (with the third stone printing in pink), from the edition published by Karl Nierendorf, Berlin, with margins, the sheet probably slightly reduced above and below, some soft creases at the corners, generally in good condition L. 483 x 375 mm., S. 584 x 465 mm.

£8,000-12,000  

$14,000-20,000 €11,000-15,000

LITERATURE:

Karsch 68 IIIb

λ 50 50

CONRAD FELIXMÜLLER (1897-1977)

Menschen im Wald  Wald  woodcut printed from four blocks in pink, green, blue and black, 1918, on cream laid paper, signed in pencil, an impression from the edition of 75 published by the Frauenbund zur Förderung neuer deutscher Kunst, Hamburg, hand-printed by Voigt, Berlin, the full sheet, the colours fresh, a thin spot with associated tiny hole in the upper right margin, a short tear at the lower sheet edge, another at the right sheet edge, some minor creases, pinpoint foxmarks and small stains in the margins, otherwise in good condition B. 250 x 300 mm., S. 349 x 420 mm.

£2,500-3,500  

$4,300-5,900 €3,200-4,400

LITERATURE:

Söhn 135

FOR OTHER IMPORTANT PRINTS FROM THE PETER BENDIXEN BENDIX EN COLLECTION, PLEASE SEE LOTS 147-152 AND 180-183 OF THIS CATALOGUE. OTHER WORKS FROM THE COLLECTION WILL ALSO BE OFFERED IN THE SALE SAL E AT SOUTH KENSINGTON ON 18 SEPTEMBER 2014 AND IN THE SALES OF POST-WAR AND CONTEMPORARY ART  IN AMSTERDAM ON 4 AND 5 NOVEMBER 2014.

34

VARIOUS PROPERTIES

51 λ 51 CONRAD FELIXMÜLLER

Geliebte Frau steel-drypoint printed in sanguine, 1921, on stiff cream wove paper, signed, dated, titled and inscribed ‘Probedruck Stahlstich’, a trial proof of an unrecorded first state, before the monogram at upper right and before the edition of 25, a fine, rich impression printing with much burr and plate tone, with margins, possibly the full sheet, a deckle edge below, light-stained, remains of adhesive tape at the sheet edges verso P. 259 x 199 mm., S. 310 x 221 mm.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

PROVENANCE:

Christie’s, London, 26 June 1984, lot 102 (£ 2,000). LITERATURE:

Söhn 252

λ  *52  *52

MAX PECHSTEIN (1881-1955)

Mutter und Kind  woodcut with watercolour in pink and green, 1912, on thin laid  Japan paper, signed and dated in pencil, from from the edition of ten handcoloured impressions on this paper (there was also an edition of ten with hand-colouring on laid paper), the full sheet, some creases and surface dirt in the margins, generally in good original condition B. 198 x 185 mm., S. 530 x 410 mm.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

Krüger H 140

35

PROPERTY FROM THE AHLERS COLLECTION

53 ERNST LUDWIG KIRCHNER (1880-1938)

 Akt mit schwarzem Hut  woodcut, 1911/12, on laid paper, watermark initials SUG, signed signed in pencil, inscribed Eigendruck, the only known impression of the first state (of three, according to Gercken), a very fine, atmospheric impression, printing with much shading and subtle tone in places within the body and before further changes to the b lock, the vertical crack in the block partially re-touched with grey wash by the artist, further touches of wash in the upper left corner, with margins, slightly irregularly trimmed, pale light-staining, some minor nicks, creases and surface dirt in the margins, generally in good condition B. 658 x 215 215 mm., mm ., S. 733 x 340 mm.

£200,000-300,000  

$340,000-510,000 €260,000-380,000

PROVENANCE:

A private American Collection; Galerie Kornfeld, Bern, 17 June 1988, lot 17 (CHF 410,000). EXHIBITED:

Expressionistische Bilder - Sammlung Firmengruppe Ahlers, Ahlers , Lenbachhaus, Munich; Wilhelm Lehmbruck Museum, Duisburg; Kunsthalle Emden; Kunsthalle Bielefeld; Rupertinum, Salzburg; Schirn Kunsthalle, Frankfurt am Main; Germanisches Germanisches Nationalmuseum, Nuremberg, 1993-1997. 1993-1997. LITERATURE:

Schiefler H 182; Dube H 207. Druckgraphik, Stuttgart, 1990, no. 58, p. 130-31 (another impression illustrated). Magdalena M. Moeller, Ernst Ludwig Kirchner – Meisterwerke der Druckgraphik, Ahlers , Käthe Kollwitz-Museum (exh. cat.), Berlin (et al .),  Jutta Hülsewig-Johnen Hülsewig-Johnen (ed (ed .), Expressionistische Bilder – Sammlung Firmengruppe Ahlers, Stuttgart, 1993, no. 24, p. 114 (the present imp ression illustrated). Magdalena M. Moeller, Kirchner as a German Artist , in: Jill Lloyd, Magdalena M. Moeller (eds.), Ernst Ludwig Kirchner: the Dresden and Berlin Years,, Royal Academy of Arts, London, 2003, p. 23-25 (another impression illustrated). Years Ina Conzen, Katja Nellman (et al.), Brücke, Bauhaus, Blauer Reiter – Schätze der Sammlung Max Fischer , Staatsgalerie Stuttgart (exh. cat.), Stuttgart, 2010, no. 81, p. 98-100 (another impression illustrated). Felix Krämer (ed.), Ernst Ludwig Kirchner – Retrospective , Städel Museum (exh. cat.), Frankfurt am Main, 2010, no. 26, p. 86 and 254 (another impression illustrated).

Kirchner’s Akt mit schwarzem Hut  is  is one of Kirchner’s boldest, most confrontational depictions of the female nude and an icon of German Expressionism. This image of a standing woman, dressed only in slippers, black hat and choker, was inspired by a reproduction of Lucas Cranach’s Venus (Städel Museum, Frankfurt am Main), which Kirchner had seen in the studio of his fellow artist Otto Mueller. Whilst this was certainly the first inspiration, he presumably also knew Cranach’s Cupid complaining to Venus, possibly the version in London (National Gallery), in which Venus wears an equally incongruous widebrimmed hat. This large woodcut portrait of Dodo Große, the artist’s girlfriend during his Dresden years, was created in 1912, following his move to Berlin and the break-up with Dodo. It is a highly ambiguous image, poised between seduction and confrontation, confrontation, and one of the most haunting Expressionist works in any medium. For Kirchner, Dodo remained the ideal model, muse and lover: even many years later, in a diary entry of 1919, he praised her beauty as superior to a Cranach Venus. The woodcut, which was probably begun in Dresden and completed in Berlin, is closely related to Kirchner’s painting Stehender Akt mit Hut  of  of 1910 (Gordon 163; Städel Museum, Frankfurt am Main). In the woodcut however, Kirchner intensified the mannerist tendencies already present in Cranach’s Venus – by distorting the proportions and elongating the figure even further. It is in woodcuts such as the present  Akt mit schwarzem Hut that Kirchner, as Magdalena Moeller wrote, ‘produced his finest pictorial solutions’ (Moeller, Kirchner as a German Artist, p. 25). We are grateful to Professor Dr. Günther Gercken, Lütjensee, Germany, for his assistance in cataloguing this lot. Professor Gerken is currently preparing the catalogue catalogue raisonné of prints by Ernst Ludwig Kirchner, the first two volumes of which (1904-1911) have been published last year (Galerie Kornfeld Verlag, Bern, 2013). 2013). Gercken records the present, probably unique impression of the first state, and 11 impressions of the second or third states, two of which are in public collections (Städel Museum, Frankfurt am Main; Graphische Sammlung, Staatsgalerie Stuttgart). Lucas Cranach the Elder , Cupid Cupid compla complaining ining to Venus, Venus, circa 1525 © The National Gallery, London, UK

36

*54 ERNST LUDWIG KIRCHNER

Müggelsee  woodcut printed from two blocks in black, violet and green, 1912, on stiff cream wove paper, Eigendruck,, the only known impression of the first state (of two), before signed in pencil, inscribed Eigendruck the spots on the sails are removed, a fine, rich yet transparent impression of this important early colour woodcut, the violet in the sky partially reworked with watercolour by the artist, with wide margins, probably the full sheet, mount staining, a repaired tear in the right margin, another short tear at the upper sheet edge, framed B. 375 x 302 mm., S. 500 x 397 mm.

£150,000-250,000  

$260,000-420,000 €190,000-310,000

PROVENANCE:

Perry T. Rathbone, Boston (1911-2000). William R. Valentiner, Detroit (1880-1958); a gift from above; inscribed in pencil verso: Rathbone’ . ‘For William Valentiner/ on his 60th Birthday/ from Perry Rathbone’. Galerie Kornfeld, Bern, 21 June 1991, lot 58 (CHF 145,000). EXHIBITED:

On loan to the Harvard Art Museums (Busch-Reisinger Museum), Cambridge, Mass., 1993-2003. LITERATURE:

Schiefler H 178; Dube H 210 With Kirchner’s move to Berlin the previous year, 1911, the long summer days spent by the Moritzburg Lakes outside of Dresden were a thing of the past. Instead, during the summer of 1912 Kirchner and the other Brücke artists made excursions to the lakes surrounding Berlin, including the large Müggelsee near Köpenick to the south-east of Berlin, in search of a cooling bath and inspiration. The atmosphere however, as portrayed in this woodcut composed of two solid blocks of the c omplementary colours green and violet and the very effectively used white paper tone, is one of serene contemplation rather than bucolic abandon, as found in the bathing scenes of the Dresden years. This very rare print – only five impressions are known – is one of Kirchner’s most important colour woodcuts of the Berlin period and one of his early large-scale landscapes in the medium. We are grateful to Professor Dr. Günther Gercken, Lütjensee, Germany, for his assistance in cataloguing this lot. Professor Gercken is currently preparing the catalogue raisonné of prints by Ernst L udwig Kirchner, the first two volumes of which (1904-1911) have been published last year (Galerie Kornfeld Verlag, Bern, 2013). Gercken records only the present impression of the first state and four impressions of the second, final state.

38

55 ERNST LUDWIG KIRCHNER

Kopf Ludwig Schames woodcut, 1918, on cream Asoka wove paper, signed in pencil, Dube’s second second state (of three), a remarkably transparent impression, from the edition of probably 120 impressions hand-printed by the artist for the Vereinigung für Neue Kunst, Frankfurt am Main, with margins, probably the full sheet, partially printed to the edge of the sheet above (as usual), pale light-staining, the sheet toned, a few small, unobtrusive foxmarks, generally in good condition, framed B. 564 x 275 mm., S. 571 x 445 mm.

£50,000-70,000  

$85,000-120,000 €63,000-88,000

PROVENANCE:

Possibly Gustav Schiefler, Hildesheim/ Hamburg (1857-1935); according to an inscription on the back of the frame. LITERATURE:

Schiefler H 281; Dube Dube H 330 E.W. Kornfeld, Ernst Ludwi g Kirchner - Dresden, Berlin, Davos, Bern, 1979, p. 128-29. (another impression illustrated). Magdalena M. Moeller, Ernst Ludwig Kirchner Meisterwerke der Druckgraphik, Stuttgart, 1990, p.268, no. 127 (another impression illustrated).

While spending his first winter in Frauenkirch above Davos, Kirchner in December 1918 received a commission from the Vereinigung für Neue Kunst in Frankfurt to print a woodcut. The s ubject of this print, meant as an annual edition (‘Jahresgabe’) for the members of the arts club, was to be a portrait of the Frankfurt art dealer Ludwig Schames, who had exhibited Kirchner’s work for the first time in 1916. Although Kirchner’s state of health had somewhat improved in the mountains, he was still suffering from frayed nerves and bouts of depression and paralysis; it is hence somewhat surprising that Kirchner accepted the commission. It is unclear from his correspondence whether the edition was to be 120, 150 or even 180 - in any case it was very unlike Kirchner, who rarely printed more than a dozen impressions of each subject, to produce so large an edition. As an added difficulty, Kirchner did not have a printing press at the time and had to print each impression by rubbing it by hand. The woodcut shows Ludwig Schames almost frontally as a close-up of his face and large, flowing beard. In the undefined background, Kirchner placed a female figure, certainly one of Kirchner’s own carved wood sculptures, as an attribute of the art dealer Schames. Kirchner had not seen him for over two years and must have created the portrait either from memory or with the help of a now lost photograph. Kopf Ludwig Schames, with its jagged edges, extreme vertical format, and dense, rhythmic contrasts of black and white, became one of his most dramatic and monumental woodcut portraits. We are grateful to Professor Dr. Günther Gercken, Lütjensee, Germany, for his assistance in cataloguing cataloguing this lot. Professor Gercken is currently preparing the catalogue raisonné of prints by Ernst Ludwig Kirchner, the first two volumes of which (1904-1911) have been published last year (Galerie Kornfeld Verlag, Bern, 2013). Of the first and third states Gercken records only a few impressions respectively.

40

VARIOUS PROPERTIES

56 ERNST LUDWIG KIRCHNER

Erotische Szene IV  lithograph, 1910, on white wove paper, signed in pencil, one of only two known impressions, with margins, the signature faint, some very pale light-staining, two short repaired tears at the lower left sheet edge and one at the upper sheet edge at centre, otherwise in good condition, framed L. 170 170 x 210 mm., mm ., S. 239 x 283 mm. mm .

£15,000-20,000  

$26,000-34,000 €19,000-25,000

PROVENANCE:

A private American collection; sold Kornfeld, Bern, 17 June 1988, lot 16. A private German collection, purchased at the above sale (CHF 40,000). LITERATURE:

Schiefler L 315; Dube L 188; Gercken 487 Günther Gercken, Ernst Ludwig Kirchner - Lithographien - Neue Erkenntnisse: Verzeichnis der Steine, Galerie Kornfeld (exh. cat.), Bern 2007, no. 11, p. 36, 61, 64 (another impression illustrated). Kirchner’s erotic lithographs lithographs count amongst the greatest greatest rarities of German Expressionist Expressionist printmaking. The present lithograph lithograph is the fourth from a series of seven erotic lithographs created in 1910 in Dresden. They presumably reflect Kirchner’s own sexual experiences experiences with his girlfriend Dodo Große and are  joyful and unrestrained, while a second, much darker darker series of erotic lithographs created in Berlin in 1915, depict scenes between prostitutes prostitutes and their usually dressed - customers. Kirchner printed the entire series of 1910 from one stone (Gercken’s stone H) by pulling only very few impressions of each subject before erasing and re-using it for another scene. scene. It is in fact doubtful whether whether he printed more than two two impressions of each subject: Gercken records one complete complete set of all seven scenes in the Kornfeld Collection, Bern/ Davos, five of which are unique impressions. impressions. Only two plates are known in two impressions, including the present one.

57 ERNST LUDWIG KIRCHNER

Kokotte im Café mit Kellner  lithograph, 1916, on stiff wove paper, signed in pencil, the only known verso,, with wide impression of this print, with the artist’s estate stamp verso margins, the sheet edges slightly irregularly trimmed, pale mount staining, some minor pinpoint foxing, generally in good condition, framed L. 270 x 215 mm., S. 403 x 340 mm.

£15,000-25,000  

$26,000-42,000 €19,000-31,000

PROVENANCE:

With the Kirchner estate stamp of the Kunstmuseum Basel (L. 1570b) verso,, numbered L308. verso Private collection, Germany. LITERATURE:

Schiefler L 308; Dube L 320 Schiefler and Dube record only one impression, presumably the present one, and no other example has come to light since. We are grateful to Professor Dr. Günther Gercken, Lütjensee, Germany, for his assistence in cataloguing this lot. Professor Gercken is currently preparing the catalogue raisonné of prints by Ernst Ludwig Kirchner, the first two volumes of which (1904-1911) have have been published last last year (Galerie Kornfeld Verlag, Bern, 2013). The present, probably unique impression will be illustrated in a subsequent volume.

41

PROPERTY FROM THE AHLERS COLLECTION

58 λ 58 ERICH HECKEL (1883-1970)

Stehende  woodcut with watercolour in ochre, 1912, on soft laid paper, signed and dated in pencil, numbered in pencil (4), Dube’s first state (of two), one of a few handcoloured impressions of this rare print, with margins, deckle edges above and below, presumably the full sheet, minor moisture staining and some surface dirt in the margins, some pale foxmarks, generally in good original condition, framed B. 358 x 190 mm., S. 580 x 345 mm.

£80,000-120,000  

$140,000-200,000 €110,000-150,000

PROVENANCE:

Private German collection; Villa Grisebach, Berlin, 1 June 1990, lot 22 (DM 110,000). LITERATURE:

Dube H 234 To our knowledge, only three impressions of this print have been offered at auction within the last thirty years, including the present one with handcolouring in ochre.

42

*59 λ *59 WASSILY KANDINSKY (1866-1944)

Kleine Welten the complete portfolio of 12 prints, including four lithographs in colours, two woodcuts in colours and two in black, and four drypoints, 1922, on wove paper , all signed, with title, justification and explanation page, the title page with the unsigned woodcut  vignette in black, the justification verso, copy no. 60 from the total edition of 230 (numbers 1-30 were on Japan paper ), ), published by Propyläen Verlag, Berlin, printed at the Staatliches Bauhaus, Weimar, presumably the full sheets, the colours very fresh, in excellent condition, all within their original paper mounts with protective glacine sheets, within the original green half-leather folder with  yellow paper sides with the cover vignette on the front and the title and artist’s name in gilt on the spine (portfolio) 468 x 352 x 17 mm. (overall) (overall)

£150,000-250,000   44

$260,000-420,000 €190,000-310,000

PROVENANCE:

Richard Doetsch-Benziger (1877-1958), Basel (with his bookplate). LITERATURE:

Roethel 164-75 Klaus Weber (ed.), Punkt. Linie. Fläche. - Druckgraphik am Bauhaus, Bauhaus-Archiv Berlin Museum für Gestaltung (exh. cat.), Berlin, 1999-2000, no. 14, p. 118-127 (other impressions illustrated). Helmut Friedel/ Annegret Hoberg/ Melanie Horst, Kandinsky - Das druckgrafische Werk - Complete Prints , Städtische Galerie im Lenbachhaus und Kunstbau/ Kunstmuseum Bonn (exh. cat.), 20082009, no. 123-135 (other impressions illustrated).

‘For me, the province of art and the province of nature thus became more and more widely separated, until I was able to experience both as completely independent realms.‘  (Kandinsky,  (Kandinsky, Reminiscences, 1913, quoted in: Friedel/ Hoberg/ Horst, p. 208) Having created abstract works as early as 1910, Kleine Welten can be considered as the earliest purely abstract major work of printmaking and the most important portfolio created at the Bauhaus. Possibly still under the influence of the Russian avant-garde, although more lyrical and playful i n spirit, Kandinsky created the series in 1922, shortly after joining the teaching staff at the Bauhaus: ‘… he took up his position and within a short period of time, developed into an artist who made a strong impact on the Bauhaus, but who was surely also shaped by it in return. For the connection between art, craft and industrial shaping of form that the Bauhaus propagated led, under the overall concept of functionality, to a clarification and objectification of the language of forms that c orresponded with Kandinsky’s Kandinsky’s artistic objectives in the 1920s. What seemed outdated to him, in any case, was the expressionistic pathos of the pre-war era.‘ (C. Schreier Schreier,, The Creation of a Work is the Creation of a World – Kandinsky and his ‘Small Worlds’ Portfolio, in: Friedel/ Hoberg/ Horst, p. 57)

45

VARIOUS PROPERTIES λ 60 60

MARC CHAGALL (1887-1985)

Saint Germain des Prés lithograph in colours, 1954, on wove paper, signed in pencil, numbered 58/75, published in Derriére le Miroir by Maeght, Paris, presumably the full sheet, in good condition L. 382 x 282 mm., mm ., S. 399 x 282 mm.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

Mourlot 100; cf. Cramer books 24

λ 61 61

MARC CHAGALL

The Flute Player  lithograph in colours, 1957, on Arches wove paper, signed in pencil, numbered 37/90, published by Maeght, Paris, the full sheet, with deckle edges at left and right, in very good condition L. 250 x 420 mm., S. 382 x 571 mm.

£3,000-5,000  

$5,100-8,400 €3,800-6,300

LITERATURE:

Mourlot 197

λ 62 62

MARC CHAGALL

 At the Dawn of Love  Love  lithograph, 1983, on Arches wove paper, signed in pencil, numbered 28/50 (there were also 12 artist’s proofs printed only in black), the colours fresh and bright, the full sheet, a deckle edge below, in very good condition L. 346 x 272 mm., S. 546 x 425 mm.

£4,000-6,000   LITERATURE:

Mourlot 1018

46

$6,800-10,000 €5,100-7,500

λ 63 63

MARC CHAGALL

The Grande Corniche  lithograph in colours, 1967, on Arches wove paper, signed in pencil, numbered 32/50 (there was also an edition of 25 on  Japan paper), published by Mourlot, Paris, with margins, a deckle edge at right, a repaired paper split at the lower right right corner, otherwise in good condition, framed L. 485 x 430 mm., S. 685 x 535 mm.

£6,000-8,000  

$11,000-13,000 €7,600-10,000

LITERATURE:

Mourlot 485a

λ 64 64

AFTER MARC CHAGALL BY CHARLES SORLIER

The Tribe of Naphtali, from: from :The Twelve Maquettes of Stained Glass Windows for Jerusalem lithograph, 1964, on Arches wove paper, signed in pencil, numbered LIV/LXXV (there was also an edition of 150 numbered in Arabic numerals), published by Fernand Mourlot, Paris, the full sheet, a short tear at the lower left corner, a small nick at the lower right sheet edge, otherwise in good condition L. 615 x 460 mm., S. 745 x 526 mm.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

Charles Sorlier 21

47

λ 65 65

SALVADOR DALÍ (1904-1989)

FlorDali (Flora Dalinae) the complete set of ten etchings with drypoint and pochoir in colours, 1968, on  Japon nacré  paper,  paper, each signed in pencil and numbered 47/75, from the edition of 175 on this paper (the total edition was 408), published by Éditeur d’Art, Paris, the full sheets, some foxing and time staining, otherwise in good condition, loose (as issued), within the original tan suede-covered boards with the title in gold, generally in good condition (portfolio) 780 x 590 mm. (overall) (overall)

£28,000-32,000  

$48,000-54,000 €36,000-40,000

LITERATURE:

Michler & Löpsinger 227-236

λ 66 66

SALVADOR DALÍ

Dix Recettes d’Immortalité  the complete set of 11 etchings with drypoint and heliogravure and multiples, 1973, the prints on Auvergne Richard de Bas wove paper, some in colour or gilt, the multiples in card, metal and plastic, with title, text in French (with English translation) and justification, signed by the artist, the publisher and the editor in pencil on the  justification, with the notary’s stamp stamp and signature, copy copy number 206 from the edition of 210, published by Audouin-Descharnes, Paris, the prints all signed in pencil and numbered 206/210, also with the notary’s stamp, signature and numbering verso, the full sheets, generally in good condition, all contained in nine individual paper folders with text, within the original paper wrapper with title in gilt, the original perspex case with cast metal phone handle, locks and keys, brown cloth-covered cloth-covered slipcase, generally in very good condition condition (portfolio) 655 x 490 x 130 130 mm. (overall)

£6,000-8,000   LITERATURE:

Michler & Löpsinger 567-577; Field 73-20 48

$11,000-13,000 €7,600-10,000

λ 67 67

MAURITS CORNELIS ESCHER (1898-1972)

Sun and Moon woodcut in colours printed from four blocks, 1948, on thin laid Japan paper, signed in pencil and numbered No 10/20, inscribed ‘houtsnede eigendruck’ and ‘Houtsnede “Zon en Moon”, the full sheet, with deckle edges at left, right and below, the colours fresh, light-staining and foxing mainly in the margins B. 250 250 x 275 2 75 mm., mm. , S. 330 x 348 mm.

£20,000-30,000  

$34,000-51,000 €26,000-38,000

PROVENANCE:

Christie’s, London, 26 June 1984, lot 92 (£2,600). LITERATURE:

Bool 357

λ *68 *68

MAURITS CORNELIS ESCHER

Encounter  lithograph, 1944, on wove paper, with partial watermark Holland , signed and titled in pencil, numbered 7/30, with wide margins, light-staining, a few skinned patches at the upper sheet edge, otherwise in good condition, framed L. 340 x 465 mm., mm. , S. S. 450 450 x 600 6 00 mm.

£10,000-15,000  

$17,000-25,000 €13,000-19,000

LITERATURE:

Bool 331

49

λ 69 69

JOAN MIRÓ (1893-1983)

Femme et chien devant la lune  pochoir in colours, colours, 1935, on wove paper, signed and dated in pencil, numbered 5/60, published by Adlan, Barcelona, with their stamp verso, the full sheet, a few pale foxmarks in the margins, the tips of the upper and lower left sheet corners slightly creased, otherwise in very good condition L. 512 512 x 455 mm., m m., S. 655 655 x 500 50 0 mm. mm .

£10,000-15,000  

$17,000-25,000 €13,000-19,000

PROVENANCE:

Pierre Meuzé (not in Lugt). LITERATURE:

Dupin 18

Joan Miró visited New York in 1947 and where he worked at Stanley William Hayter’s Hayter’s (1901-1988) pioneering print workshop Atelier 17, creating the plates for Série I  and  and II  (Lots  (Lots 70-72). Hayter’s Hayter’s approach to intaglio printing was innovative and experimental. His studio, which had first been established in Paris in 1927 before relocating to New York at the outbreak of World War II, became a centre for the European and American avant-garde. It was presumably here that Miró met the American abstract painter Carl Holty (1900-1973), to whom one of the proofs is dedicated (Lot 71). The following three lots are some of only a few trial proofs printed by Miró at Atelier 17 in 1947, and reflect Hayter’s influence in their unconventional methods of inking: with a roller (lot 70), fingerprints (lot 71), and by selective wiping (lot 72). Each of the present impressions is unique. The plates returned to Paris with Miró, where they were printed by Lacourière and published by Maeght in a tiny edition of 13 impressions in 1952-53. λ 70 70

JOAN MIRÓ

One plate from: Serie I  etching printed with monotype colouring, 1947, on wove paper, signed and dated ‘New York 17/6/47’ in pencil, inscribed ‘épreuve d’essai ’,’, a rare working proof printed at Atelier 17 in New York in 1947, before the edition of 13 printed in Paris in 1952-53, with wide margins, light and mount staining, backboard staining verso P. 378 378 x 452 mm., m m., S. 51 5100 x 660 6 60 mm.

£10,000-15,000  

$17,000-25,000 €13,000-19,000

PROVENANCE:

Heinrich Neuerburg (1880-1956), Cologne (L. 1344a); then by descent. Dr. Walter Neuerburg (1912-86); his sale, Christie’s, New  York, 1 November 1988, 1988, lot 98 ($35,000). ($35,000). LITERATURE:

cf. Dupin 75 50

λ 71 71

JOAN MIRÓ

One Plate from: Serie I  etching with monotype colouring, 1947, on wove paper, signed, dated ‘New York 17/6/47’ and dedicated ‘pour Carl Holty, avec toute mon amitié’ in pencil, inscribed ‘épreuve d’essai ’, ’, a rare working proof printed at Atelier 17 in New York in 1947, before the edition of 13 printed in Paris in 1952-53, the full sheet, with deckle edges on all four sides, pale lightstaining, a printer’s crease in the left margin extending slightly into the subject, generally in very good condition P. 375 x 453 mm., S. 515 x 660 mm.

£10,000-15,000  

$17,000-25,000 €13,000-19,000

PROVENANCE:

Carl Robert Holty (1900-73), New York; a gift from the artist; then by descent. Christie’s, New York, 16 November 1987, lot 204 ($24,000). Pierre Meuzé (not in Lugt). LITERATURE:

cf. Dupin 75

λ 72 72

JOAN MIRÓ

One Plate from: Serie II  etching with monotype colouring, 1947, on wove paper, signed and dated ‘New York 18/6/47’ (partially erased), a rare working proof printed at Atelier 17 in New York in 1947, before the edition of 13 printed in Paris in 1952-53, the full sheet, with deckle edges on all sides, a few pale stains in the margins, otherwise in good condition P. 374 x 453 mm., S. 505 x 655 mm.

£10,000-15,000  

$17,000-25,000 €13,000-19,000

PROVENANCE:

Pierre Meuzé (not in Lugt). LITERATURE:

cf. Dupin 83

51

λ 73 73

JOAN MIRÓ

La Main soft-ground etching and aquatint in colours, 1953, on BFK Rives wove paper, signed and dated in pencil, inscribed H.C .,., one of a few hors commerce impressions aside from the edition of 75, the colours very fresh, published by Maeght, Paris, the full sheet, with deckle edges above and below, in very good condition P. 355 x 485 mm., S. 510 x 650 mm.

£7,000-10,000  

$12,000-17,000 €8,800-13,000

LITERATURE:

Dupin 100

λ 74 74

JOAN MIRÓ

Femme au Miroir  lithograph in colours, 1956, on BFK Rives wove paper, signed in pencil, numbered 50/150, published in Derrière le Miroir, 10  Ans d’Edition, Maeght, Paris, the colours  very fresh and bright, the full sheet, a deckle edge at left, in very good condition L. 382 x 560 mm., m m., S. 390 x 565 mm.

£10,000-15,000  

$17,000-25,000 €13,000-19,000

PROVENANCE:

Pierre Meuzé (not in Lugt). LITERATURE:

Mourlot 242; cf. Cramer 36

52

75 λ 75 JOAN MIRÓ

Equinoxe  etching, aquatint and carborundum in colours, 1967, on wove paper, signed and dedicated ‘pour Sylvie avec mon affection’ in pencil, inscribed H.C ., ., one of a few hors commerce impressions aside from the edition of 75, published by Maeght, Paris, probably the full sheet, a deckle edge at right, very pale scattered pinpoint foxing, otherwise in good condition P., S. 1045 x 737 mm.

£25,000-35,000  

$43,000-59,000 €32,000-44,000

LITERATURE:

Dupin 428

53

λ 76 76

JOAN MIRÓ

One plate from: Serie III  etching and aquatint with extensive painting in watercolours by the artist, 1952-53, on  vellum, signed signed in black ink, numbered III/XIII, III/XIII, from the edition of 13 unique handcoloured handcoloured impressions, printed from the black plate only, published by Maeght, Paris, the full sheet, in  very good condition P. 296 x 232 mm., S. 525 x 850 mm. (approximately)

£10,000-15,000 LITERATURE:

cf. Dupin 93

54

$17,000-25,000 €13,000-19,000

λ 77 77

JOAN MIRÓ

La Commedia dell’Arte VI  etching in colours, 1979, on Arches paper, signed and inscribed ‘E.A.’ in pencil, an artist’s proof aside from the edition of thirty (there were also 15 hors commerce  impressions),  impressions), published by Maeght, printed by Joan Barbarà, Barcelona, the full sheet, in  very good condition S. 565 x 762 mm.

£2,000-3,000  

$3,400-5,100 €2,600-3,800

LITERATURE:

Dupin 1111

78 JOAN MIRÓ

La Révolte des Caractères etching and aquatint in colours, 1982, on Guarro wove paper, signed, inscribed ‘Bat .’.’ and dated 12/VI.81 in pencil, the bon à tirer impression before the signed and numbered book b ook edition of one hundred (there were also 25 hors commerce  impressions),  impressions), published by Fata Morgana, Montpellier, printed by Joan Barbarà, Barcelona, the full sheet, in good condition; together with the bon à tirer impression of the same etching printed in black  (Dupin records only a few proofs printed in black), on Arches wove paper, paper, signed in pencil, inscribed ‘BAT .’.’ and dated 9/V.81. in pencil, the full sheet, in good condition P. 196 196 x 155 mm., S. 638 x 496 mm.   (2) P. 196 x 155 mm., S. 490 x 355 mm.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

Dupin 1171; cf. Cramer books 254 79 ∆λ 79 JOAN MIRÓ

Two plates from: Cartones (M. 452 & 453; cf. C. books 103) two lithographs printed in colours, 1965, on Arches wove paper, both signed in pencil, numbered 27/75, published by P. Matisse, New York, the full sheets, both in very good condition; with Miró Sculptures (M. 755), lithograph in colours, 1971, on Arches wove paper, signed in pencil, numbered 116/150, before the unsigned edition with text, published by the Walker Art Centre, Minneapolis, the full sheet, in very good condition M. 452: L. 305 x 425 mm., S. 420 x 548 mm. M. 453: L. 505 x 635 mm., mm ., S. 545 x 707 mm. m m. M. 755: L. 855 x 727 mm mm.,., S. 858 x 730 mm mm.. (3)

£3,000-5,000  

$5,100-8,400 €3,800-6,300

55

80

80 λ 80

81 λ 81

HENRI LAURENS (1885-1954)

HENRI LAURENS

 A group of five etchings including Femme debout - face et dos , before 1921, on wove paper, signed in pencil, numbered 20, from the edition of thirty; Le Boxeur, circa 1921, on wove paper, signed in pencil, numbered 15, from the edition of thirty; La Table, before 1921, on wove paper, signed in pencil, numbered 2, from the edition of thirty; Valencia, before 1927, on wove paper, signed in pencil, numbered 19/100; and Le Guéridon, before 1927, on wove paper, signed in pencil, numbered 32/50; the full sheets, generally in good condition, framed   (5) P. 248 x 189 mm., S. 490 x 328 mm. (and smaller)

£5,000-7,000   LITERATURE:

Völker 3, 6, 8-10

81

56

$8,500-12,000 €6,300-8,800

 A group of five etchings including Deux nues, 1929, on wove paper, signed in pencil, numbered 9/59; Untitled, 1942, on wove paper, signed in pencil, inscribed Bon à tirer , before the edition of 65; L’exterminée, 1947, signed in pencil, numbered 17/30; Ondine, 1946, initialled in pencil, numbered 13/15; Untitled, 1946, signed in pencil, inscribed BaT; the full sheets, generally in good condition, framed S. 443 x 570 mm. mm . (and smaller)   (5)

£4,000-6,000  

$6,800-10,000 €5,100-7,500

PROVENANCE:

V. 12: Henri M. Petiet (1894-1980), Paris (not in Lugt). LITERATURE:

Völker 12, 14.1, 15, 18, 22.1

82

82 λ 82

83

HENRI LAURENS

LOUIS MARCOUSSIS (1883-1941)

 A group of four lithographs in colours colours including Femme accroupie, 1950, on Arches wove paper, signed in pencil, numbered 10/75 (faded), a deckle edge below, the sheet slightly reduced above and at right; Femme assise au bras levé, 1950, on Arches wove paper, signed in pencil, numbered 68/75, the full sheet, a deckle edge above and below; Femme couchée, 1950, on Arches wove paper, signed in pencil, numbered 32/75, the full sheet, a deckle edge at left and right; Femme assise assise à la jambe levée, 1950, on Arches wove paper, signed in pencil, numbered 18/200, the full sheet, a deckle edge above and below, generally in good condition, framed L. 585 585 x 330 mm. (and smaller) smaller).. S. 660 x 501 mm. (and smaller) sm aller)   (4)

£3,000-5,000   LITERATURE:

Völker 27, 28, 29, 31

$5,100-8,400 €3,800-6,300

Planches de Salut  the complete portfolio from the deluxe edition of ten (numbered 2-11), published by Jeanne Bucher, Paris, 1931, including: the book of 13 etchings  (frontispiece, en-tête , ten plates and cul-de-lampe ), ), on Japon Imperial , with title, text and justification, signed in black ink on the justification and numbered 3; an additional suite of all the etchings, on Japon appliqué  supported on Arches, each signed in pencil, numbered 3/11; three impressions of plate I (in the first, second and third state), on Arches, each signed in pencil, numbered 2/2; and the original pencil drawing for plate I, on card, signed and dated 1930 in pencil; the full sheets, some foxing, generally in good condition, with original paper wrappers (book, portfolio, 3 loose etchings, 1 drawing) P. 202 x 240 mm. m m. (and similar), simi lar), S. 330 x 420 mm. mm . (and smaller) smaller )  308 x 407 mm. (the book and suite sui te overall)

£10,000-15,000  

$17,000-25,000 €13,000-19,000

LITERATURE:

Solange Milet 66-78

83

57

∆λ *84 *84

PABLO PICASSO (1881-1973)

Honoré de Balzac: Le Chef d’Oeuvre Inconnu the complete book including 13 etchings, 1931, on BFK Rives paper, hors texte , with title, text in French and justification, copy number 240 from the edition of 340, published by A. Vollard, Paris, the full sheets, loose (as issued), one plate with a tear, otherwise in good condition, with the paper wrappers and slipcase, in good overall condition (book) 345 x 266 x 45 mm. mm . (overall)

£7,000-10,000  

$12,000-17,000 €8,800-13,000

LITERATURE:

Cramer books 20

λ 85 85

PABLO PICASSO

Le Repos du sculpteur scul pteur devant un centaure et e t une femme,  from: La Suite Suite Vollard  etching, 1933, on Montval laid paper, watermark Vollard, signed in pencil, from the edition of 260 (there was also an edition of fifty impressions with wider margins), published by A. Vollard, Paris, 1939, the full sheet, a deckle edge at left, very pale time and lightstaining, in good condition P. 194 x 268 mm., S. 340 x 442 mm.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

Bloch 167; Baer 320

86 λ 86 PABLO PICASSO

Le repos du sculpteur sculpt eur II: from La Suite Vollard etching, 1933, on Montval laid paper, watermark Vollard, signed in pencil, from the edition of 260 (there was also an edition of fifty with wider margins), published by A. Vollard, Paris, 1939, the full sheet, a deckle edge at right, pale light-staining, otherwise in very good condition, framed P. 194 x 268 mm., S. 340 x 445 mm.

£10,000-15,000   LITERATURE:

Bloch 172; Baer 325

58

$17,000-25,000 €13,000-19,000

*87 λ *87 PABLO PICASSO

Faune devoilant devoil ant une Femme, from: La Suite Vollard  aquatint, 1936, on Montval laid paper, watermark Picasso, signed in pencil, from the edition of 260 (there was also an edition of fifty with wider margins), published by A. Vollard, Paris, 1939, the f ull sheet, a deckle edge at right, pale light-staining, light-staining, generally in good condition condition P. 316 x 420 mm., S. 340 x 451 mm.

£30,000-50,000   LITERATURE:

Bloch 230; Baer 609

$51,000-84,000 €38,000-63,000

In a room flooded with moonlight a handsome and god-like faun unveils a sleeping woman. Based on Rembrandt’s etching  Jupiter and Antiope, 1659 (B., Holl. 204), it contains many autobiographical allusions allusions to the artist’s passionate relationship with his lover Marie-Thérèse Walter, whose powerful physical allure is so evocatively portrayed in the curvaceous figure of the sleeper. Unlike Rembrandt’s Jupiter, who leers lecherously at the nubile Antiope, this faun gazes upon her, transfixed by her beauty and reaching out to caress the object of his desire. At the time this aquatint was made, Marie-Thérèse had given birth to their daughter, Maya, and it has been suggested that this aquatint is Picasso’s nostalgic evocation of a passion now passing, irrevocably changed with the advent of parenthood. It is undoubtedly one of the most beautiful examples of the artist’s graphic work, both poetic and mysterious - and a dazzling display of his draughtsmanship and his command of the sugar-lift etching technique.

59

λ *88 *88

PABLO PICASSO

Françoise en soleil  lithograph, 1946, on Arches wove paper, initialled in pencil by Fernand Mourlot, inscribed with his reference 48 and numbered 6/6 verso, one of six proofs reserved for the artist and the printer (aside from the edition of fifty), the full sheet, a deckle edge above and below, the sheet slightly toned, otherwise in very good condition L. 540 x 445 mm., m m., S. 654 x 500 mm.

£10,000-15,000   LITERATURE:

Bloch 404; Mourlot 48

60

$17,000-25,000 €13,000-19,000

`In the old days pictures went forward towards completion by stages…  A picture picture used to be a sum of additions. additions. In my case a picture picture is a sum of destructions. I do a picture – then I destroy it… It could be interesting to  preserve photographically photographically,, not the stages, stages, but the metamorphoses metamorphoses of a  (Picasso, quoted in: Cahiers d’Art , Paris, 1935, vol. 10, no. 10, p.  picture’  (Picasso, 173-8, translated in: A. Barr Barr,, Picasso: Fifty Years of His Art , New York, 1946, p. 272). Lithography was ideally suited to Picasso’ Picasso’ss stated method of picture-making: the medium allows for an image to be created on a lithographic stone or plate, to be printed, then erased, reworked and re-printed, re-printed, until the image is fully realised. Picasso began working at the lithographic studio of Fernand Mourlot in 1945. By 1947 a system had been devised whereby each successive stage of an image would be printed and preserved. preserved. This fulfilled Picasso desire to preserve ‘the metamorphoses of a picture’. This present collection (lots 88-97) includes various states from his famous series Femme au Fauteuil , which reveal the sometimes dramatic and surprising transformations the subject underwent in the course of Picasso’ Picasso’ss intense engagement with it. Each impression is one of only s ix proofs pulled by Mourlot. These rare prints offer a unique insight into Picasso’s creative process and his unrestrained and playful visual mind. λ *89 *89

PABLO PICASSO

Femme au Fauteuil  lithograph in colours, 1948, on Arches wove paper, a proof impression of the second, final state, without the black stone, inscribed with the printer Fernand Mourlot’s reference ‘133 bis 1 état’ sans noir’,  one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, a deckle edge above and below, generally in good condition L., S. 652 x 500 mm.

£20,000-30,000  

$34,000-51,000 €26,000-38,000

LITERATURE:

cf. Mourlot 133 The present impression is incorrectly inscribed ‘1 état’ verso. état’ verso. It is the second state, without the black stone, after the reworking of the colour stones. This is probably a unique proof; Mourlot does not record other impressions printed without the black stone.

*90 λ *90 PABLO PICASSO

Femme au Fauteuil  lithograph, 1948, on China paper, a proof imp ression of the first state (of six), initialled in pencil by the printer Fernand Mourlot verso, inscribed with his reference ‘138, NOIR, de 133 bis, épreuve unique’, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, a minor tear at the right sheet edge, a repaired tear at the lower left sheet edge, some soft creases at the sheet edges L. 650 x 500 mm., S. 670 x 505 mm.

£7,000-10,000  

$12,000-17,000 €8,800-13,000

LITERATURE:

cf. Mourlot 138

61

*91 λ *91 PABLO PICASSO

Femme au Fauteuil  lithograph, 1948, on Arches wove paper, a proof impression of the second state (of six), initialled in pencil by the printer Fernand Mourlot, inscribed with his reference ‘138 , NOIR , de 133 bis, épreuve unique’ verso, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, deckle edges above and below, the sheet slightly toned, scattered foxing verso, generally in good condition S. 657 x 500 mm.

£10,000-15,000  

$17,000-25,000 €13,000-19,000

LITERATURE:

cf. Mourlot 138

λ *92 *92

PABLO PICASSO

Femme au Fauteuil  lithograph, 1948, on Arches wove paper, a proof impression of the third state (of six), initialled in pencil by the printer Fernand Mourlot, inscribed with his reference ‘138 , 3e état’ and numbered 6/6 verso, one of six proofs reserved for the artist and printer (there was no edition of this state), the full sheet, a deckle edge at right and left, the sheet slightly toned, faint scuffing in the image, generally in good condition L. 700 x 547 mm., S. 765 x 565 mm.

£12,000-18,000   LITERATURE:

cf. Mourlot 138

62

$21,000-30,000 €16,000-23,000

*93 λ *93 PABLO PICASSO

Femme au Fauteuil  lithograph, 1948, on Arches wove paper, a proof impression of the fifth state (of six), initialled in pencil by the printer Fernand Mourlot, inscribed with his reference ‘138, 5e état’ and numbered 6/6 verso, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, a deckle edge at right and left,  very pale foxing in the margin at lower right, the sheet slightly slightly toned, otherwise in good condition L. 697 x 545 mm., S. 760 x 563 mm.

£20,000-300,000  

$34,000-510,000 €26,000-380,000

LITERATURE:

cf. Mourlot 138

λ *94 *94

PABLO PICASSO

Femme au Fauteuil  lithograph, 1948, on Arches wove paper, a proof impression of the sixth, final state, initialled in pencil by the printer Fernand Mourlot, inscribed with his reference ‘138 , 6e état’ and numbered 6/6 verso, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, a deckle edge at right and left, the sheet slightly toned, otherwise in very good condition L. 697 x 545 mm., S. 764 x 562 mm,

£20,000-30,000  

$34,000-51,000 €26,000-38,000

LITERATURE:

cf. Mourlot 138

63

*95 λ *95 PABLO PICASSO

Femme au Fauteuil No No.. 1 lithograph printed in grey, 1948, on Arches wove paper, a proof impression of the seventh state (of eleven), initialled i n pencil by the printer Fernand Mourlot, inscribed with his reference ‘134, 1e état du report, épreuve unique gris’ and numbered 6/6, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, a deckle edge at right and left, pale light and time staining, a short tear at the left sheet edge L. 696 x 546 mm., S. 763 x 561 mm.

£20,000-30,000  

$34,000-51,000 €26,000-38,000

LITERATURE:

cf. Mourlot 134

*96 λ *96

95

PABLO PICASSO

Femme au Fauteuil No N o. 2 lithograph, 1948, on Arches Arches wove paper, a proof impression of the first state (of two), initialled in pencil by the printer Fernand Mourlot, inscribed with his reference ‘135, 1e état’  and numbered 6/6 verso, one of six proofs reserved for the artist and printer (there was no edition of this state), the full sheet, a deckle edge above and below, some minor scuffs in the lower left corner, the sheet slightly toned, otherwise in good condition L., S. S. 660 x 500 mm. m m.

£12,000-18,000  

$21,000-30,000 €16,000-23,000

LITERATURE:

cf. Mourlot 135 96

*97 λ *97 PABLO PICASSO

Femme au Fauteuil No No.. 2 lithograph, 1948, on Arches wove paper, a proof impression of the second, final state, initialled in pencil by the printer Fernand Mourlot, inscribed with his reference ‘135, 2e état’ and numbered 6/6 verso, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, with deckle edges at right and left, pale mount staining and pinpoint foxing in the margins, generally in good condition L. 700 x 547 mm., S. 763 x 563 mm.

£18,000-25,000   LITERATURE:

cf. Mourlot 135 64

97

$31,000-42,000 €23,000-31,000

*98 λ *98

99 λ 99

PABLO PICASSO

PABLO PICASSO

Les faunes et la centauresse  lithograph, 1947, on Arches wove paper, signed in pencil, numbered 13/50 (there were also six proofs reserved for the artist and the printer), the full sheet, with deckle edges at left and right, light and time staining, a short tear at the upper right corner, framed S. 500 x 652 mm.

La danse des banderilles lithograph, 1954, on Arches wove paper, signed in red crayon, numbered 39/50 (there were also six proofs for the artist and printer), the full sheet, deckle edges at left and right, pale light and mount staining, a few pinpoint foxmarks, otherwise in good condition, framed L. 480 x 640 mm., S. 500 x 656 mm.

£5,000-7,000   LITERATURE:

Bloch 413; Mourlot 59

$8,500-12,000 €6,300-8,800

£4,000-6,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

Bloch 752; Mourlot 248

65

λ 100 100

PABLO PICASSO

Buste de femme d’après Cranach le Jeune  linocut printed from five blocks in colours, 1958, on Arches wove paper, a fine impression, signed in blue crayon, numbered 15/50, published by Galerie Louise Leiris, Paris, the colours exceptionally fresh and  vibrant, the printed surface with much texture and unusually well preserved, preserved, the full sheet, sheet, with deckle edges at left and right, pale mount staining in the margins, otherwise in very good condition, framed B. 645 x 534 mm., S. 765 x 570 mm.

£250,000-350,000  

$430,000-590,000 €320,000-440,000

LITERATURE:

Bloch 859; Baer 1053 D. Ashton, Picasso on Art: A Selection of Views, London, 1972. R. Penrose and J. Golding ( eds.), Picasso 1881/1973, London 1973. A. Malraux, Picasso’s Mask, 1976, p. 118. D. Giraudy/D. Bourgois, Picasso Linograveur , Musée Picasso, Antibes (et al.) (exh. cat.), 1988-89. P. Elliott, Picasso on Paper , National Gallery of Scotland, Edinburgh (exh. cat.), 2007, no. 77 (another impression i mpression illustrated). C. Riopelle/ A. Robbins, Picasso: Challenging the Past , National Gallery, London (exh. cat.), 2009, no. 37 (another impression illustrated).

`To me there is no past or future in art. The art of the Greeks, of the `To Egyptians, of the great painters who lived in other times, is not an art of the  past; perhaps perhaps it is more alive today than than it ever was’  was’ . (Picasso, quoted in: Ashton, p. 4). Throughout his career Picasso made works in response to the great art of the past. Describing his approach to his artistic predecessors he said: ‘I have a horror of copying myself. But when I am shown a portfolio of old drawings, for instance, I have no qualms about taking anything I want from  (Picasso, in conversation with C. Zervos, 1935, quoted in: Ashton, p. them.’  (Picasso, 10). This sustained dialogue with the past reached its zenith in the 1950’s, 1950’s, when Picasso devoted himself in painting, sculpture and print to reworking masterpieces by artists as diverse as Cranach, Velásquez, Velásquez, Delacroix and Manet.

Explaining the genesis of Picasso’ Picasso’ss great linocut Buste de Femme d’après Kahnweiler said: ‘One of Cranach le Jeune , Picasso’s dealer Daniel-Henry Kahnweiler Picasso’ss notable characteristics was his need to transform existing works of Picasso’ art, to compose “variations on a theme”, as it were. His point of departure was often simply a reproduction in a book; or even a postcard sent by myself, such as Cranach the Younger’s Portrait of a Woman [1564] in Vienna, which became his first linocut in colour colour.. Among other things, what struck him in particular about this painting was the way the woman’ woman’ss shadow ‘rhymes’ with the upper part of her body... body... This need to transform was certainly an important characteristic of Picasso’ Picasso’ss genius.’ (Daniel-Henry Kahnweiler, Kahnweiler, ‘Introduction: A Free Man’ , in: Penrose/ Golding, p. 8-9) Picasso had made a preparatory linocut (cf. Baer 1052) after this postcard the day before executing Buste de Femme. This preliminary work, printed in black from one block, follows Cranach’s composition closely - the young girl is depicted in three-quarter profile and faces in the same direction as the painting, requiring Picasso to reverse the image in the cutting. The effect is somewhat laboured, and when Picasso revisited the subject again the following day, he abandoned this creative hindrance, this time cutting the subject freely and adapting Cranach’s Cranach’s composition in a much more spontaneous way. way. The result is a tour de force of printmaking: with fluid cuts of the linocut gouge and the overprinting of bright, flat colour from five separate blocks, Picasso amplified what he had described to Kahnweiler as the painting’s painting’s internal `rhymes’. Flattening the pictorial space, the bulging shadow on the girl’s right now merges with the undulating shape of her black bodice and shoulders, themselves echoed in the loops of the gold chain and hair net, and by the curved strokes in the background. The girl’s girl’s features are playfully distorted, so that we seem to see her from the front and in full profile simultaneously. What Picasso described to André Malraux as his desire to ‘paint against the canvases that are important to me…that’ me…that’ss painting: for a painter it means wrestling with painting’. (A. Malraux, Picasso’s Mask , 1976, p. 118), also resonates with the iconoclastic transformation of Cranach’ Cranach’ss delicate portrait into an exuberant display of colour and rhythmic patterns in this most layered and painterly of all his prints.

Lucas Cranach the Younger, Portrait of a Woman,  1564 ©Kunsthistorisches ©Kunsthistorisch es Museum, Vienna

66

Impressions of Buste de Femme d’apres Cranach le Jeune can vary considerably in quality and condition. The colours on this superb impression are exceptionally vivid and well preserved. In addition, the sheet has never been cleaned and retains the lively texture of the printed surface.

λ *101 *101

PABLO PICASSO

Femme au Collier linocut rincé , 1964, on Arches wove paper, signed in red crayon, dated 27.6.64. in black ink verso (this impression cited in Baer), one of about five rincé impressions, probably the full sheet, the paper slightly toned, mount staining at the sheet edges, otherwise in good condition, framed S. 750 750 x 618 mm.

£30,000-50,000  

$51,000-84,000 €38,000-63,000

LITERATURE:

Bloch 928; Baer 1258 Reverse of the sheet

68

λ 102 102

PABLO PICASSO

Le déjeuner sur l’herbe, d’après Manet  linocut, 1961, on Arches wove paper, signed in pencil, numbered 34/50, with margins, some light and time staining, in good condition, framed B. 530 x 640 mm., S. 612 x 750 mm.

£10,000-15,000  

$17,000-25,000 €13,000-19,000

LITERATURE:

Bloch 1023; Baer 1277

103 λ 103 PABLO PICASSO

Toros Vallauris Vallaur is linocut in colours, 1958, on Arches wove paper, signed in blue crayon, numbered 145/195 in pencil (there were also 22 artist’s proofs), published by the Association des Potiers de Vallauris, the full sheet, in good condition B. 650 650 x 530 mm., S. 610 610 x 790 79 0 mm. mm .

£4,000-6,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

Bloch 1282; Baer 1049

69

*104 λ *104

105 λ 105

PABLO PICASSO

AFTER PABLO PICASSO BY JACQUES VILLON

Char romain, romai n, avec écuyère tombant, t ombant, femme nue et spectateurs, s pectateurs,  from: Series 347  etching, 1968, on BFK Rives wove paper, signed in pencil, numbered 28/50 (there were also 17 artist’s proofs), published by Galerie L. Leiris, Paris, 1969, the full sheet, a deckle edge at right, in very good condition, framed P. 315 x 392 mm., S. 472 x 567 mm.

Nature Morte  aquatint in colours, 1928, 1928, on wove paper, signed in pencil, numbered 20/200 (there were also nine impressions printed in black only), published by Galerie Bernheim-Jeune, Paris, with small margins, the sheet taped down to the back mount, framed P. 375 375 x 500 50 0 mm., mm ., S. 400 x 523 mm.

£6,000-8,000   LITERATURE:

Bloch 1528; Baer 1544

70

$11,000-13,000 €7,600-10,000

£7,000-10,000   LITERATURE:

Ginestet & Pouillon E 652

$12,000-17,000 €8,800-13,000

λ 106 106

AFTER PABLO PICASSO

Dora Maar  lithograph in colours, 1955, on Arches wove paper, signed in pencil, numbered 87/100 (there was also an unsigned poster edition of five hundred copies), published by the Musée des Arts Decoratifs, printed by Mourlot, Paris, with wide margins, probably the full sheet, in good condition L. 920 x 600 60 0 mm., S. 1040 x 695 mm.

£12,000-18,000  

$21,000-30,000 €16,000-23,000

LITERATURE:

Czwiklitzer 92; Rodrigo 38

71

λ *107 *107

AFTER PABLO PICASSO

Imaginary Portraits the complete set of 29 lithographs in colours, 1969, with title page and justification, on Arches wove paper, numbered on the justification A 90, the prints numbered A 90/250 in pencil (there was also an edition of 250 marked F, reserved for distribution in France), published by Harry N. Abrams, New York, the full sheets, in excellent condition, loose (as issued), within the original orange cloth and tan corduroy-covered box with a leather clasp, in good condition (portfolio) 690 x 530 x 60 mm. mm . (overall)

£50,000-70,000  

$85,000-120,000 €63,000-88,000

Included with this lot is the original packing box that the work was shipped in from the publisher.

72

*108 λ *108 GEORGES ROUAULT (1871-1958)

 Automne  aquatint in colours, 1938, on Montval laid paper, third, final state, not signed, numbered 145/175, the full sheet, a deckle edge below, the colours quite fresh, light-, mount and time staining, some short tears in the lower margin P. 510 x 655 mm., S. 572 x 775 mm.

£5,000-7,000  

$8,500-12,000 €6,300-8,800

LITERATURE:

Champion and Rouault 288

PROPERTY FROM A PRIVATE LONDON COLLECTION

109 λ 109 HENRI MATISSE (1869-1954)

Figure endormie, châle sur les jambes lithograph, 1929, on Arches wove paper, signed in pencil, numbered 46/50 (there were also ten artist’s proofs), the full sheet, a deckle edge at right, pale light-staining, a surface abrasion in the margin at upper left, a few minor nicks at the lower sheet edge, otherwise in good condition, framed L. 268 x 380 mm., S. 449 x 550 mm.

£6,000-8,000  

$11,000-13,000 €7,600-10,000

LITERATURE:

Duthuit-Matisse 511

73

λ *110 *110

HENRI MATISSE

Nu couché au visage incomplet – Etude de jambes lithograph, 1925, on Japan paper, signed in pencil, numbered 9/50 (there were also ten artist’s proofs), the full sheet, in very good condition L. 285 x 525 mm., S. 455 x 560 mm.

£3,000-5,000  

$5,100-8,400 €3,800-6,300

LITERATURE:

Duthuit-Matisse 462

VARIOUS PROPERTIES

*111 λ *111 HENRI MATISSE

Torse à l’aiguière  l’ aiguière  lithograph, 1927, on China paper, signed in pencil, numbered 21/50 (there were also ten artist’s proofs), the full sheet, very pale lightstaining, otherwise in very good condition L. 364 x 263 mm., S. 498 x 359 mm.

£8,000-12,000  

$14,000-20,000 €11,000-15,000

LITERATURE:

Duthuit-Matisse 494

λ *112 *112

HENRI MATISSE

Marguerite VI  lithograph, 1945, on BFK Rives paper, signed in pencil, numbered 12/25, the full sheet, in very good condition L. 415 x 300 mm., S. 500 x 325 mm.

£5,000-7,000   LITERATURE:

Duthuit-Matisse 575

74

$8,500-12,000 €6,300-8,800

*113 λ *113 HENRI MATISSE

Masque d’après D.A.I. aquatint, 1948, on Marais paper, signed in pencil, numbered 23/25 (there were also five artist’s proofs), the full sheet, in very good condition L. 31 315 x 252 25 2 mm., mm ., S. 532 x 377 mm.

£8,000-12,000  

$14,000-20,000 €11,000-15,000

LITERATURE:

Duthuit-Matisse 801

λ *114 *114

HENRI MATISSE

 Jeune étudiant de trois-quarts trois-quarts aquatint, 1952, on BFK Rives paper, signed in pencil, numbered 4/5 and inscribed ‘ep d’a’ (an artist’s proof aside from the edition of 15), the full sheet, in good condition L. 440 x 348 mm., S. 650 x 510 mm.

£8,000-12,000  

$14,000-20,000 €11,000-15,000

LITERATURE:

Duthuit-Matisse 822

75

λ 115 115

MASSIMO CAMPIGLI (1895-1971)

Ritratto di donna monotype in colours, 1950, on Fabriano wove paper, probably a unique impression, signed and dated in brown ink, the full sheet, in good condition, framed S. 538 x 423 mm.

£15,000-25,000  

$26,000-42,000 €19,000-31,000

This work has been authenticated by Nicola Campigli.

λ 116 116

GIORGIO MORANDI (1890-1964)

Natura morta in un tondo etching, 1942, on Japan paper, second, final state, signed and dated in pencil, numbered 12/50, the full sheet, some light- and time staining, foxing and creasing, otherwise in good condition P. 305 305 x 270 2 70 mm., mm ., S. 366 x 472 mm.

£10,000-15,000   LITERATURE:

Vitali 109; Cordaro p. 126

76

$17,000-25,000 €13,000-19,000

λ 117 117

HENRY MOORE (1898-1986)

Sheep the complete portfolio including 12 etchings, 1972-74, on Rives wove paper, with a watermark designed by the artist, with title, text and  justification, signed in black ink on the justification, copy number 59, from the total edition of eighty (there (there was also a deluxe edition edition of 15), published by Gerald Cramer, Geneva, 1975, each etching signed and inscribed with the plate number in pencil, numbered 59/80, the full sheets, all in excellent condition, loose (as issued), within the original vellum wrappers with the title and etching on the front (portfolio) 445 x 500 mm. (overall) (overall)

£15,000-25,000  

$26,000-42,000 €19,000-31,000

LITERATURE:

Cramer 196-7, 199-201, 225-9, 231-2

‘Sheep have always had some special meaning for me, more so than cows or horses, whether it is that I saw them as a boy in  parts of the Yorkshire landscape landscape or whether it’s from reading reading the Bible in early childhood where sheep have a mention, and not horses for instance, I really would not like to say.’ (Henry Moore, Introduction to: Sheep, Gérald Cramer, 1975)

After observing for hours the sheep out of his studio window at Perry Green, Henry Moore made numerous drawings which he assembled in his  as well as printing the present series of 12 etchings, Sheep Sketchbook  as representing a kind of life cycle, from the birth of the lambs to growing up and the sheep being shorn.

77

POST-WAR AND CONTEMPORARY PRINTS (LOTS 118-193)

λ 118 118

FRANCIS BACON (1909-1992)

Miroir de la l a Tauromachi auromachie  e  the complete set of four lithographs in colours, 1990, on Arches wove paper, with title, text in French by Michel Leiris and justification, each lithograph signed in pencil, printed on folded sheets with letterpress text on the inside pages, copy number 64 from the edition of 150 (there were also five hors commerce copies), published by Galerie Lelong, Paris, the full sheets, in excellent condition, loose (as issued), in the original paper wrappers with title, within the canvas-covered box with title, in very good condition (portfolio) 510 x 385 x 40 mm. (overall)

£40,000-60,000   LITERATURE:

Sabatier 29

78

$68,000-100,000 €51,000-75,000

119 λ 119

120 λ 120

FRANCIS BACON

FRANCIS BACON

Oresteia of Aeschylus three lithographs in colours printed on one sheet, 1981, on Arches wove paper, signed in pencil, numbered 32/150, printed by Arts Litho, Paris, with their blindstamp, published by Éditions de la Différence, Paris, the full sheet, pale light and mount staining, generally in good condition L. 400 x 300 mm. (each), S. 536 x 1033 mm.

Three Studies for a Self-Portrait  three lithographs in colours printed on one sheet, 1981, on Arches wove paper, signed in pencil, numbered 120/150 (there were also 25 hors commerce impressions and ten artist’s proofs), printed by Arts Litho, Paris, published by Éditions de la Différence, Paris, the full sheet, a deckle edge at right, in very good condition L. 325 x 280 mm. (each), S. 473 x 1035 mm.

£7,000-10,000  

£15,000-25,000  

$12,000-17,000 €8,800-13,000

LITERATURE:

LITERATURE:

Sabatier 16

Sabatier 15

$26,000-42,000 €19,000-31,000

79

121 λ 121 FRANCIS BACON

Studies of the Human Body (Centre Panel) offset lithograph in colours, 1980, on Arches wove paper, signed in green felt-tip pen, numbered 201 /250, published by Marlborough Gallery, New York, the full sheet, in very good condition L. 890 x 660 mm., S. 1013 x 660 mm.

£5,000-7,000  

$8,500-12,000 €6,300-8,800

LITERATURE:

Sabatier 34

λ 122 122

FRANCIS BACON

Study of a Human Body after Ingres lithograph in colours, 1984, on Arches wove paper, signed in pencil, numbered 35/180, published by Galerie Lelong, Paris, the full sheet, in very good condition L. 620 x 461 mm., mm. , S. S. 890 x 605 6 05 mm.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

Sabatier 19

λ 123 123

FRANCIS BACON

Right Panel, from: Tripty riptych ch etching with aquatint in colours, 1981, on Guarro wove paper, signed in pencil, numbered 50/99 (there were also 15 artist’s proofs), published by Polígrafa, Barcelona, the full sheet, some soft creasing in the upper margin, generally in good condition P. 289 x 296 mm., S. 641 x 500 mm.

£4,000-6,000   LITERATURE:

Sabatier 4

80

$6,800-10,000 €5,100-7,500

λ 124 124

FRANCIS BACON

Study for a Bullfight B ullfight No. 1 lithograph in colours, 1971, on wove paper, signed in green felt-tip pen, numbered 7/150, published by Musée du Grand Palais, Paris, probably the full sheet, the signature faded, light and time staining, the colours attenuated, framed L. 11 1150 x 1265 12 65 mm., mm ., S. 1200 x 1580 mm.

£20,000-30,000  

$34,000-51,000 €26,000-38,000

LITERATURE:

Sabatier 10

81

125 λ 125

126 λ 126

FRANCIS BACON

FRANCIS BACON

Metropoli tan Tripty Metropolitan riptych ch three etchings with aquatint in colours printed on one sheet, 1981, on Guarro wove paper, signed in pencil, numbered 48/99 (there were also 15 hors commerce  impressions  impressions and 5 artist’s proofs), published by Polígrafa, Barcelona, the full sheet, in good condition P. 390 x 300 30 0 mm. mm . (each), (each) , S. 625 x 1100 mm. m m.

Second Version, Version, Tripty riptych ch 1944 the set of three lithographs in colours, 1989, on Arches wove paper, each signed in pencil, numbered 31/60 (there were also 23 hors commerce  impressions  impressions and eight artist’s proofs), published by Michel Archimbaud for Librairie Séguier for IRCAM, Centre Pompidou, Paris, the full sheets, in very good condition L. 625 x 460 mm., S. 755 x 560 mm.

£8,000-12,000   LITERATURE:

Sabatier 4

$14,000-20,000 €11,000-15,000

£15,000-20,000   LITERATURE:

Sabatier 24

82

$26,000-34,000 €19,000-25,000

λ 127 127

FRANCIS BACON

Three Studies of the male Back the set of three lithographs in colours, 1987, on Arches wove paper, each signed in pencil, inscribed H.C. , a set of hors commerce impressions aside from the edition of 99, published by Michael Peppiatt for Art International, Paris, the full sheets, a short tear at the centre right sheet edge of the central panel, otherwise in very good condition, each framed L. 606 x 450 mm., S. 810 x 592 mm. (each)   (3)

£12,000-18,000  

$21,000-30,000 €16,000-23,000

LITERATURE:

Sabatier 21

128 λ 128 FRANCIS BACON

Logique de la sensation lithograph in colours, 1981, on wove paper, signed in pencil, numbered 122/150 (there were also 25 copies numbered in Roman numerals), printed by Arts Litho, Paris, with their blindstamp, published by Éditions de la Différence, Paris, the full sheet, in very good condition L., S. 448 x 330 mm.

£6,000-8,000  

$11,000-13,000 €7,600-10,000

LITERATURE:

Sabatier 28

λ 129 129

FRANCIS BACON

Study for a Portrait of John Edwards lithograph in colours, 1987, on Arches wove paper, signed in pencil, numbered 53/180, published by Galerie Lelong, Paris, the full sheet, in  very good condition L. 680 x 505 mm., S. 950 x 680 mm.

£6,000-8,000  

$11,000-13,000 €7,600-10,000

LITERATURE:

Sabatier 22

83

λ  *130  *130

LUCIAN FREUD (1922-2011)

Head of a Man etching, 1986-87, on BFK Rives wove paper, initialled in pencil, numbered 13/20 (there were also six artist’s proofs), co-published by  James Kirkman, London, and Brooke Alexander, New York, the full sheet, a deckle edge at left, in very good condition, framed P. 226 x 183 mm., S. 505 x 435 mm.

£20,000-30,000   LITERATURE:

Hartley 29; Figura 66

λ 131 131

DAVID HOCKNEY (B. 1937)

Picture of Melrose Avenue in an ornate Gold Frame, F rame,  from: A Hollywood Hollywood Collection lithograph in colours, colours, 1965, on Rives BFK wove paper, signed signed in pencil, numbered 12/85 (there were also 12 artist’s proofs and four trial proofs), published by Editions Alecto, London, printed by Gemini Ltd., Los Angeles, with their stamps on the reverse, the full sheet, a couple of spots touched in with black ink in the frame at lower right, pale backboard staining, otherwise in good condition, framed L., S. 767 x 565 mm.

£4,000-6,000   LITERATURE:

Scottish Arts Council, Tokyo 44

84

$6,800-10,000 €5,100-7,500

$34,000-51,000 €26,000-38,000

λ 132 132

DAVID HOCKNEY

Conversation in the Studio, Stud io,  from:The Moving Moving Focus Focus Series Series lithograph in colours, 1984, on TGL handmade paper, signed and dated in pencil, numbered 7/45 (there were also 12 artist’s proofs), published by Tyler Graphics, Inc., Bedford, New York, with their blindstamp, the full sheet, in very good condition, in the artist’s original painted frame S. 620 x 730 mm., m m., F. F. 675 x 800 mm.

£8,000-12,000  

$14,000-20,000 €11,000-15,000

LITERATURE:

Tokyo 260; Tyler 271

133 JIM DINE (B. 1935)

Five plates from: Dutch Hearts five lithographs in colours with collage, 1970, on Hodgkinson handmade paper, each signed in pencil, numbered 2/85 (there were also 15 artist’s proofs), published by Petersburg Press, London, the full sheets, hinged to a white paper support, generally in  very good condition S. 425 x 512 mm. (and similar) simi lar)   (5)

£4,000-6,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

Williams College 3,4, 5, 6, 9

85

∆134

ALBERTO BURRI (1915-1995)

Bianchi e neri I: A-F  the complete set of six lithographs with embossing and acetate collage, 1969, on Fabriano Rosaspina paper, each signed in pencil, inscribed buono di stampa (there was also the edition of ninety and 15 artist’s proofs), printed and published by Stamperia 2RC, Rome, with their blindstamp, the full sheets, all with minor surface dirt and creasing, otherwise in good condition, framed   L. 530 530 x 400 mm., mm ., S. 640 x 485 mm. (and similar) sim ilar)

£6,000-8,000  

(6)

$11,000-13,000 €7,600-10,000

PROVENANCE:

From the Archives of The Stamperia d’Arte 2RC, Rome. The use of acetate was experimental and this particular type has yellowed to a warmer colour over time. The numbered edition was created with a variation of this acetate that was less prone to discolouration. One impression is dated ‘68.

135 λ 135 ALBERTO BURRI

Bianchi e neri II: A-F  the complete set of six lithographs with embossing and acetate collage, 1970, on Fabriano Rosaspina paper, each signed in pencil, numbered 20/90 (there were also 15 artist’s proofs), printed and published by Stamperia 2RC, Rome, with their blindstamp, the full sheets, all six with scattered foxing, otherwise in good condition, framed L. 520 x 300 mm., S. 640 x 480 mm. m m. (and similar) simila r)   (6)

£6,000-8,000   86

$11,000-13,000 €7,600-10,000

∆136

137 λ 137

ALBERTO BURRI

ALBERTO BURRI

Combustione 1-6  the complete set of six etchings and aquatints, 1965-68, on Fabriano Rosaspina paper, each signed in p encil, inscribed ‘buono di stampa’ (there was also the edition of ninety and 15 artist’s proofs), printed and published by Stamperia 2RC, Rome, with their blindstamp, the full sheets, in generally good condition, framed   (6) P. 380 x 310 mm., S. 640 x 485 mm. (and similar)

Cretto C  etching and aquatint with embossing, 1971, on Fabriano Rosaspina paper, signed in pencil, numbered 47/90 (there were also 15 artist’s proofs), printed and published by Stamperia 2RC, Rome, the full sheet, in good condition, framed S. 660 x 955 mm.

£15,000-25,000  

$26,000-42,000 €19,000-31,000

£5,000-7,000  

$8,500-12,000 €6,300-8,800

PROVENANCE:

From the Archives of The Stamperia d’Arte 2RC, Rome

87

138 λ 138 AFTER LUCIO FONTANA (1899-1968)

Concetto Spaziale (fuchsia) multiple in fuchsia plastic, 1968, from the edition of unkown size, published by Editions Gustavo Gili and Galeria René Métras, Barcelona, faint scuffing, otherwise in good condition, framed; together with the accompanying booklet Ugo Malas: Lucio Fontana Fotografias, and the original white presentation cardboard box with the artist’s name printed in black (multiple) 295 x 295 x 20 mm. (multiple)

£4,000-6,000

$6,800-10,000 €5,100-7,500

λ 139 139

AFTER LUCIO FONTANA

Concetto Spaziale (red) multiple in red plastic, 1968, from the edition of unkown size, published by Editions Gustavo Gili and Galeria René Métras, Barcelona some minor scuffs; together with the accompanying booklet Ugo Malas: Lucio Fontana - Fotografias, and the original white presentation cardboard box with the artist’s name printed in black (multiple) 295 x 295 x 20 mm. (multiple)

£3,000-5,000

$5,100-8,400 €3,800-6,300

λ 140 140

AFTER LUCIO FONTANA

Concetto Spaziale (white) multiple in white plastic, 1968, from the edition of unknown size, published by Editions Gustavo Gili and Galeria René Métras, Barcelona, in good condition; together with the accompanying booklet Ugo Malas: Lucio Fontana - Fotografias , and the original white presentation cardboard box with the artist’s name printed in black (multiple) 295 x 295 x 20 mm. (multiple)

£3,000-5,000

88

$5,100-8,400 €3,800-6,300

λ 141 141

EDUARDO CHILLIDA (1924-2002)

 Aldikatu IV  etching, 1973, on Guarro wove paper, watermark La Cometa, signed and inscribed H.C. in pencil, an hors commerce impression aside from the edition of 75 (there were also four artist’s proofs), published by Editorial Gustavo Gili - Las Estampas d e la Cometa, Barcelona, the full sheet, in good condition P. 448 x 696 69 6 mm., mm. , S. 101 10100 x 760 76 0 mm.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

Koelen 72012

142 λ 142 EDUARDO CHILLIDA

 Jorge Guillén, Guillén, Mas Allá the complete portfolio including 16 woodcuts printed in black, and three with embossing only, 1973, on heavy Auvergne wove paper, horstexte , with title, justification and text in Spanish and French, signed on the justification by the artist and author, copy number 37 from the deluxe edition of fifty (the total edition was 150), with the additional suite of the 16 woodcuts on Bun Koshi Japan paper, all signed and numbered 37/50 in pencil, published by Maeght, Paris; the full sheets, in very good condition, within the original textured Auvergne paper wrappers, the text volume with the cover vi gnette printed in black on the front, all within the original textured Auvergne paper-covered box with a vignette embossed on the front and embossed title and names of the artist and author on the spine (portfolio) 420 x 350 x 65 mm. (overall)

£12,000-18,000  

$21,000-30,000 €16,000-23,000

LITERATURE:

Koelen 73024-73039

89

143 DONALD JUDD (1928-1994)

Untitled  the complete set of ten woodcuts printed in ultramarine blue, 1988, on Okawara paper, each signed in pencil on the reverse, numbered 5/25, published by Brooke Alexander Editions, New York, printed by Derrière L’Etoile Studios, New York, the full sheets, in excellent condition, framed   (10) S. 600 x 800 mm. (each)

£60,000-80,000   LITERATURE:

Schellmann 167-176

90

$110,000-130,000 €76,000-100,000

‘Art has long had separate parts but the best work has become, with time and difficulty difficulty,,  preeminent. This is now threatened. An old example from the ‘50’s of categorization is  printmaking. It was completely completely separate from art in general and had its own masters…Printmaking  seemed to be dead forever forever.. Yet Yet in the ‘60’s ‘60’s it was revived by several painters and is now now,, again, a  serious form of art.’  Donald Judd, A Long Discussion, Not about Master-pieces Master -pieces but Why There Are so Few of Them: Part II , First published in: Art in America, October 1984, pp. 9-15; reprinted in: Art Monthly,, February 1985, pp. 3-9. Monthly

144 DONALD JUDD

Untitled  the complete set of four woodcuts in cadmium red, 1991-1994, on laid Misumata Japan paper, each with the artist’s estate stamp verso, numbered AP 3/3, a set of artist’s proofs aside from the edition of ten (Schellmann calls for two artist’s proof sets), published by Brooke Alexander Editions, New York, printed by Derrière L’Etoile Studios, New York, the full sheets, in excellent condition, framed   (4) B. 635 x 960 mm., S. 670 x 995 mm. (each)

£25,000-35,000   LITERATURE:

Schellmann 223-226 92

$43,000-59,000 €32,000-44,000

145 DONALD JUDD

Untitled  the complete set of four woodcuts in cadmium yellow, 1991-1994, on laid Misumata  Japan paper, each with the artist’s estate stamp verso, numbered 2/15, published by Brooke Alexander Editions, New York, printed by Derrière L’Etoile Studios, New York, the full sheets, in excellent condition, framed B. 635 x 960 mm., S. 670 x 995 mm. (each)   (4)

£20,000-30,000  

$34,000-51,000 €26,000-38,000

LITERATURE:

Schellmann 235-238 93

THE COLLECTION OF PETER BENDIXEN

146 ANDY WARHOL (1928-1987)

Liz offset lithograph in colours, 1964, on wove paper, signed and dated in ball-point pen, from the edition of approximately three hundred, published by Leo Castelli Gallery, New York, the full sheet, the colours slightly attenuated, some very minor creases at the sheet corners, a few pale moisture stains at the left sheet edge, otherwise in good condition L. 558 x 558 mm., mm ., S. 586 x 585 mm.

£25,000-35,000   LITERATURE:

Feldman & Schellmann II.7

94

$43,000-59,000 €32,000-44,000

147 PORTFOLIO

11 Pop Ar tist tists, s,Volum olumee I  the complete portfolio of eleven prints in various media in colours, 1965, on various papers, with title, introduction and  justification pages, the print by Warhol stamp-signed stamp-signed (as issued), the others signed signed and numbered 12/200 12/200 (there were also fifty artist’s proof sets), published by Original Editions, New York, generally in very good condition, the mount of the Wesselmann relief slightly scuffed and with surface dirt, within the original coral cloth-covered box with title printed in purple (portfolio) 630 x 525 mm. m m. (overall) (overall)

£20,000-30,000  

$34,000-51,000 €26,000-38,000

The portfolio includes: Allan D’Archangelo, D’Archangelo , Landscape I ; Jim Dine , Awl (M. 35); Allen Jones, Jones , Miss America; Gerald Laing, Laing, Compact; Roy Lichtenstein, Lichtenstein, Phillips , Custom Print I ; Mel Ramos, Chic ; James Rosenquist, Rosenquist , Circles of Confusion (G. 10); Moonscape (C. 37); Peter Phillips, Andy Warhol, Warhol,  Jacqueline Kennedy Wesley , Maiden ; and Tom Wesselmann, Wesselmann , Cut-out Nude. Kennedy I (F. & S. II.13); John Wesley,

95

148 ROY LICHTENSTEIN (1923-1997)

Crak!  offset lithograph in colours, 1963-64, on thin wove paper, signed and dated 1964 in pencil, numbered 216/300, published by Leo Castelli Gallery, New York, the colours strong and fresh, the paper slightly toned, a tiny pale stain in the signature, otherwise in  very good condition L. 474 474 x 686 mm., m m., S. 490 x 704 mm. mm .

£8,000-12,000 $14,000-20,000   €11,000-15,000 LITERATURE:

Corlett II.2

149 ROY LICHTENSTEIN

Shipboard Girl  offset lithograph in colours, 1965, on thin wove paper, signed in pencil, from the edition of unknown size, published by Leo Castelli Gallery, New York, the full sheet, the colours very fresh and bright, in very good condition L. 660 x 485 mm., S. 690 x 515 mm.

£20,000-30,000   LITERATURE:

Corlett II.6

96

$34,000-51,000 €26,000-38,000

150 ROY LICHTENSTEIN

Sweet Dreams Baby!, from: 11 Pop Artists, Art ists,Volume III  screenprint in colours, 1965, on wove paper, signed in pencil, numbered 89/200 (there were also fifty impressions numbered in Roman numerals and approximately five artist’s proofs), published by Original Editions, New York, the full sheet, the colours slightly darkened but still strong, a hairline ink crack at lower left, overall in very good condition L. 907 x 651 mm. S. 957 x 702 mm.

£50,000-70,000  

$85,000-120,000 €63,000-88,000

LITERATURE:

Corlett 39

97

151 ROY LICHTENSTEIN

Foot and Hand  offset lithograph in colours, 1964, on wove paper, signed and dated in pencil, from the edition of unknown size, published by Leo Castelli Gallery, New York, the full sheet, the colours attenuated, the paper toned, pinholes at the sheet corners, adhesive tape stains at the lower left and right corners, a crease and faint cracking to the ink at the upper left corner  L. 422 x 532 mm., S. 438 x 547 mm.

£3,000-5,000  

$5,100-8,400 €3,800-6,300

LITERATURE:

Corlett II.4

152 ROY LICHTENSTEIN

Brushstrokes screenprint in colours, 1967, on wove paper, signed in pencil, not numbered (a proof aside from the edition of three hundred), published by Leo Castelli Gallery, New  York, for the Pasadena Pasadena Art Museum, California, with margins, the sheet reduced in width, the occasional faint scuffs in the matt black areas, framed I. 556 x 762 mm., S. 584 x 787 mm.

£6,000-8,000  

$11,000-13,000 €7,600-10,000

LITERATURE:

Corlett 45

FOR OTHER IMPORTANT PRINTS FROM THE PETER BENDIXEN COLLECTION, PL EASE SEE LOTS 180-183 OF THIS CATALOGUE. OTHER WORKS FROM THE COLLECTION WILL ALSO BE OFFERED IN THE SALE AT SOUTH KENSINGTON ON 18 SEPTEMBER 2014 AND IN THE SALES OF POST-WAR AND CONTEMPORARY ART IN AMSTERDAM ON 4 AND 5 NOVEMBER 2014.

98

VARIOUS PROPERTIES

*153 ROY LICHTENSTEIN

Crying Girl  offset lithograph in colours, 1963, on wove paper, signed in pencil, from the edition of unknown size, published by Leo Castelli Gallery, New York, the full sheet, the colours very slightly attenuated, pinholes at the sheet corners, otherwise in very good condition, framed L. 438 x 590 mm., S. 463 x 614 mm.

£25,000-35,000  

$43,000-59,000 €32,000-44,000

LITERATURE:

Corlett II.1

99

*154 ROY LICHTENSTEIN

Rever ie, from: 11 Pop Artist Reverie, Art ists, s,Volum olumee II  screenprint in colours, 1965, on wove paper, signed in pencil, numbered 192/200 (there were also fifty impressions numbered in Roman numerals and approximately five artist’s proofs), published by Original Editions, New York, with margins, the sheet f ractionally reduced below, the red slightly attenuated, minor scuffing, otherwise in good condition, framed I. 687 x 583 mm., mm. , S. 750 x 610 mm.

£50,000-70,000   LITERATURE:

Corlett 38 100

$85,000-120,000 €63,000-88,000

155 ROY LICHTENSTEIN

Bedroom, from: Interior Series woodcut and screenprint in colours, 1990, on Museum Board, signed and dated in pencil, numbered 37/60 (there were also 14 artist’s proofs), published by Gemini G.E.L., Los Angeles, 1991, with their blindstamps, the full sheet, apparently in very good condition, not examined out of the frame I. 1292 x 1846 mm., S. 1442 x 1994 mm.

£20,000-30,000  

$34,000-51,000 €26,000-38,000

LITERATURE:

Corlett 247

101

156 ROY LICHTENSTEIN

Two Nudes, from: Nude Series relief print in colours, 1994, on BFK Rives wove paper, signed and dated in pencil, numbered 18/40 (there were also 12 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York, with their blindstamp, the colours exceptionally fresh, the full sheet, in excellent condition, not examined out of the frame I. 1058 1058 x 891 8 91 mm., mm. , S. 1221 x 1047 mm. mm .

£100,000-150,000   LITERATURE:

Corlett 284

102

$170,000-250,000 €130,000-190,000

*157 ANDY WARHOL (1928-1987)

 A Gold Book the complete book including nineteen plates and the title page, 1957, comprising 13 offset lithographs on gold paper, four offset lithographs with hand-colouring on wove paper and two offset lithographs on wove paper, the full sheets, in a later cardboard binding with offset lithograph and handcoloured paper wrappers, with the artist’s estate stamps initialled in pencil T.J.H. and numbered PM20.0037 on the inside back page, occasional soft handling creases, minor nicks to the sheet edges, minor oxidisation to some of the gold sheets, generally in good condition (book) 385 x 295 x 10 mm. (overall)

£10,000-15,000   LITERATURE:

Feldman & Schellmann IV.106-124 104

$17,000-25,000 €13,000-19,000

158 ANDY WARHOL

Marilyn screenprint in colours, 1967, on wove paper, signed in pencil verso, stamp numbered 203/250 (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, the full sheet, the pink slightly attenuated, a few minor moisture stains at the lower sheet edge verso slightly showing through recto, generally in good condition, framed S. 916 x 916 mm.

£60,000-80,000  

$110,000-130,000 €76,000-100,000

LITERATURE:

Feldman & Schellmann II.28

105

159 ANDY WARHOL

Marilyn the complete set of ten screenprints in colours, 1967, on wove paper, each signed in pencil verso, stamp numbered 178/250 (there were also 26 artist’s proofs lettered A-Z), each with the Andy Warhol Authentication Board Board Stamp (numbered A118.107 - A127.107) verso, published by Factory Additions, New York, the full sheets, generally in very good condition I., S. 916 x 915 mm. (and similar)   (10)

£1,000,000-1,500,000   LITERATURE:

Feldman & Schellmann II.22-31

106

$1,700,000-2,500,000 €1,300,000-1,900,000

160 ANDY WARHOL

Marilyn screenprint in colours, 1967, on wove paper, signed with i nitials and dated in pencil verso verso,, stamp numbered 55/250 (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, the sheet fractionally reduced, re-touched printing defects in the glossy black ink at right, the signature and stamp numbering reinforced with grey wash, framed S. 910-13 x 910 mm.

£70,000-100,000   LITERATURE:

Feldman & Schellmann II.24

$120,000-170,000 €88,000-130,000

161 ANDY WARHOL

Mick Jagger  screenprint in colours, 1975, on Arches Aquarelle wove paper, signed in pencil by the artist and by Mick Jagger in black felt-tip pen, numbered 24/250 (there were also fifty artist’s proofs), published by Seabird Editions, London, with their stamp verso, the full sheet, a small pale yellow stain in the lower left corner, otherwise in good condition, framed S. 1110 x 734 mm.

£15,000-25,000  

$26,000-42,000 €19,000-31,000

LITERATURE:

Feldman & Schellmann 139

162 ANDY WARHOL

Mick Jagger  screenprint in colours, 1975, on Arches Aquarelle paper, signed in pencil by the artist and by Mick Jagger in red felt-tip pen (slightly faded), numbered 218/250 (there were also fifty artist’s proofs), published by Seabird Editions, London, with their stamp verso, the full sheet, with deckle edges above and below, the pink with several diagonal cracks, minor cracks in the orange and shiny green areas, the sheet slightly cockled due to hinging, otherwise in good condition, framed S. 1106 1106 x 734 mm. mm .

£15,000-25,000  

$26,000-42,000 €19,000-31,000

LITERATURE:

Feldman & Schellmann II.140

109

163 ANDY WARHOL

Hammer and Sickle  the complete set of four screenrpints in colours, 1977, on Strathmore Bristol paper, all signed, inscribed and numberd ‘A.P. 3/10’, an artist’s proof set aside from the edition of fifty, published by Andy Warhol Enterprises Inc., New York, the full sheets, some time staining, F. & S. 163 with foxing, otherwise in good condition   (4) S. 765 x 1017 mm.

£30,000-40,000

$51,000-67,000 €38,000-50,000

LITERATURE:

Feldman & Schellmann II.161-164 ‘Everybody’s always asking me if I am a communist because I’ve done Mao. So now I’m doing ‘Everybody’s  Andy Warhol, Giant Size, Phaidon, hammers and sickles for Communism, and skulls for Fascism’  Andy New York, 2006, p. 528.

110

164 ANDY WARHOL

Red Lenin screenprint in colours, 1987, on Arches wove paper, signed on the reverse by the executor of the Andy Warhol Estate, with their stamped authentication certificate, numbered 89/120 (there were also 24 artist’s proofs) published b y the artist’s estate, New York, printed by Rupert  Jasen Smith, Smith, New York, with his blindstamp, the full sheet, in good condition, framed I., S. 1020 x 750 mm.

£50,000-70,000

$85,000-120,000 €63,000-88,000

LITERATURE:

Feldman & Schellmann II.403

*165 ANDY WARHOL

$ (1) unique screenprint in colours, 1982, on Lenox Museum Board, signed in pencil, numbered 51/60, from the edition of sixty unique variants (there were also ten artist’s proofs and 15 trial proofs), printed by Rupert Jasen Smith, with his blindstamp, with the artist’s copyright stamp on the reverse, the full sheet, in very good condition, framed I., S. 501 x 398 mm.

£20,000-30,000

$34,000-51,000 €26,000-38,000

LITERATURE:

Feldman & Schellmann II.278

111

°♦*166

ANDY WARHOL

Rebel without a Cause (James (Jame s Dean), from: Ads unique screenprint in colours, 1985, on Lenox Museum Board, numbered in pencil TP 9/30, a unique trial proof aside from the standard edition of 190, printed by Rupert Jasen Smith, New York, with his blindstamp, the full sheet, some minor ink cracks at lower right and left corners, tightly hinged to the backboard, framed I., S. 965 x 965 mm.

£60,000-80,000

$110,000-130,000 €76,000-100,000

LITERATURE:

Feldman & Schellmann II.355 Due to the way the work is attached to the backboard we are unable to verify the artist’s s tamp and the stamp of the Andy Warhol Authentication Board verso, nor the Warner Bros. copyright stamp, or the Ronald Feldman Fine Arts, Inc., New York copyright inkstamp on the reverse.

112

167 ANDY WARHOL

The Star, from: Myths screenprint in colours with diamond dust, 1981, on Lenox Museum Board, signed in pencil, numbered 64/200 (there were also thirty artist’s proofs), published by Ronald Feldman, New York, 1981, with the artist’s copyright stamp and the publisher’s stamp verso, printed by Rupert Jasen Smith, New  York, with his blindstamp, the full sheet, in  very good condition, framed framed I., S. 965 x 965 mm.

£30,000-50,000

$51,000-84,000 €38,000-63,000

LITERATURE:

Feldman & Schellmann II.258

168 ANDY WARHOL

 Annie Oakley Oakley,, from: Cowboy Cowboyss and Indians screenprint in colours, 1986, on Lenox Museum Board, signed in pencil, numbered IX/X, a proof aside from the edition of 250, published by Gaultney, Klineman Art, Inc., New York, with their stamp and the artist’s copyright stamp on the reverse, printed by Rupert Jasen Smith, New York, with his blindstamp, the full sheet, in very good condition, framed I., S. 915 x 915 mm.

£12,000-18,000

$21,000-30,000 €16,000-23,000

LITERATURE:

Feldman & Schellmann II.378

113

169 ANDY WARHOL

Blackg lama, from: Ads Blackglama, screenprint in colours, 1985, on Lenox Museum Board, signed in pencil, numbered 127/190 (there were also thirty artist’s proofs), published by Ronald Feldman, New York, with his stamp and with the artist’s copyright stamp on the reverse, the full sheet, generally in very good condition, framed I., S. 964 x 964 mm.

£8,000-12,000  

$14,000-20,000 €11,000-15,000

LITERATURE:

Feldman & Schellmann II.351

170 ANDY WARHOL

Howdy Doody, from: Myths screenprint in colours with diamond dust, 1982, on Lenox Museum Board, signed in pencil, numbered AP 21 /30 (an artist’s proof aside from the edition of two hundred), published by Ronald Feldman, New York, with his stamp and the artist’s copyright stamp on the reverse, printed by Rupert Jasen Smith, with his blindstamp, the full sheet, very minor ink cracks at the corners, generally in very good condition I., S. 965 x 965 mm.

£12,000-18,000  

$21,000-30,000 €16,000-23,000

LITERATURE:

Feldman & Schellmann II.263

171 ANDY WARHOL

Speed Skater  screenprint in colours, 1983, on Arches wove paper, signed in pencil and numbered XCVII/CL (there were also ten artist’s proofs and a deluxe edition of fifty), published for the  Art and Sports portfolio by Visconti Art Spectrum, Vienna, printed by Rupert Jasen Smith, with his blindstamp, New York, the full sheet, in very good condition, framed S. 853 x 620 mm.

£5,000-7,000   LITERATURE:

Feldman & Schellmann II.303

114

$8,500-12,000 €6,300-8,800

172 ANDY WARHOL

Moonwalk screenprint in colours, 1987, on Lenox Museum Board, with the artist’s printed signature, numbered AP 3/31, an artist’s proof aside from the edition of 160, signed and numbered by the executor of the Andy Warhol Estate, the publisher Ronald Feldman and the printer Rupert Jasen Smith, New York, on the authentication certificate on the reverse, with the printer’s blindstamp, the full sheet, the colours bright and fresh, generally in  very good condition, framed framed I., S. 965 x 965 mm.

£30,000-50,000  

$51,000-84,000 €38,000-63,000

LITERATURE:

Feldman & Schellmann II.404

115

173 ANDY WARHOL

Madonna & Self-Portrait with Skeleton Arm (after Munch) unique screenprint in colours, 1984, on Lenox Museum Board, from a small, unnumbered edition of unique colour variants, with the artist’s estate stamp and the Andy Warhol Foundation stamps verso, numbered in pencil A129.989, printed by Rupert Jasen Smith, New  York, with with his blindstamp, the full sheet, sheet, in good condition, condition, framed S. 814 x 1016 mm.

£120,000-180,000

$210,000-300,000 €160,000-230,000

LITERATURE:

Feldman & Schellmann IIIA.62 Whenever Andy Warhol turned to art history for inspiration , he did so with the same obsession he had for the icons of pop culture: images which defined a celebrity, a moment in history, a social phenomenon. Piero della Francesca, Botticelli, Leonardo, Leonardo, Tischbein had all created images which had entered the public consciousness. It is no accident therefore that Warhol also turned to Edvard Munch’s works in search of images to be appropriated, to be ‘warholised’. ‘warholised’. Munch himself was a genius producer of iconic images, such as The Scream, which summed up a mood or sentiment and which, in the course of time, had become popular emblems of modern art. Based on Eduard Munch’s Munch’s two lithographs of 1895, 1895, Madonna and Self-Portrait  (both  (both of which are including in the sale; see lots 38 and 39), this double-portrait is amongst the most c omplex and inspired cases of such appropriation within Warhol’s printed oeuvre. Dominating the left side of this print in glowing red, hot pink and gold, is Madonna, Munch’s quintessential quintessential image of of overwhelming femininity. To her right is the illuminated face of Munch himself, staring sternly and defiantly ahead, seemingly ignoring the embodiment embodiment of seduction and ecstasy next to him. By placing both figures together on one picture plane, dramatically enlarging the images and c hanging Munch’s sombre palette into his own lurid screenprint inks, Warhol managed to visualise a multitude of questions usually only raised by art historians: Munch’s neurotic, fearful attitude towards women; the relation of the artist and muse; the impact of colour and format on a subject; and the effect of juxtaposing one work of art to another.

116

174 ANDY WARHOL

Camouflage  the complete set of eight screenprints in colours, 1987, on Lenox Museum Board, each signed in pencil on the reverse by the executor of the artist’s estate (Frederick Hughes), each numbered 19/80, published by the artist, New York, the full sheets, the colours  very fresh and vibrant, in very good condition, condition, framed I., S. 965 x 965 mm.   (8)

£100,000-150,000   LITERATURE:

Feldman & Schellmann II.406-413

118

$170,000-250,000 €130,000-190,000

175 TOM WESSELMANN (1931-2004)

Smoker Banner  shaped vinyl multiple in colours, 1971, from the edition of thirty, lacking the justification label on the reverse, published by Multiples Inc. New York, in good condition 1524 x 1524 mm. (overall)

£20,000-30,000  

$34,000-51,000 €26,000-38,000

LITERATURE:

Institute of Contemporary Art, Boston, Tom Wesselmann: Graphics 1964-1977 , 1978, p. 18-19 (exh.cat.)

120

176 TOM WESSELMANN

Great American American Nude Cut-Out  thinned Liquitex and pencil in colours, 1970, on die-cut museum board, signed and dated in pencil, numbered 11/100, published by the artist, re-mounted onto a black backboard (not on white mountboard as issued), the full sheet, in  very good condition, framed framed I., S. 333 x 425 mm. m m.

£4,000-6,000  

$6,800-10,000 €5,100-7,500

177 TOM WESSELMANN

Helen nude  screenprint in colours, 1981, on wove paper, signed and dated in pencil, numbered 38/150 (there were also 12 artist’s proofs), published by Transworld Art, New York, with their blindstamp, the full sheet, pale mount staining, a few nicks at the upper sheet edge, generally in good condition, framed I. 789 x 812 mm., mm ., S. 914 x 939 mm. m m.

£5,000-7,000  

$8,500-12,000 €6,300-8,800

121

THE PROPERTY OF A PRIVATE COLLECTION

178 KEITH HARING (1958-1990)

One plate from: Growing  screenprint in colours, 1988, on Lenox Museum Board, signed and dated in pencil, numbered 16/100, published by Martin Lawrence Editions, New York, with their copyright blindstamp, printed by Rupert Jasen Smith, New York, with his blindstamp, the full sheet, in very good condition I. 720 x 980 mm., S. 760 x 1020 mm.

£6,000-8,000  

$11,000-13,000 €7,600-10,000

LITERATURE:

Littmann p. 90

VARIOUS PROPERTIES °♦*179

KEITH HARING

Untitled  screenprint in colours, 1989, on canvas, signed in black ink on a label on the back, not numbered, a proof aside from the edition of sixty, in very good condition, framed 1955 x 200 mm. 19 m m.

£7,000-10,000   LITERATURE:

Littmann p. 153

122

$12,000-17,000 €8,800-13,000

THE PETER BENDIXEN COLLECTION

180 KEITH HARING

Three plates from: Untitled 1-6  three lithographs, 1982, on heavy wove paper, each signed and dated in red crayon, numbered 25/40, the full sheets, in very good condition L. 590 x 870 mm. (and smaller) sma ller)   (3) S. 643 x 917 mm. (each)

£5,000-7,000  

$8,500-12,000 €6,300-8,800

LITERATURE:

Littmann p. 20-21

123

181 PORTFOLIO

Ich kenne kein weekend  the complete portfolio including 18 prints and an assemblage by Joseph Beuys (bottle, book, suitcase), 1971-72, various media and on various papers, with title and justification sheet, copy number 88 from the edition 95, published by Galerie René Block, Berlin, the book (Immanuel Kant, Kritik der reinen Vernunft ) signed by Beuys in ink on the title page, stamped with the artist’s name and the portfolio title on the front, the prints all signed and numbered 88/95, all by artist within their original coloured paper folders, in very good condition, within the original black cloth-covered suitcase (slightly scuffed and worn) (portfolio) 665 x 515 x 105 mm. (overall)

£7,000-10,000  

$12,000-17,000 €8,800-13,000

The portfolio includes: Joseph Beuys, Beuys , ich kenne kein weekend , Maggi bottle, book, suitcase (S. 51); KP Brehmer, Brehmer , Testbild TV, five blockprints; KH Hödicke, Hödicke, Original und Fälschung, four screenprints; Peter Hutchinson, Hutchinson , Chess documentation no. 10, 1 screenprint; Arthur Köpke, Köpke, Glashaus (innen), Polke , Weekend I, II, III (B. & O. 21), three offset Glashaus (aussen), two screenprints; Sigmar Polke, lithographs; Wolf Vostell, Vostell , TV Ochsen, three screenprints.

124

182

182 λ 182

183 λ 183

GERHARD RICHTER (B. 1932)

GERHARD RICHTER

Four prints pri nts from: Schweizer Alpen I  four screenprints in colours including Motiv A 1, Motiv B 3 and two impressions of Motiv B 2, 1969, on card, all signed in pencil and stamped on the reverse, inscribed with the name of the subscriber in pencil verso, published by Griffelkunst-Vereinigung, Hamburg, printed by Hans H. Hotze, Essen, from the unnumbered edition of three hundred, the full sheets, a few scuffs and minor creases at the sheet edges, pale pinpoint foxing, generally in good condition (4) S. 694 x 694 mm.

Neun Objekte  the complete portfolio of nine offset lithographs, 1969, on wove paper, with title page and justification, all signed and dated in pencil, numbered 51/80, co-published by Galerie Heiner Friedrich and Verlag G. v. Pape, Munich, the full sheets, pinpoint foxmarks, otherwise in very good condition, within the original white cardboard portfolio (slightly worn and stained) (portfolio) 460 x 456 x 50 mm. (overall)

£8,000-12,000   LITERATURE:

$14,000-20,000 €11,000-15,000

£7,000-10,000  

$12,000-17,000 €8,800-13,000

LITERATURE:

Butin 26

Butin 20

183

125

VARIOUS PROPERTIES

184 JOSEPH BEUYS (1921-1986)

Four prints from: Suite Oath Hand (Suite Schwurhand) including: Woman running away with brain , etching printed in  gut zum Druck’, brown, 1957, on Arches paper, signed and inscribed ‘ gut titled and annotated verso, the bon à tirer impression; Calf with Children and Tent and Ray, 1950, aquatints and lithographs ( Tent and Ray with grey wash by the artist), on papier collé , both signed and titled verso, working proofs with extensive instructions for the printer; Wandering Chest 5, 1964, lithograph, a working proof with instructions recto; all before the edition of 75 published by Grafos Verlag, Vaduz, 1980, printed by Joan Barbarà, Barcelona, the full sheets, in very good condition P. 245 x 200 mm., S. 500 x 425 mm. (and smaller)   (4)

£2,500-3,500  

$4,300-5,900 €3,200-4,400

LITERATURE:

Schellmann 344, 351, 354, 359

185 JOSEPH BEUYS

Three prints from: Suite Oath Hand (Suite Schwurhand) including: Stag, Swan and Lightning and Queen Bee , three aquatints and lithographs in colours, 1960-1970, on  papier collé on grey Rives paper, two signed and inscribed gut zum Druck in pencil, the bon à tirer impressions before the edition of 75; Lightning and Queen Bee inscribed and dedicated ‘a.p. 2/5 für Joan Barbara ’ , an artist’s proof aside from the edition of 75 published by Grafos Verlag, Vaduz, 1980, printed by Joan Barbarà, Barcelona, the full sheets, all in good condition P. 595 x 395 mm., S. 760 x 565 mm. (and smaller)   (3)

£3,000-5,000  

$5,100-8,400 €3,800-6,300

LITERATURE:

Schellmann 345, 361, 363

186 JOSEPH BEUYS

Four prints pr ints from: Suite Circulation Time (Zirkulationszeit) including: Girl, etching, 1956, on Arches paper, inscribed ‘gut zum Dr uck’ in pencil, the bon à tirer impression; Girl, Honey pot and Cross of Saturn, three etchings, one with aquatint in colours and collage, 1949-1956, on grey Rives wove paper, all annotated in pencil with instructions to the printer, working proofs before the edition of 75 published by Grafos-Verlag, Vaduz, 1982, printed by Joan Barbarà, Barcelona, the full sheets, in very good condition   (4) P. 290 x 208 mm., S. 657 x 500 mm. (and smaller)

£2,000-3,000   LITERATURE:

Schellmann 420, cf. 420, 422, 437 126

$3,400-5,100 €2,600-3,800

187

187

188

JOSEPH BEUYS

JOSEPH BEUYS

Four prints pr ints from: Suite Circulation Time (Zirkulationsz (Zirkulationszeit) eit) including: Sea Angel Seal 2, Sea Angel Seal 3, Sea Angel Sperm Whale and Sea Angel Sea Cucumber , four etchings and aquatints in colours, 1948, on Arches paper, one on grey Rives paper, two inscribed ‘g ut zum Dr uck’, bon à tirer impressions, and two working proofs annotated with instructions to the printer, all before the edition of 75 published by Grafos-Verlag, Vaduz, 1982, printed by Joan Barbarà, Barcelona, the full sheets, in very good condition   (4) P. 170 x 263 mm., S. 570 x 455 mm. (and smaller)

Five print printss from: Suite Tears Tears (Suite Tränen) Tränen) including: Sheep’s Skeleton, Giant Goats, North Pole, Shaman’s Drum, and Virgin, five etchings, one with aquatint in colours, 1985, on chine collé  on  on grey Rives wove paper, all signed and  ‘gut zum Druck’ in pencil, some titled and annotated with inscribed  gut instructions to the printer, all bon à tirer  impressions  impressions before the edition of 75 published by Grafos Verlag, Vaduz, printed by Joan Barbarà, Barcelona, the full sheets, in very good condition   (5) P. 95 x 145 mm., S. 565 x 305 mm. (and smaller)

£4,000-6,000  

£5,000-7,000  

$6,800-10,000 €5,100-7,500

LITERATURE:

LITERATURE:

Schellmann 426-428, 430

Schellmann 528, 529, 530, 532, 533

$8,500-12,000 €6,300-8,800

188

127

λ 189 189

DAMIEN HIRST (B. 1965)

Tetrahydrocannabinol  etching in colours, 2004, on Hahnemühle etching paper, signed in pencil, numbered 30/115 on the reverse, published by The Paragon Press, London, the full sheet, in very good condition, framed P. 846 x 1778 mm., S. 1118 x 2007 mm.

£12,000-18,000   LITERATURE:

Paragon Catalogue Vol. III, p. 140-141 This lot has been authenticated by the Hirst Authentication Committee.

128

$21,000-30,000 €16,000-23,000

λ 190 190

GARY HUME (B. 1962)

Portraits the complete set of ten screenprints in colours, 1998, on sturdy wove paper, each signed and titled in pencil, from the edition of 36 (there were also ten artist’s proofs), published by The Paragon Press, London, the full sheets, in very good condition, each framed (lacking the title page, justification and portfolio case) I. 908 x 608 mm. mm . (and similar), simila r), S. S. 1084 1084 x 780 mm. (and similar) si milar)

£15,000-20,000  

$26,000-34,000 €19,000-25,000

LITERATURE:

Paragon catalogue, 1995-2000, p. 146-157

129

191

191

192

CHRISTOPHER WOOL (B. 1955)

CHRISTOPHER WOOL

Untitled  the complete set of six heliogravures, 1997, on white wove paper, each signed and dated in pencil verso, numbered 21/30, published by Portfolio Knust AG, Vienna, the full sheets, in very good condition (lacking the original grey fabric-covered folder)   (6) S. 647 x 502 mm.

Untitled  the complete set of five digital inkjet prints, 2003, on wove paper, each signed and dated in pencil, numbered 3/15, published by Sabine Knust Maximilian Verlag, Munich, the full sheets, in very good condition   (5) I. 451 x 301 mm., S. 481 x 328 mm. (each)

£5,000-7,000  

£15,000-20,000  

192

130

$8,500-12,000 €6,300-8,800

$26,000-34,000 €19,000-25,000

193 ELLEN GALLAGHER (B. 1965)

Ssblak!Ssblak! !Ssblakallblak! Ssblak!Ssblak!!Ssblakall blak! Wonder #9 the complete portfolio of ten mixed-media prints (etching, screenprint, lithography and embossing), 1998-2000, on  various papers, all initialled, initialled, dated, numbered 1/27 and inscribed with the plate number in pencil verso, plate VII signed and dated in pencil recto, with the colophon sheet, copy number 1/27 (there were also nine artist p roof sets), published by the LeRoy Neiman Center for Print Studies, Columbia University, New York, 2000, the full sheets, in excellent condition, all within the individual paper folders; with an additional presentation proof of plate I , all within the original beige cloth-covered portfolio box, in  very good condition (portfolio) (portfolio) Various formats, 960 x 690 (overall)

£10,000-15,000  

$17,000-25,000 €13,000-19,000

For images of all plates included in the portfolio please see the online catalogue at christies.com.

END OF SALE

Index

B

G

P

Bacon, F., 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129 Beckmann, M., 41, 42, 43, 44 Bernard, E., 35 Beuys, J., 184, 185, 186, 187, 188 Bonnard, P., 22, 25, 26, 27, 28, 29 Bresdin, R., 1, 2 Burri, A., 134, 135, 136, 137

Gallagher, E., 193 Gauguin, P., 36

Pechstein, M., 52 Picasso, P., 45, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104 Picasso, P. (after), 105, 106, 107 Villon, J., 105 Pissarro, C., 13, 14, 15, 16 Portfolio, 23, 24

C Campigli, M., 115 Chagall, M., 60, 61, 62, 63 Chagall, M. (after) Sorlier, C., 64 Chillida, E., 141, 142

D Dalí, S., 65, 66 Delaunay, R., 46 Denis, M., 32, 33 Dine, J., 133 Dix, O., 49

E Ensor, J., 6, 7, 8, 9, 10, 11, 12 Escher, M. C., 67, 68

F Feininger, L., 47, 48 Felixmüller, C., 50, 51 Freud, L., 130

132

H Haring, K., 178, 179, 180 Heckel, E., 58 Helleu, P. C., 20 Hirst, D., 189 Hockney, D., 131, 132 Hume, G., 190

 J  Judd, D., 143, 144, 145

K Kandinsky, W., 59 Kirchner, E. L., 53, 54, 55, 56, 57

L Laurens, H., 80, 81, 82 Lichtenstein, R., 148, 149, 150, 151, 152, 153, 154, 156

M Marcoussis, L., 83 Matisse, H., 109, 110, 111, 112, 113, 114 Miró, J., 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79 Moore, H., 117 Morandi, G., 116 Munch, E., 38, 39, 40

R Ranson, P. E., 37 Redon, O., 4, 5 Richter, G., 182, 183 Rippl-Rónai, J., 34 Rouault, G., 108

T Toulouse-Lautrec, H. de, 19

V Vuillard, E., 30, 31

W Warhol, A., 146, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174 Wesselmann, T., 175, 176, 177 Whistler, J. A. M., 17, 18 Wool, C., 191, 192

Important Notices and Explanation of Cataloguing Practice CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION From time to time, Christie’s may offer a lot which it owns in whole or in part. Such property is identified in the catalogue with the symbol ∆ next to its lot number. On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Such property is identified in the catalogue with the symbol º next to the lot number. This symbol will be used both in cases where Christie’s holds the financial interest on its own, and in cases where Christie’s has financed all or part of such interest through third parties. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk. The third party may also bid for the lot. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may incur a loss. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest at the front of the catalogue. In this catalogue, if property has a °♦ next to the lot number, Christies guarantee of a minimum price has been financed through third parties.

ALL DIMENSIONS ARE APPROXIMATE CONDITION Christie’s catalogues include references to condition only in descriptions of multiple works (such as prints, books and wine). For all other property, only alterations or replacement components are listed. Please contact the Specialist Department for a condition report on a particular lot. The nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.

PROPERTY INCORPORATING MATERIALS FROM ENDANGERED AND OTHER PROTECTED SPECIES Property made of or incorporating (irrespective of percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. Such material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whale bone and certain species of coral, together with Brazilian rosewood. Prospective purchasers are advised that several countries prohibit altogether the importation of property containing such materials, and that other countries require a permit (e.g., a CITES permit) from the relevant regulatory agencies in the countries of exportation as well as importation. Accordingly, clients should familiarise themselves with the relevant customs laws and regulations prior to bidding on any property with wildlife material if they intend to import the property into another country. Please note that it is the client’s responsibility to determine and satisfy the requirements of any applicable laws or regulations applying to the export or import of property containing endangered and other protected wildlife material. The inability of a client to export or import property containing endangered and other protected wildlife material is not a basis fo r cancellation or rescission of the sale. Please note also tha t lots containing potentially regulated wildlife material are marked as a convenience to our clients, but Christie’s does not accept liability for errors or for faili ng to mark lots containing protected or regulated species.

RECENT CHANGES TO IMPORTS OF ELEPHANT IVORY AND OTHER WILDLIFE MATERIAL INTO THE USA The USA has recently changed its policy on the import of property made of or containing elephant ivory. Only Asian Elephant ivory may be imported into the USA, and imports must be accompanied by DNA analysis and confirmation the object is more than 100 years old. We have not obtained a DNA analysis on any lot prior to sale and cannot indicate whether the elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any DNA analysis or other report required in connection with their proposed import of such property into the USA. The USA is also currently requiring all imports of property made of or containing wildlife material to be accompanied by a scientific confirmation of species and in some cases an additional confirmation of age. We have not obtained such confirmations prior to sale (unless specifically indicated) and buyers will be responsible for the costs costs of any such additional confirmations or opinions required for their proposed import into the USA. A buyer’s inability to export or import any lot containing elephant ivory or other wildlife material is not a basis for cancelling the purchase.

EXPLANATION OF CATALOGUING PRACTICE The following expressions with their accompanying explanations are used by Christie’s as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration. Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request. Name(s) or Recognised Designation of an Artist without any Qualification

In Christie’s opinion a work by the artist. *“Attributed to …” In Christie’s qualified opinion probably a work by the artist in whole or in part. *“Studio of …”/“Workshop of …” In Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision. *“Circle of …” In Christie’s qualified opinion a work of the period of the artist and showing his influence. *“Follower of …” In Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil. *“Manner of …” In Christie’s qualified opinion a work executed in the artist’s style but of a later date. *“After …” In Christie’s qualified opinion a copy (of any date) of a work of the artist. “Signed …”/“Dated …”/ “Inscribed …” In Christie’s qualified opinion the work has been signed/dated/inscribed signed/dated/in scribed by the artist. “With signature …”/“With date …”/ “With inscription …” In Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist. The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published. Prints The date given for Prints is the date (or approximate date when prefixed with ‘ca’) on which the matrix was worked and not necessarily the date when the impression was printed or published. Measurements are taken where possible, from the platemark (‘P’), otherwise they record the size of the sheet (‘S’) or the borderline of the subject (‘L’).

POST 1950 FURNITURE All items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or now offered solely as works of art. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993, the “Regulations”). Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered reupholstered,, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

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Buying at Christie’s CONDITIONS OF SALE

TELEPHONE BIDS

Christie’s Conditions of Sale and Limited Warranty are set out later in this catalogue. Bidders are strongly encouraged to read these as they set out the terms on which property is bought at auction.

Telephone bids cannot be accepted for lots estimated below £2,000. Arrangements must be confirmed with the Bid Department at least 24 hours prior to the auction at +44 (0)20 7389 2658 (London, King Street) or +44 (0)20 7752 3225 (London, South Kensington). Arrangements to bid in languages other than English must be made well in advance of the sale date. Telephone bids may be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversation.

ESTIMATES Estimates are based upon prices recently paid at auction for comparable property, condition, rarity, quality and provenance. Estimates are subject to revision. Buyers should not rely upon estimates as a representation or prediction of actual selling prices. Estimates do not include the buyer’s premium or VAT. Where “Estimate on Request” appears, please contact the Specialist Department for further information.

RESERVES The reserve is the confidential minimum price the consignor will accept and will not exceed the low pre-sale estimate. Lots that are not subject to a reserve are identified by the symbol • next to the lot number.

BUYER’S PREMIUM Christie’s charges a premium to the buyer on the final bid price of each lot sold at the following rates: 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot. VAT is payable on the premium at the applicable rate.

PRE-AUCTION VIEWING Pre-auction viewings are open to the public free of charge. Christie’s specialists are available to give advice and condition reports at viewings or by appointment.

BIDDER REGISTRATION Prospective buyers who have not previously bid or consigned with Christie’s should bring: • Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement. • Corporate clients: a certificate of incorporation. • For other business structures such as trusts, offshore companies or partnerships, please contact Christie’s Credit Department at + 44 (0)20 7839 2825 for advice on the information you should supply. • A financial reference in the form of a recent bank statement or a reference from your bank in line with your expected purchase level. Christie’s can supply a form of wording for the bank reference if necessary. • Persons registering to bid on behalf of someone who has not previously bid or consigned with Christie’s should bring identification documents not only for themselves but also for the party on whose behalf they are bidding, together with a signed letter of authorisation from that party. To allow sufficient time to process the information, new clients are encouraged to register at least 48 hours in advance of a sale. Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction. Clients who have not made a purchase from any Christie’s office within the last one year, and those wishing to spend more than on previous occasions, will be asked to supply a new bank reference. For assistance with references, please contact Christie’s Credit Department at +44 (0)20 7389 2862 (London, King Street) or at +44 (0)20 7752 3137 (London, South Kensington). We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid.

REGISTERING TO BID ON SOMEONE ELSE’S BEHALF Persons bidding on behalf of an existing client should bring a signed letter from the client authorising the bidder to act on the client’s behalf. Please note that Christie’s does not accept payments from third parties. Christie’s can only accept payment from the client, and not from the person bidding on their behalf.

BIDDING The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or by absentee written bids left with Christie’s in advance of the auction. The auctioneer may also execute bids on behalf of the seller up to the amount of the reserve. The auctioneer will not specifically identify bids placed on behalf of the seller. Under no circumstances will the auctioneer place any bid on behalf of the seller at or above the reserve. Bid steps are shown on the Absentee Bid Form at the back of this catalogue.

ABSENTEE BIDS Absentee bids are written instructions from prospective buyers directing Christie’s to bid on their behalf up to a maximum amount specified for each lot. Christie’s staff will attempt to execute an absentee bid at the lowest possible price, taking into account the reserve price. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. The auctioneer may execute absentee bids directly from the rostrum, clearly identifying these as “absentee bids”, “book bids”, “order bids” or “commission bids”. Absentee Bids Forms are available in this catalogue, at any Christie’s location, or online at christies.com.

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SUCCESSFUL BIDS While Invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges. Successful bidders will pay the price of the final bid plus premium plus any applicable VAT.

PAYMENT Buyers are expected to make payment for purchases immediately after the auction. To avoid delivery delays, prospective buyers are encouraged to supply bank or other suitable references before the auction. Please note that Christie’s will not accept payments for purchased Lots from any party other than the registered buyer. Lots purchased in London may be paid for in the following ways: wire transfer, credit card: Visa and MasterCard & American Express only (up to £25,000), and cash (up to £5,000 (subject to conditions)), bankers draft (subject to conditions) or cheque (must be drawn in GBP on a UK bank; clearance will take 5 to 10 business days). Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217 72 Lombard Street, London EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for international transfers, SWIFT LOYDGB2LCTY. For banks asking for an IBAN: GB81 LOYD 3000 0200 1727 10. Credit Card: Visa and MasterCard & American Express only A limit of £25,000 for credit card payments will apply. This limit is inclusive of the buyer’s premium and any applicable taxes. Credit card payments at London sale sites will only be accepted for London sales. Christie’s will not accept credit card payments for purchases made in any other sale site. The fax number to send completed CNP (Card Member not Present) authorisation forms to is +44 (0) 20 7389 2821. The number to call to make a CNP payment over the phone is +44 (0) 20 7752 3388. Alternatively, clients can mail the authorisation form to the address below. Cash is limited to £5,000 (subject to conditions). Bankers Draft should be made payable to Christie’s (subject to conditions). Cheques should be made payable to Christie’s (must be drawn in GBP on a UK bank, clearance will take 5 to 10 business days). In order to process your payment efficiently, please quote sale number, invoice number and client number with all transactions. All mailed payments should be sent to: Christie’s, Cashiers’ Department, 8 King Street, St James’s, London, SW1Y 6QT Please direct all inquiries to King Street Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863 or South Kensington Tel: +44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143

VAT † VAT payable at 20% on hammer price and buyer’s premium * These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction. Ω

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 20%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. Where applicable Customs duty will be charged (per rate specified by HMRC guidance) on the Hammer price and VAT will be payable at 20% on duty. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction. α Buyers from within the EU: VAT payable at 20% on just the buyer’s premium (NOT the hammer price). Buyers from outside the EU: VAT payable at 20% on hammer price and buyer’s premium. If a buyer, having registered under a non-EU address, decides that the item is not to be exported from the EU, then he should advise Christie’s to this effect immediately θ Zero rated No VAT charged.

 Auctioneers’ eers’ Margin Margin Scheme (no symbol) Auction In all other circumstances no VAT will be charged on the hammer price, but VAT payable at 20% will be added to the buyer’s premium which is invoiced on a VAT inclusive basis. Wine Auctions ‡ Stock offered duty-pai d, but available in bond. VAT at 20% on hammer price and buyer’s premium (wine only). VAT Refunds Refunds cannot be made where lots have been purchased with an inside EU address. Christie’s can only refund Import VAT (Lots with * or Ω symbol) if lots are exported within 30 days of collection. Valid export documents must be returned within the stipulated time frame. No refund will be paid out where the total amount is less than £100. UK & EU private buyers cannot reclaim VAT. Christie’s will charge £35 for each refund processed. For detailed information please see the leaflets available, or email [email protected] Where non-EU buyers have failed to export their lots outside of the EU within the required time, HM Revenue & Customs will not allow a VAT refund to be made. This is a requirement of UK legislation and Christie’s do not have discretion to make exceptions to the rule. UK and EU private buyers cannot reclaim any VAT charged.

ARTIST’S RESALE RIGHT (“DROIT DE SUITE”) If a lot is affected by this right it will be identified with the symbol λ  next  next to the lot number. The buyer agrees to pay to Christie’s an amount equal to the resale royalty. Resale royalty applies where the Hammer Price is 1,000 Euro or more and the amount cannot be more than 12,500 Euro per lot. The amount is calculated as follows: Royalty 4.00% 3.00% 1.00% 0.50% 0.25%

For the portion of the Hammer Price (in Euro) up to 50,000 between 50,000.01 and 200,000 between 200,000.01 and 350,000 between 350,000.01 and 500,000 in excess of 500,000

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/ Euro rate of exchange will be the European Central Bank reference rate on the day of the sale.

SHIPPING It is the buyer’s responsibility to pick up purchases or make all shipping arrangements. After payment has been made in full, Christie’s can arrange property packing and shipping at the buyer’s request and expense. Buyers should request an estimate for any large items or property of high value that require professional packing. A shipping form is enclosed with each invoice, alternatively buyers can visit www.christies.com/ shipping to request a shipping estimate. For more information please contact the Shipping Department at + 44 (0)20 7389 2712 or via [email protected] for both London, King Street and London, South Kensington sales.

EXPORT OF GOODS FROM THE EU If you are proposing to take purchased items outside the EU the following applies: Christie’s Art Transport: If you use Christie’s Art Transport you will not be required to pay the VAT at the time of settlement. Own Shipper: VAT will be charged on the invoice, refundable by the VAT Department upon receipt of the appropriate official documents sent to us by your shipper. Hand-Carried: VAT will be charged on the invoice.This will be refunded by the VAT Department upon receipt of the appropriate official document. *, Ω or † Starred, Omega or Daggered lots – A C88 can be obtained from Christie’s Shipping Department .This document must be stamped by UK Customs on leaving the UK. (no symbol) Margin Scheme – Please obtain a GB Tax Free form from the Cashiers. This document must be stamped by UK Customs on leaving the UK. Starred or Omega lots must be exported within 30 days of the date of collection. All other lots not subject to import VAT must be exported within three months of collection, and proof of export provided in the appropriate form.

EXPORT/IMPORT PERMITS Buyers should always check whether an export licence is required before exporting. exporting. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the rescission of any sale nor any delay in making full payment for the lot. Christie’s can advise buyers on the detailed provisions of the export licensing regulations and will submit any necessary export licence applications on request. However, Christie’s cannot ensure that a licence will be obtained. Local laws may prohibit the import of some property and/or may prohibit the resale of some property in the country of importation. For more information, please contact Christie’s Shipping Department at +44 (0)20 7389 2828 or the the Museums, Libraries and Archives Council: Acquisitions, Export and Loans Unit at +44 (0)20 7273 8269/8267. 20/11/13

Storage and Collection STORAGE AND COLLECTION All furniture and carpet lots (sold and unsold) not collected from Christie’s by 9.00 am on the day following the auction will be removed by Cadogan Tate Fine Art Logistics Ltd to their warehouse at: 241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected] [email protected].. While at King Street lots are available for collection on any working day, 9.00 am t o 4.30 pm. Once transferred to Cadogan Tate lots will be available for collection from the first working day following the day of their removal from King Street, 9.00 am to 5.00 pm Monday to Friday. To avoid waiting times on collection at Cadogan Tate, we advise that you contact Cadogan Tate directly, 24 hours in advance, prior to collection on +44 (0)800 988 6100.

EXTENDED LIABILITY CHARGE

POST-WAR & CONTEMPORARY ART

From the day of transfer of sold items to Cadogan Tate Fine Art Logistics Ltd, all such lots are automatically insured by Cadogan Tate Fine Art Logistics Ltd at the sum of the hammer price plus buyer’s premium. The Extended Liability Charge in this respect by Cadogan Tate Fine Art Logistics Ltd is 0.6% of the sum of the hammer price plus buyer’s premium or 100% of the handling and storage charges, whichever is smaller.

To avoid waiting times on collection, we kindly advise you to contact our Post-War & Contemporary Art dept 24 hours in advance on +44 (0)20 7389 2958

BOOKS Please note that all lots from book department sales will be stored at Christie’s King Street f or collection and not transferred to Cadogan Tate.

Christie’s Fine Art Storage Services (CFASS) also offers storage solutions for fine art, antiques and collectibles in New York and Singapore FreePort. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com for charges and other details.

PAYMENT

TRANSFER, STORAGE & RELATED CHARGES

Cadogan Tate Fine Art Logistics Ltd’s storage charges may be paid in advance or at the time of collection. Lots may only be released from Cadogan warehouse on production of the ‘Collection Order’ from Christie’s, 8 King Street, London SW1Y 6QT. The removal and/or storage by Cadogan Tate of any lots will be subject to their standard Conditions of Business, copies of which are available from Christie’s, 8 King Street, London SW1Y 6QT. Lots will not be released until all outstanding charges due to Christie’s and Cadogan Tate Fine Art Logistics Ltd are settled.

CHARGES PER LOT

FURNITURE / LARGE OBJECTS

PICTURES / SMALL OBJECTS

1-28 days after the auction

Free of Charge

Free of Charge

29th day onwards: Transfer Storage per day

£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

CADOGAN TATE FINE ART LOGISTICS LTD WAREHOUSE

241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0)800 988 6100 Email: collections@cadog [email protected] antate.com 10/06/14

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Conditions of Sale

These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms governing the legal relationship of Christie’s and the seller with the buyer. You should read them carefully before bidding.

1.

CHRISTIE’S AS AGENT

Except as otherwise stated Christie’s acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

2.

CATALOGUE DESCRIPTIONS AND CONDITION

Lots are sold as described and otherwise in the condition they are in at the time of the sale, on the following basis. (a) Condition The nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to  you in advance of bidding. (b) Cataloguing Practice Our cataloguing practice is explained in the Important Notices and Explanation of Cataloguing Practice, which appear after the catalogue entries. (c) Attribution, etc Any statements made by Christie’s about any lot, whether orally or in writing, concerning attribution to, for example, an artist, school, or country of origin, or history or provenance, or any date or period, are expressions of our opinion or belief. Our opinions and beliefs have been formed honestly and in accordance with the standard of care reasonably to be expected of an auction house of Christie’s standing, due regard having been had to the estimated value of the item and the nature of the auction in which it is included. It must be clearly understood, however, that, due to the nature of the auction process, we are unable to carry out exhaustive research of the kind undertaken by professional historians and scholars, and also that, as research develops and scholarship and expertise evolve, opinions on these matters may change. We therefore recommend that, particularly in the case of any item of significant  value, you seek advice on such matters matters from your own professional advisers. (d) Estimates Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose.

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(e) Fitness for Purpose Lots sold are enormously varied in terms of age, category and condition, and may be purchased for a variety of purposes. Unless otherwise specifically agreed, no promise is made that a lot is fit for any particular purpose.

(g) Video or digital images At some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image. We do not accept liability for such errors where they arise for reasons beyond our reasonable control.

3.

(h) Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. If any lots are not subject to a reserve, they will be identified with the symbol • next to the lot number. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

AT THE SALE

(a) Refusal of admission Christie’s has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid. (b) Registration before bidding Prospective buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom on the day of the sale approximately 30 minutes before the start of the sale to register in person. Prospective buyers must complete and sign a registration form with his or her name and permanent address, and provide identification before bidding. We may require the production of bank details from which payment will be made or other financial references. (c) Bidding as principal When making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Christie’s before the commencement commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Christie’s, and that Christie’s will only look to the principal for payment. (d) Absentee bids We will use reasonable efforts to carry out written bids delivered to us prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in the currency of the place of the sale. Please refer to the catalogue for the Absentee Bids Form. If we receive written bids on a particular lot for identical amounts, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and provided that we have exercised reasonable care in the handling of written bids, the volume of goods is such that we cannot accept liability in any individual instance for failing to execute a written bid or for errors and omissions in connection with it arising from circumstance circumstancess beyond our reasonable control. (e) Telephone bids If a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone but we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding arising from circumstances beyond our reasonable control. (f) Currency converter  At some auctions a currency converter may be operated. Errors may occur in the operation of the currency converter. Where these arise from circumstances beyond our reasonable control we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom.

(i) Auctioneer’s discretion The auctioneer has the right to exercise reasonable discretion in refusing any bid, advancing the bidding in such a manner as he may decide, withdrawing or dividing any lot, combining any two or more lots and, in the case of error or dispute, and whether during or after the sale, determining the successful bidder, continuing the bidding, cancelling the sale or reoffering and reselling the item in dispute. If any dispute arises after the sale, then, in the absence of any evidence to the contrary the sale record maintained by the auctioneer will be conclusive. (j) Successful bid and passing of risk Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes to the buyer at the expiration of seven calendar days from the date of the sale or on collection by the buyer if earlier.

4.

AFTER THE SALE

(a) Buyer’s premium In addition to the hammer price, the buyer agrees to pay to us the buyer’s premium together with any applicable value added tax. The buyer’s premium is 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot, VAT is payable at the applicable rate. (b) Artist’s Resale Right (“Droit de Suite”) If the Artist’s Resale Right Regulations 2006 apply to the lot the buyer also agrees to pay to us an amount equal to the resale royalty provided for in those Regulations. Lots affected are identified with the symbol λ  next  next to the lot number. (c) Payment and ownership The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes or resale royalty) immediately after the sale. This applies even if the buyer wishes to export the lot and an export licence is, or may be, required. The buyer will not acquire title to the lot until all amounts due to us from the buyer have been received by us in good cleared funds even in circumstance circumstancess where we have released the lot to the buyer. 09/08/13

(d) Collection of purchases We shall be entitled to retain items sold until all amounts due to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, worldwide, have been received in full in good cleared funds or until the buyer has performed any other outstanding obligations as we, in our sole discretion, shall require, including, for the avoidance of doubt, completing any anti-money laundering or anti-terrorism financing checks we may require to our satisfaction. In the event a buyer fails to complete any anti-money laundering or anti-terrorism financing checks to our satisfaction, Christie’s shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law. Subject to this, the buyer shall collect purchased lots within two calendar days from the date of the sale unless otherwise agreed between us and the buyer. (e) Packing, handling and shipping Although we shall use reasonable efforts to take care when handling, packing and shipping a purchased lot and in selecting third parties for these purposes, we are not responsible for the acts or omissions of any such third parties. Similarly, where we suggest other handlers, packers or carriers if so requested, our suggestions are made on the basis of our general experience of such parties in the past and we are not responsible to any person to whom we have made a recommendation for the acts or omissions of the third party concerned. (f) Export licence Unless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make payment immediately immediately after the sale nor our right to charge interest or storage charges on late payment. If the buyer requests us to apply for an export licence on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the buyer where payment is made by the buyer in circumstances where an export licence is required. (g) Remedies for non payment If the buyer fails to make payment in full in good cleared funds within 7 days after the sale, we shall have the right to exercise a number of legal rights and remedies. These include, but are not limited to, the following: (i) to charge interest at an annual rate equal to 5% above the base rate of Lloyds TSB Bank Plc; (ii) to hold the defaulting defaulting buyer buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iii) to cancel cancel the sale; (iv) to resell the property publicly publicly or privately privately on such terms as we shall think fit; (v) to pay the the seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting buyer; (vi) to set off against any amounts amounts which we, or Christie’s International plc, or any of its affiliates, subsidiaries or parent companies worldwide, may owe the buyer in any other transactions, the outstanding amount remaining unpaid by the buyer; (vii) where several amounts are owed by the buyer to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs;

(viii) to reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids; (ix) to exercise all the rights rights and remedies of a person holding security over any property in our possession owned by the buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The buyer will be deemed to have granted such security to us and we may retain such property as collateral security for such buyer’s obligations to us; (x) to take such such other action as we we deem necessary or appropriate. If we resell the property under paragraph (iv) above, the defaulting buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all reasonable costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the seller under paragraph (v) above, the buyer acknowledges that Christie’s shall have all of the rights of the seller, however arising, to pursue the buyer for such amount. (h) Failure to collect purchases Where purchases are not collected within two calendar days from the date of the sale, whether or not payment has been made, we shall be permitted to remove the property to a third party warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage, handling, and any other costs reasonably incurred, together with payment of all other amounts due to us. (i) Selling Property at Christie’s In addition to expenses such as transport, all consignors pay a commission according to a fixed scale of charges based upon the value of the property sold by the consignor at Christie’s in a calendar year. Commissions are charged on a sale by sale basis.

5. LIMITED WARRANTY In addition to Christie’s liability to buyers set out in clause 2 of these Conditions, but subject to the terms and conditions of this paragraph, Christie’s warrants for a period of five years from the date of the sale that any property described in headings printed in UPPER CASE TYPE (i.e. headings having all capital-letter type) in this catalogue (as such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship, is authentic and not a forgery. The term “author” or “authorship” refers to the creator of the property or to the period, culture, source or origin, as the case may be, with which the creation of such property is identified in the UPPER CASE description of the property in this catalogue. Only UPPER CASE TYPE headings of lots in this catalogue indicate what is being warranted by Christie’s. Christie’s warranty does not apply to supplemental material which appears below the UPPER CASE TYPE headings of each lot and Christie’s is not responsible for any errors or omissions in such material. The terms used in the headings are further explained in Important Notices and Explanation of Cataloguing Practice. The warranty does not apply to any heading which is stated to represent a qualified opinion. The warranty is subject to the following:

(i)

(ii)

(iii) (iv)

(v)

(vi)

6.

It does does not apply where where (a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts at the date of the sale or fairly indicated that there was a conflict of opinions; or (b) correct identification of a lot can be demonstrated only by means of either a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property. The benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Christie’s when the lot was sold at auction. The original buyer must must have remained the the owner of the lot without disposing of any interest in it to any third party. The buyer’s sole sole and exclusive exclusive remedy against Christie’s and the seller, in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot. Neither Christie’s nor the seller will be liable for any special, incidental or consequential damages including, without limitation, loss of profits nor for interest. The buyer must give written notice notice of claim claim to us within five years from the date of the auction. It is Christie’s general policy, and Christie’s shall have the right, to require the buyer to obtain the written opinions of two recognised experts in the field, mutually acceptable to Christie’s and the buyer, before Christie’s decides whether or not to cancel the sale under the warranty. The buyer must return return the lot to the the Christie’s saleroom at which it was purchased in the same condition as at the time of the sale.

COPYRIGHT

The copyright in all images, illustrations and written material produced by or for Christie’s relating to a lot including the contents of this catalogue, is and shall remain at all times the property of Christie’s and shall not be used by the buyer, nor by anyone else, without our prior written consent. Christie’s and the seller make no representation or warranty that the buyer of a property will acquire any copyright or other reproduction rights in it.

7.

SEVERABILITY

If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

8. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of England. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer shall be deemed to have submitted, for the benefit of Christie’s, to the exclusive jurisdiction of the courts of the United Kingdom.

05/01/10

137

WORLDWIDE SALEROOMS AND OFFICES   ARGENTINA BUENOS AIRES

+54 11 43 93 42 22 Cristina Carlisle

  CANADA   TORONTO

+1 416 960 2063 Brett Sherlock

  AUSTRALIA

  CHILE

  SYDNEY

  SANTIAGO

+61 (0)2 9326 1422 Ronan Sulich   AUSTRIA   VIENNA

+43 (0)1 533 8812 Angela Baillou   BELGIUM   BRUSSELS

+32 (0)2 512 88 30 Roland de Lathuy   BERMUDA   BERMUDA

+1 401 849 9222 Betsy Ray   BRAZIL RIO DE JANEIRO

+5521 2225 6553 Candida Sodre SÃO PAULO

+5511 3061 2576 Nathalie Lenci

+56 2 2 2631642 Denise Ratinoff de Lira   COLOMBIA   BOGOTA

+57 312 421 1509 Juanita Madrinan   DENMARK   COPENHAGEN

+45 3962 2377 Birgitta Hillingso (Consultant) + 45 2612 0092 Rikke Juel Brandt (Consultant) FINLAND AND THE BALTIC STATES   HELSINKI

+358 (0)9 608 212 Barbro Schauman (Consultant)   FRANCE BRITTANY AND THE LOIRE VALLEY

+33 (0)6 (0)6 09 44 90 78 Virginie Greggory (Consultant) GREATER EASTERN FRANCE

+33 (0)6 (0)6 07 16 34 25  Jean-Louis Janin Daviet (Consultant)

  INDIA s

PARIS

s

+33 (0)1 40 76 85 85 POITOU-CHARENTE AQUITAINE

+33 (0)5 (0)5 56 81 65 47   Marie-Cécile Moueix PROVENCE - ALPES CÔTE D’AZUR

+33 (0)6 (0)6 61 81 82 53 Dominique Pierron (Consultant)

+49 (0)21 (0)21 14 91 59 30 Arno Verkade   FRANKFURT

+49 (0)61 (0)61 74 20 94 85 Anja Schaller    HAMBURG

+49 (0)40 27 94 073 Christiane Gräfin zu Rantzau   MUNICH

+49 (0)89 (0)89 24 20 96 80 Marie Christine Gräfin Huyn   STUTTGART

+49 (0)71 (0)71 12 26 96 99 Eva Susanne Schweizer 

MEXICO CITY

+91 (22) 2280 7905 Sonal Singh

+52 55 5281 5503 Gabriela Lobo   MONACO

+377 97 97 11 00 Nancy Dotta

+91 (98) 1032 2399 Sanjay Sharma

THE NETHERLANDS

  INDONESIA   JAKARTA

+62 (0)21 7278 6268 Charmie Hamami Priscilla Tiara Masagung

s

TEL AVIV

PEOPLES REPUBLIC OF CHINA   BEIJING

+86 (0)10 8572 7900 s

+972 (0)3 695 0695 Roni Gilat-Baharaff 

s

MILAN

+39 02 303 2831   ROME

+39 06 686 3333 Marina Cicogna Business Development Director    JAPAN

HONG KONG

+852 2760 1766 s

  ITALY

AMSTERDAM

+31 (0)20 57 55 255

  ISRAEL

  GERMANY   DÜSSELDORF

MUMBAI

  DELHI

+33 (0)6 (0)6 71 99 97 67 Fabienne AlbertiniCohen RHÔNE ALPES

  MEXICO

SHANGHAI

+86 (0)21 6279 8773 Jinqing Cai   PORTUGAL   LISBON

+351 919 317 233 Mafalda Pereira Coutinho (Independent Consultant)

  TOKYO

+81 (0)3 6267 1766 Ryutaro Katayama   MALAYSIA KUALA LUMPUR

+60 3 6207 9230 Lim Meng Hong

NORD-PAS DE CALAIS

+33 (0)6 (0)6 09 63 21 02  Jean-Louis Brémilts (Consultant)

s

DENOTES SALEROOM ENQUIRIES? — Call the Saleroom or Office 

138

12/02/14

EMAIL — [email protected]

  RUSSIA

  SWEDEN

  MOSCOW

  STOCKHOLM

+7 495 937 6364 +44 20 7389 2318 Katya Vinokurova

+46 (0)70 5368 166 Marie Boettiger Kleman (Consultant) +46 (0)70 9369 201 Louise Dyhlén (Consultant)

  SINGAPORE   SINGAPORE

+65 6235 3828 Wen Li Tang SOUTH AFRICA

SWITZERLAND s

+41 (0)22 319 1766 Eveline de Proyart

CAPE TOWN

+27 (21) 761 2676  Juliet Lomberg Lomberg (Independent Consultant) DURBAN & JOHANNESBURG

+27 (31) 207 8247 Gillian Scott-Berni Scott-Berning ng (Independent Consultant) WESTERN CAPE

+27 (44) 533 5178   Annabelle Conyngham (Independent Consultant)

s

  TAIWAN TAIPEI

+886 2 2736 2736 3356 3356 Ada Ong   THAILAND   BANGKOK

s

LONDON, KING STREET

s

LONDON, SOUTH KENSINGTON

  NORTH

  SOUTH

SPAIN s

DUBAI

+971 (0)4 425 5647

  CHICAGO

+1 312 787 2765 Lisa Cavanaugh   DALLAS

+1 214 599 0735 Capera Ryan   HOUSTON

+44 (0)1730 814 300 Mark Wrey

+1 713 802 0191 Jessica Phifer 

  EAST

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

+44 (0)20 7752 3004 Jane Blood

LOS ANGELES

+1 310 385 2600   MIAMI

+1 305 445 1487 Jessica Katz   NEWPORT

+1 401 849 9222 Betsy D. Ray

  SCOTLAND

ISLE OF MAN

UNITED ARAB EMIRATES

+1 617 536 6000 Elizabeth M. Chapin

+44 (0)20 7752 3004 Thomas Scott

  ISTANBUL

+82 2 720 5266 Hye-Kyung Bae

  BOSTON

+44 (0)20 7930 6074

  TURKEY

+90 (532) 558 7514 Eda Kehale Argün (Consultant)

UNITED STATES

+44 (0)20 7839 9060

+44 (0)131 225 4756 Bernard Williams Robert Lagneau David Bowes-Lyon (Consultant)

+66 (0)2 652 1097 Yaovanee Nirandara Punchalee Phenjati

  SEOUL

+34 (0)93 487 8259

ZURICH

+41 (0)44 268 1010 Dr. Bertold Mueller 

SOUTH KOREA

  BARCELONA

GENEVA

UNITED KINGDOM

+44 (0)20 7389 2032 CHANNEL ISLANDS

+44 (0)1534 485 988 Melissa Bonn   IRELAND

+353 (0)59 86 24996 24996 Christine Ryall

s

NEW YORK

+1 212 636 2000 PALM BEACH

+1 561 833 6952 Maura Smith   PHILADELPHIA

+1 610 520 1590 Christie Lebano SAN FRANCISCO

+1 415 982 0982 Ellanor Notides

Carmen Schjaer 

  MADRID

+34 (0)91 532 6626 Juan Varez Dalia Padilla

For a complete salerooms & offices listing go to christies.com

11/09/13

139

Christie’s Specialist Departments and Services

DEPARTMENTS AMERICAN FURNITURE

NY: +1 212 636 2230 AMERICAN INDIAN ART

NY: +1 212 606 0536 AMERICAN PICTURES

NY: +1 212 636 2140 ANGLO-INDIAN ART

KS: +44 (0)20 7389 2570 ANTIQUITIES

SK: +44 (0)20 7752 3219

INDIAN CONTEMPORARY ART

KS: +44 (0)20 7389 2700 NY: +1 212 636 2189 INTERIORS

SK: +44 (0)20 7389 2236 NY: +1 212 636 2032 ISLAMIC WORKS OF ART

POSTERS PRINTS

KS: +44 (0)20 7389 2328 SK: +44 (0)20 7752 3109 PRIVATE COLLECTIONS AND COUNTRY HOUSE SALES

KS: +44 (0)20 7389 2700 SK: +44 (0)20 7752 3239

KS: +44 (0)20 7389 2343

JAPANESE WORKS OF ART

KS: +44 (0)20 7389 2057

RUSSIAN WORKS OF ART TRAVEL, SCIENCE AND NATURAL HISTORY

ARMS AND ARMOUR

KS: +44 (0)20 7389 2591 SK: +44 (0)20 7752 3239

SK: +44 (0)20 7752 3119

JEWELLERY

ASIAN 20TH CENTURY AND CONTEMPORARY ART

KS: +44 (0)20 7389 2383 SK: +44 (0)20 7752 3265

NY: +1 212 468 7133

LATIN AMERICAN ART

AUSTRALIAN PICTURES

NY: +1 212 636 2150

KS: +44 (0)20 7389 2040

MARITIME PICTURES

BOOKS AND MANUSCRIPTS

SK: +44 (0)20 7752 3284 NY: +1 212 707 5949

SWISS ART

KS: +44 (0)20 7389 2674 SK: +44 (0)20 7752 3203

MINIATURES

KS: +44 (0)20 7389 2650

TOPOGRAPHICAL PICTURES

MODERN DESIGN

KS: +44 (0)20 7389 2040 SK: +44 (0)20 7752 3291

BRITISH & IRISH ART

KS: +44 (0)20 7389 2682 NY: +1 212 636 2084 SK: +44 (0)20 7752 3257 BRITISH ART ON PAPER

KS: +44 (0)20 7389 2278 SK: +44 (0)20 7752 3293 NY: +1 212 636 2085 BRITISH PICTURES 1500-1850

KS: +44 (0)20 7389 2945 CARPETS

KS: +44 (0)20 7389 2370 SK: +44 (0)20 7389 2776 CHINESE WORKS OF ART

KS: +44 (0)20 7389 2577 SK: +44 (0)20 7752 3239 CLOCKS

KS: +44 (0)20 7389 2357

SK: +44 (0)20 7389 2142

KS: +44 (0)20 7389 2699 NINETEENTH CENTURY EUROPEAN PICTURES

KS: +44 (0)20 7389 2443 SK: +44 (0)20 7752 3309 OBJECTS OF VERTU

KS: +44 (0)20 7389 2347 SK: +44 (0)20 7752 3001 OLD MASTER DRAWINGS

KS: +44 (0)20 7389 2251 OLD MASTER PICTURES

ORIENTAL CERAMICS AND WORKS OF ART

SK: +44 (0)20 7752 3026 FURNITURE

KS: +44 (0)20 7389 2482 SK: +44 (0)20 7389 2791 IMPRESSIONIST PICTURES

KS: +44 (0)20 7389 2638 SK: +44 (0)20 7752 3218

SILVER

KS: +44 (0)20 7389 2666 SK: +44 (0)20 7752 3262 ZUR: +41 (0) 44 268 1012

TWENTIETH CENTURY BRITISH ART

KS: +44 (0)20 7389 2446 SK: +44 (0)20 7389 2502

EUROPEAN CERAMICS AND GLASS

KS: +44 (0)20 7389 2331 SK: +44 (0)20 7389 2794

NINETEENTH CENTURY FURNITURE AND SCULPTURE

KS: +44 (0)20 7389 2531 SK: +44 (0)20 7752 3250

SK: +44 (0)20 7752 3215

SCULPTURE

SK: +44 (0)20 7752 3365

CONTEMPORARY ART

COSTUME, TEXTILES AND FANS

SK: +44 (0)20 7752 3291

TRIBAL AND PRE-COLUMBIAN ART

MUSICAL INSTRUMENTS

PAR: +33 (0)140 768 386

KS: +44 (0)20 7389 2684 SK: +44 (0)20 7752 3311 TWENTIETH CENTURY DECORATIVE ART & DESIGN

KS: +44 (0)20 7389 2140 SK: +44 (0)20 7752 3236 TWENTIETH CENTURY PICTURES

SK: +44 (0)20 7752 3218 VICTORIAN PICTURES

KS: +44 (0)20 7389 2468 SK: +44 (0)20 7752 3257 WATERCOLOURS AND DRAWINGS

SK: +44 (0)20 7752 3235

KS: +44 (0)20 7389 2257 SK: +44 (0)20 7752 3293

PHOTOGRAPHS

WINE

KS: +44 (0)20 7389 2292 POPULAR CULTURE AND ENTERTAINMENT

SK: +44 (0)20 7752 3275 POST-WAR ART

KS: +44 (0)20 7389 2446 SK: +44 (0)20 7389 2502

AUCTION SERVICES

OTHER SERVICES

CORPORATE COLLECTIONS

CHRISTIE’S EDUCATION

SK: +44 (0)20 7752 3208

KS: +44 (0)20 7752 3366

Tel: +44 (0)20 7389 2548 Email: norchard@ christies.com FINANCIAL SERVICES

Tel: +44 (0)20 7389 2624 Fax: +44 (0)20 7389 2204 HERITAGE AND TAXATION

Tel: +44 (0)20 7389 2101 Fax: +44 (0)20 7389 2300 EmIL:rcornett@christies. com PRIVATE COLLECTION COLLECTIONS S AND COUNTRY HOUSE SALES

Tel: +44 (0)20 7389 2343 Fax: +44 (0)20 7389 2225 Email: awaters@christies. com MUSEUM SERVICES, UK

Tel: +44 (0)20 7389 2570 Email: llindsay@christies llindsay@christies.. com PRIVATE SALES

US: +1 212 636 2034 Fax: +1 212 636 2035 VALUATIONS

Tel: +44 (0)20 7389 2464 Fax: +44 (0)20 7389 2038 Email: mwrey@christies. com

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 CHRISTIE’S FINE ART STORAGE SERVICES

London +44 (0)20 7622 0609 [email protected] New York +1 212 974 4570 [email protected] Singapore Tel: +65 6543 5252 Email: singapore@cfass singapore@cfass.. com CHRISTIE’S INTERNATIONAL REAL ESTATE

New York Tel +1 212 468 7182 Fax +1 212 468 7141 [email protected]

London Tel +44 20 7389 2551 Fax +44 20 7389 2168 [email protected]

Hong Kong Tel +852 2978 6788 Fax +852 2845 2646 [email protected]

KEY TO ABBREVIATIONS

KS: London, King Street  NY: New York, Rockefeller Plaza PAR: Paris SK: London, South Kensington 27/05/14

140

PABLO PICASSO (1881–1973) Torse de Femme (L’Egyptienne) (B. 746; Ba 906) aquatint, 1953, 1953, on Arches paper, a superb impression of the second final, state $120,000–180,000

Prints & Multiples New York

 23-24 October 2014

s

Viewing

Contact

18–22 October 20 Rockefeller Plaza New York, NY 10020

Richard Lloyd printsny @christies.com +1 212 636 2290

christies.com

DAVID OSTROWSKI (B. 1981) F (val Kilmer) signed and dated ‘David Ostrowski 12’ (on the overlap) oil, varnish, dirt and adhesive foil on canvas 40 1/2 x 31 1/2 in. (100.3 (100.3 x 80 cm .) Executed in 2012 £12,000–£18,000  © D A V  I   D  O  S  T  R   O W  S  K   ,I    C   O  U R  T  E   S  Y   O F  T  H E  A R  T  I    S  T  A N D  S  I   M  O N L  E  E   G A L  L  E  R  Y   , L   O N D  O N

FIRST OPEN  /LDN Post-War and Contemporary Art September 2014 London, South Kensington 25 September s

Viewing

Contact

20–24 September 85 Old Brompton Road London SW7 3LD

Bianca Chu bchu@ bchu @christies.com +44 (0) 20 7389 2502

christies.com

AFTER ROY LICHTENSTEIN (1923-1997) Bulls the complete set of six glazed porcelain plates, 1989, each with pr inted signature, numbered 40/50 40/50 in black felt-t ip pen 320 x 320 x 15 mm. (each) £4,000–6,000

Now in Technicolour A celebration of the riot of colour that emerged in the 1960’s and continues to the present day in print, including works by Andy Warhol, Eduardo Paolozzi, Keith Haring, Allen Jones, Gerald Laing, and others.

Online Auction 16-28 October 2014 Still open for consignments

Contact Alexandra Gill agill @christies.com +44 (0) 20 7752 3109

Prints, Photographs, Digital Art, Artists ’ Books, Multiples

17–20 October 2014 Free Entrance Christie’s South Kensington

Supported by

85 Old Brompton Road London SW7 3LD facebook.com/MultipliedArtFair @Multiplied_Fair

multipliedartfair.com

Absentee Bids Form Christie’s London

Prints & Multiples WEDNESDAY 17 SEPTEMBER 2014 AT 2.00 PM 8 King Street, St. James’s, London SW1Y 6QT CODE NAME: REAPER SALE NUMBER: 1553 (Dealers billing name and address must agree with tax exemption certificate. Invoices cannot be changed after they have been printed.)

BID ONLINE FOR THIS SALE AT CHRISTIES.COM BIDDING INCREMENTS Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding interval. UK£50 to UK£1,000 UK£ UK £1, 1,00 000 0 to to UK£ UK£2 2,0 ,000 00 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000

by UK£50s by UK£ UK£10 100s 0s by UK£200s by UK£200, 500, 800 (ie: UK£4,200, 4,500, 4,800) UK£5,000 to UK£10,000 by UK£500s UK£10,000 to UK£20,000 by UK£1,000s UK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000, 5,000, 8,000 (ie: UK£32,000, 35,000, 38,000) UK£50,000 to UK£100,000 UK£100,000 by UK£5,000s UK£5,000s UK£100,000 to UK£200,000 by UK£10,000s above UK£200,000 at auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion. Auction Results: +44 (0)20 7839 9060 Please also refer to the information contained in Buying at Christie’s. I request Christie’s to bid on the following lots up to the maximum price I have indicated for each lot. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus a buyer’s premium of 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000, together with any VAT chargeable on the final bid and the buyer’s premium. VAT is chargeable on the purchase price of daggered (†) daggered (†) lots,  lots, and for buyers outside the EU on on (α) lots, at the standard rate. VAT is chargeable on the purchase price of starred (*) (*) lots  lots at the reduced rate. I understand that Christie’s provides the service of executing absentee bids for the convenience of clients and that Christie’s is not responsible for failing to execute bids or for errors relating to execution of bids. On my behalf, Christie’s will try to purchase these lots for the lowest possible price, taking into account the reserve and other bids. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low presale estimate. If identical absentee bids are received for the same lot, the written bid received first by Christie’s will take precedence. Please contact the Bid Department at least 24 hours in advance of the sale to make arrangements for telephone bidding. All bids are subject to the terms of the Conditions of Sale and Limited Warranty printed in each Christie’s catalogue.

Absentee bids must be received at least 24 hours before the auction begins. Christie’s 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 + 44 (0)20 7930 8870 on-line www.christies.com

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If you have not previously bid or consigned with Christie’s, please attach copies of the following documents. Individuals: government-issued government-issued photo identificatio identification n (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 Credit Department at + 44 (0)20 7839 2825 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 Christie’s, please attach identification 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 Christie’s office within the last one year, and those wishing to spend more than on previous occasions will be asked to supply a bank reference. We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid. We also request that you complete the section below with your bank details: Name of Bank(s)

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PLEASE PRINT CLEARLY Lot number (in numerical order)

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If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS Please quote number below:

09/08/13

145

PHOTOGRAPHS, POSTERS & PRINTS EXPERT KNOWLEDGE BEAUTIFULLY PRESENTED

Code

Subscription Title

Vintage works from the 19th and early 20th centuries, modern and contemporary photographs and photographically illustrated books. Original works from the great masters of all periods of western printmaking from Dürer through Rembrandt and Goya to ToulouseLautrec, Picasso and Contemporary artists.

Location

Issues

UK£Price

US$Price

EU RPrice

King Street

3

57

91

86

New York New York Paris South Kensington

5 3 2 4

119 71 38 68

190 114 61 114

181 108 57 103

South Kensington

3

43

71

66

Photographs, Posters & Prints L1 1 N61 N11 P61 K13 K72

Old Master, 19th Century, Modern & Contemporary Prints Photographs Prints Photographs Old Master, 19th Century, Modern & Contemporary Prints Vintage Posters

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

Christie’s

CHRISTIE’S INTERNATIONAL PLC Patricia Barbizet, Chairman Steven P. Murphy, Chief Executive Officer  Stephen Brooks, Chief Operating Officer  Loïc Brivezac, Gilles Erulin, Gilles Pagniez, François-Henri Pinault Sophie Carter, Company Secretary

CHRISTIE’S EXECUTIVE Steven P. Murphy, Stephen Brooks, Kerry Chandler, François Curiel, Marc Porter, Jussi Pylkkänen, Doug Woodham

CHRISTIE’S UK CHAIRMAN’S OFFICE Viscount Linley, Chairman Noël 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 James Hervey-Bathurst, Amin Jaffer, Orlando Rock, Nicholas White, Mark Wrey

SENIOR DIRECTORS Charles Cator, Deputy Chairman, Christie’s International

CHRISTIE’S EUROPE CHAIRMAN’S OFFICE  Jussi Pylkkänen, President Orlando Rock, Deputy Chairman

SENIOR DIRECTORS Mariolina Bassetti, Giovanna Bertazzoni, Olivier Camu, Philippe Garner, Richard Knight, Francis Outred, Andreas Rumbler, François de Ricqles

DIRECTORS Prof. Dr. Dirk Boll, Roland de Lathuy, Eveline de Proyart, Roni Gilat-Baharaff, Paul Hewitt, Clarice Pecori Giraldi, Christiane Rantzau, Jop Ubbens, Juan Varez

CHRISTIE’S EUROPEAN ADVISORY BOARD Pedro Girao, Chairman, Christopher Balfour, Patricia Barbizet, Arpad Busson, Loula Chandris, Kemal Has Cingillioglu, Ginevra Elkann, I. D. Fürstin zu Fürstenberg, H.R.H. Prince Pavlos of Greece, Alicia Koplowitz, Viscount Linley, Robert Manoukian, Rosita, Duchess of Marlborough, Dimitri Mavrommatis, Countess Daniela Memmo d’Amelio, Usha Mittal, Leopoldo R odés, Çi g˘dem Simavi

The Paper used in this catalogue has been manufactured at a mill which has been awarded the ISO 14001 for Environment Management and is a registered mill within EMAS (the EU EcoManagement and Audit Scheme)

Dina Amin, Daniel Baade, Philip Belcher,  Jeremy Bentley, Ellen Ellen Berkeley, Jill Berry, Giovanna Bertazzoni, Prof. Dr. Dirk Boll, Peter Brown, James Bruce-Gardyne, Olivier Camu, Sophie Carter, Benjamin Clark, Christopher Clayton-Jones, Karen Cole, Isabelle de La Bruyere, Leila de Vos, Nicole Dembinska, Paul Dickinson, Harriet Drummond, Julie Edelson, Hugh Edmeades, David Elswood, David Findlay, Margaret Ford, Daniel Gallen, Philippe Garner, Jane Griffiths, Karen Harkness, Philip Harley, James Hastie, Paul Hewitt, Rachel Hidderley, Mark Hinton, Nick Hough, Michael Jeha, Hugues Joffre, Donald Johnston, Erem Kassim-Lakha, William Lorimer, Catherine Manson, John McDonald, Nic McElhatton (Chairman, South Kensington), Alexandra McMorrow, Jeremy Morrison, Nicholas Orchard, Francis Outred, Clarice PecoriGiraldi, 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, André Zlattinger 

DIRECTORS Richard Addington, Zoe Ainscough, Georgiana Aitken, Marco Almeida, Maddie Amos, Simon Andrews, Helen Baker, Karl Barry, Rachel Beattie, Sven Becker, Jane Blood, Piers Boothman, David Bowes-Lyon, Anthony Brown, Lucy Brown, Robert Brown, Grace Campbell, Lucy Campbell, Jason Carey, Romilly Collins, Ruth Cornett, Sigrun Danielsson, Armelle de Laubier-Rhally, Adrian Denton, Sophie DuCret, Anna Evans, Arne Everwijn, Adele Falconer, Nick Finch, Peter Flory, Elizabeth Floyd, Christopher Forrest, Giles Forster, Patricia Frost, Sarah Ghinn, Zita Gibson, Alexandra Gill, Sebastian Goetz, John Green, Simon Green, David Gregory, Mathilde Heaton, Annabel Hesketh, Sydney Hornsby, Peter Horwood, Simon James, Robert Jenrick, Sabine Kegel, Hans-Peter Keller, Jeffrey Kerr, Tjabel Klok, Quincy Kresler, Robert Lagneau, Nicholas Lambourn, Joanna Langston, Tina Law, Darren Leak, Adriana Leese, Brandon Lindberg, Laura Lindsay, David Llewellyn, Murray Macaulay,

Printed in England © Christie, Manson & Woods Ltd. (2014)

Sarah Mansfield, Nicolas Martineau, Roger Massey,  Joy McCall, Neil McCutcheon, McCutcheon, Daniel Daniel McPherson, Neil Millen, Edward Monagle, Jeremy Morgan, Leonie Moschner, Giles Mountain, Chris Munro, Rupert Neelands, Mark Newstead, Liberte Nuti, Beatriz Ordovás, Rosalind Patient, Keith Penton, Romain Pingannaud, Sara Plumbly, Caroline Porter, Michael Prevezer, Anne Qaimmaqami, Marcus Rädecke, Pedram Rasti, Amjad Rauf, Sandra Romito, Tom Rooth, Alice de Roquemaurel, Francois Rothlisberger, Tim Schmelcher Schmelcher,, Rosemary Scott, Tom Scott, Nigel Shorthouse, Dominic Simpson, Nick Sims, Katie Siveyer, Nicola Steel, Robin Stephenson, Kay Sutton, Rakhi Talwar, Nicolette Tomkinson, Jane Turner, Thomas Venning, Sophie Wiles, Mark Wilkinson, Bernard Williams, Georgina Wilsenach, Toby Woolley, Geoff Young

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, Nina Bowden, Mark Bowis, Clare Bramwell, John Caudle, Dana Chahine, Marie-Louise Chaldecott, Sophie Churcher, Marion Clermont, Helen Culver Smith, Laetitia Delaloye, Charlotte Delaney, Cristiano De Lorenzo, Freddie De Rougemont, Grant Deudney, Claudia Dilley, Eva-Maria Dimitriadis, Howard Dixon, Virginie Dulucq, Joe Dunning, Antonia Essex, Kate Flitcroft, Eva French, Pat Galligan, Keith Gill, Andrew Grainger, Leonie Grainger,  Julia Grant, Pippa Green, Angus Granlund, Ciaran Grealish, Christine Haines, Coral Hall, Charlotte Hart, Evelyn Heathcoat Amory, Anke Held, Valerie Hess, Carolyn Holmes, Amy Huitson, Adrian Hume-Sayer, James Hyslop, Helena Ingham, Pippa Jacomb, Mark Jordan, Guady Kelly, Clementine Kerr, Hala Khayat, Alexandra Kindermann, Mark Henry Lampé, Tom Legh, Timothy Lloyd, Scott Macdonald, Graeme Maddison, Stephanie Manstein, Astrid Mascher, Michelle McMullan, Kateryna Merkalenko, Susanne Meyer-Abich, Toby Monk, Sarah O’Brien, William Paton, Samuel Pedder-Smith, Suzanne Pennings, Louise Phelps, Sarah Rancans, Lisa Redpath, David Rees, Alexandra Reid, Simon Reynolds, Sumiko Roberts, Sangeeta Sachidanantham, Pat Savage, Catherine Scantlebury, Julie Schutz, Hannah Schweiger, Mark Silver, James Smith, Graham Smithson, David Stead, Mark Stephen, Annelies Stevens, Charlotte Stewart, Dean Stimpson, Gemma Sudlow, Dominque Suiveng, Cornelia Svedman, Nicola Swain, Iain Tarling, Sarah Tennant, Timothy Triptree, Flora Turnbull, Lisa Varsani,  Julie Vial, Anastasia von Seibold, Amelia Walker, Walker, Tony Walshe, Chris White, Rosanna Widen, Ben Wiggins, Annette Wilson, Julian Wilson, Elissa Wood, Neal Young

04/08/14

147

8 King Street Street,, St. James’s, London SW1Y 6QT

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