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PRINTS & MULTIPLE S

18 MARCH 2015 LONDON

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PRINTS AND MULTIPLES


Wednesday 18 March 2015

PROPERTIES FROM

The Peter Bendixen Collection

AUCTION

Wednesday 18 March 2015


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8 King Street, St. Jamess
London SW1Y 6QT

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[20]

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3

CONTENTS

Specialists and Services for this Auction

Christies International Print Department

Calendar of Auctions

Auction Information

Property for Sale

103

Index

108

Conditions of Sale Buying at Christies

111

Vat Symbols and Explanation

112

Important Notices and Explanation of Cataloguing Practice

113

Storage and Collection

114

Salerooms and Offices Worldwide

116

Christies Specialist Departments and Services

121

Absentee Bids Form

122

Catalogue Subscriptions

front cover:

Lot 66

Successi Mir / ADAGP, Paris and DACS London 2015.


back cover:

Lot 117

Estate of Roy Lichtenstein/DACS 2015.


inside front cover:

Lot 102

opposite:

Lot 115

o p p o s i t e p a g e 121:

Lot 123

inside back cover:

Lot 35

christies.com

OLD MASTER & 19TH CENTURY PRINTS

1
ALBRECHT DRER (1471-1528)
The Prodigal Son
engraving, 1496, on laid paper, watermark Bishops Crest (M. 39, circa 1540-50), a
good, strong Meder f impression, still printing with good contrast, a paper loss in
the roof at upper left, skilfully made up with pen and ink, another smaller made
up paper loss at the left sheet edge above the piglet, the upper and lower left
and lower right sheet corners made up, a horizontal central fold, partially broken
through and skilfully repaired, mostly visible verso
P., S. 246 x 190 mm.

5,000-7,000

$7,700-11,000
6,800-9,400

LITERATURE:

Bartsch, Meder, Hollstein 28; Schoch, Mende & Scherbaum 9

2
ALBRECHT DRER
Saint Eustace
engraving, circa 1501, on laid paper, watermark High Crown (M. 20), a fine Meder
b impression, trimmed just inside the subject on three sides, to or just outside
the borderline below, with the usual horizontal central fold, partially broken
through and repaired at left, a short tear at the lower sheet edge, pale scattered
foxing, some other, minor defects mainly at the sheet edges, framed
S. 349 x 259 mm.

15,000-25,000

$23,000-38,000
21,000-34,000

PROVENANCE:

Unidentified collectors mark (not in Lugt).


LITERATURE:

Bartsch 57; Meder, Hollstein 60; Schoch, Mende & Scherbaum 32

*3
ALBRECHT DRER
Nemesis
engraving, circa 1501, on laid paper, watermark High Crown (M. 20), a fine Meder
IIa impression, with burr in the wings and subtle platetone in the clouds at left,
the landscape printing very clearly and with good contrasts, with small margins,
a short tear in the left margin, generally in very good condition
P. 329 x 229 mm., S. 336 x 238 mm.

70,000-100,000

$110,000-150,000
95,000-130,000

PROVENANCE:

Richard H. Zinser (circa 1883-1983), Forest Hills, New York (not in Lugt).
LITERATURE:

Bartsch 77; Meder, Hollstein 72; Schoch, Mende & Scherbaum 33

Nemesis, the Greek goddess of retribution, with wings and standing on a ball,
glides majestically over an alpine landscape, which - depicted in tiny detail - lies far
underneath. In her hands she holds a bridle and a cup, her instruments to punish
and restrain the proud and reward the just. As Panofskys iconological studies have
demonstrated, these attributes can only have been derived from the poem Manto
by the Tuscan poet Angelo Poliziano (1454-1494), and it may have been through
Willibald Pirckheimer that Drer, who did not read Latin himself, knew this particular
literary source.
The engraving of Nemesis has been described as a humanist, secular version of
the Apocalypse. Indeed, in true Renaissance spirit, Drer found similar images for
two seemingly opposing concepts, for Christian revelation and Greek mythology.
In both instances, in the Apocalypse as well as in the present engraving, the image
is divided into two spheres: an earthly realm, and a celestial one, where angels and
demons fight and goddesses rule.
That to Drer the goddess of fate was not just a literary figure can be seen from his
own writings. In the journal he kept in the Netherlands in 1520-21, Drer referred to
unforeseeable events as the workings of Fortuna. It is a remarkably secular, modern
notion to think of the course of events being determined not by God, but by such an
unaccountable agent.
The mountain landscape has been identified as a view of the village of Klausen in
the Eisack valley, one of the few unambiguously identifiable locations in Drers
printed oeuvre.

4
GIOVANNI BATTISTA DE
CAVALIERI (1525-1601)
The Massacre of the Innocents
engraving, 1561, printed on two joined sheets,
without watermark, a fine impression of this large
print, the extremely rare first state (of three), with
wide margins at left and right and small margins
above and below, a few flattened folds mostly
visible verso, some pale staining, generally in good
condition
P. 470 x 590 mm., S. 490 x 670 mm.

7,000-10,000

$11,000-15,000
9,500-13,000

LITERATURE:

Le Blanc 7
This depiction of the Massacre of the Innocents
has traditionally also been associated with Baccio
Bandinelli. In 1999, after the emergence of an
impression of the present, very rare first state in the
Bibliothque National, Suzanne Boorsch interpreted
the inscription Jo Baptista de Cavalle / ris Lagerinus
incideb. / in AEdibus Salvianis. / .M.D.LXI. / ROMAE. as
referring to the Florentine painter Francesco Salviati
(Print Quarterly, 1999, vol. XVI, no. 3, p. 266f.). In the
discussion following the discovery of this previously
undescribed state however Michael Bury argued that
the inscription related to the printer and publisher
Ippolito Salviani, in whose workshop the engraving
was presumably printed; a view then also shared by
Boorsch (Print Quarterly, 2000, vol. XVII, no. 2, p.190).
The question of the attribution of the composition
hence remains uncertain.

5
PETER PAUL RUBENS (1577-1640)
Saint Catherine
etching with engraving, circa 1620-30, without
watermark, a fine, strong impression of this rare
print, third, final state, printing with very little wear,
with narrow margins, two tiny holes in the clouds
below, with a horizontal central fold, the sheet
toned, with some foxing and staining
P. 293 x 198 mm., S. 298 x 203 mm.

5,000-7,000

$7,700-11,000
6,800-9,400

PROVENANCE:

Dr. Ture Lundh, 20th century, Bergen, Norway


(not in Lugt).
LITERATURE:

Hollstein 1

6
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
Self-Portrait in a Cap and Scarf with Face dark: Bust
etching, 1633, on laid paper, a fine impression of New Hollsteins second state (of
five), laid down onto a support sheet, with thread margins, partially remargined,
a short tear with an associated tiny paper loss at upper right, a short tear at the
lower left sheet corner, a few other small, very skilfully repaired defects, the
subject in very good condition
P., S. 142 x 111 mm.

4,000-6,000

$6,100-9,100
5,400-8,100

LITERATURE:

Bartsch, Hollstein 17; Hind 108, New Hollstein 120

*7
REMBRANDT HARMENSZ. VAN RIJN
The Flight into Egypt: A Night Piece
etching with drypoint and engraving, 1651, apparently without watermark, a very
good impression of New Hollsteins sixth state (of ten), before the extensive
rework by another hand, printing clearly and with good contrasts, with small
margins, in very good condition, framed
P. 126 x 110 mm., S. 131 x 114 mm.

5,000-7,000

$7,700-11,000
6,800-9,400

PROVENANCE:

K. E. von Liphart (1808-1891), Dorpat, Bonn and Florence (L. 1687); his sale,
C. G. Boerner, Leipzig, 5 December 1876 (and following days), lot 1353
(30 M to Wigand).
M. Wigand (1846-1891), Leipzig (L. 2623); acquired at the above sale; sold
C. G. Boerner, Leipzig, 12 November 1891, lot 397 (32 M).
With Colnaghis, London (their stocknumber C. 22565 in pencil verso).
LITERATURE:

Bartsch, Hollstein 53; Hind 253; New Hollstein 262

8
REMBRANDT HARMENSZ. VAN RIJN
Christ at Emmaus: The smaller Plate
etching with drypoint, 1634, without watermark, a good impression of this
scarce print, New Hollsteins only state, beginning to show some wear in places,
trimmed to or on the platemark, generally in very good condition
P., S. 104 x 75 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

LITERATURE:

Bartsch, Hollstein 88; Hind 121; New Hollstein 129

*9
REMBRANDT HARMENSZ. VAN RIJN
Peter and John healing the Cripple at the Gate of the
Temple
etching with drypoint and engraving, 1659, on laid paper, without
watermark, a good impression of New Hollsteins fifth state (of six),
still printing with depth and very clearly in the background, with
small margins, in very good condition, framed
P. 177 x 211 mm., S. 183 x 216 mm.

4,000-6,000

$6,100-9,100
5,400-8,100

PROVENANCE:

The Art Institute of Chicago, their stamp on the reverse (L. 32b)
An unidentified collectors mark verso.
LITERATURE:

Bartsch, Hollstein 94; Hind 301; New Hollstein 312

*10
REMBRANDT HARMENSZ. VAN RIJN
The Return of the Prodigal Son
etching, 1636, with an indistinct watermark, a good impression
of New Hollsteins first state (of three), with Christs left eye just
beginning to wear, the landscape still quite distinct, with small
margins, in very good condition, framed
P. 155 x 136 mm., S. 158 x 140 mm.

7,000-10,000

$11,000-15,000
9,500-13,000

PROVENANCE:

With Colnaghis, London (with their stocknumber C.17820 in pencil


verso).
LITERATURE:

Bartsch, Hollstein 91; Hind 147; New Hollstein 159

11
REMBRANDT HARMENSZ. VAN RIJN
Reclining female Nude (La Negresse couch)
etching and drypoint, 1658, countermark DG (Hinterding a), a good
impression of New Hollsteins fourth state (of six), with margins, in
very good condition
P. 81 x 160 mm., S. 87 x 166 mm.

4,000-6,000
LITERATURE:

Bartsch, Hollstein 205; Hind 299; New Hollstein 308

10

$6,100-9,100
5,400-8,100

(actual size)

*12
REMBRANDT HARMENSZ. VAN RIJN
Cottage with a white Paling
etching with drypoint, 1648, watermark Foolscap with five-pointed Collar (Hinterding K-b-a; not in Laurentius),
a good impression of the third, final state, still printing with touches of burr on the ducks head and in the
foreground, printing with a light plate tone, with small margins, a short, thinly backed tear at upper sheet
edge, otherwise in very good condition, framed
P. 130 x 160 mm., S. 136 x 166 mm.

20,000-30,000

$31,000-46,000
27,000-40,000

PROVENANCE:

With Colnaghis, London (their stocknumber C-25594 in pencil verso).


LITERATURE:

Bartsch, Hollstein 232; Hind 203; New Hollstein 246

11

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

*13
REMBRANDT HARMENSZ. VAN RIJN
Jan Lutma, Goldsmith
etching with drypoint and engraving, 1656, watermark Foolscap with five-pointed Collar (Hinterding N.a.b,;
not in Laurentius), a fine, early impression of Hollsteins second state (of three), with considerable burr
throughout, with rich inky plate edges and a thin vale of tone in the darker areas, on warm-toned paper, with
narrow margins, some pale scattered foxing, two tiny paper losses at the left sheet edge, otherwise in very
good condition
P. 197 x 149 mm., S. 201 x 151 mm.

50,000-70,000

$77,000-110,000
68,000-94,000

LITERATURE:

Bartsch, Hollstein 276; Hind 290; New Hollstein 293

The etched portraits of the late 1650s are arguably Rembrandts greatest and most elaborate. During this period
he depicted a number of fellow artists, collectors, publishers and craftsmen men whom he respected and was
friendly with. While his family portraits are mostly quick, spontaneous sketches, these more formal portraits are
complex investigations into the character of his sitters. The present portrait of the goldsmith Jan Lutma is perhaps
one of the most captivating portraits of all.
Jan Lutma (c.1584-1669) was one of the leading goldsmiths and jewellers in Amsterdam at the time, and a great
collector of prints his son Jan Lutma the Younger was an etcher. There is a gentle pride in the way the aging
craftsman presents himself, seated in a large armchair, surrounded by the accoutrements and products of his
profession: a hammer and punches are placed on the table next to him; there is a chased silver bowl; and in his
right hand he holds a figurine or candlestick.
The states of this print have been re-assessed in New Hollstein. As before, the niche, window, signature and the
inscription identifying the sitter constitute the second state. According to New Hollstein however, the inscription
in the lower right F. Lutma Ex., the address of Jan Lutmas son Franois, has been added later, constituting
a previously undescribed third state. The authors of New Hollstein themselves had some doubt as to this
assessment, stating that Craddock & Barnard, Mnz and Bjrklund assumed the inscription was by the same hand
as the engraved inscription in the previous state and was added at the same time. Whether this is indeed correct,
cannot be established with certainty. (New Hollstein, p. 262) In conversation with Eric Hinterding, one of the
authors, he expressed the view that probably all inscriptions were added at the same time and that the inscription
F. Lutma Ex. only becomes visible as the densely worked area at the lower right begins to wear.

12

(actual size)

13

VARIOUS PROPERTIES

14
ANTONIO VISENTINI (1688-1782) AFTER ANTONIO CANAL,
CALLED IL CANALETTO (1697-1768)
Prospectus Magni Canalis Venetiarum
the complete set of 38 engravings with etching, 1735, on smooth wove paper, watermarked MA, with the frontispiece
with portraits of Canaletto and Visentini and title page, lacking the three letter-press title pages for each series,
good impressions, the first series second state (of four), the two other series first state (of two), presumably the fifth
edition, published circa 1800-1820 by Teodoro Viero, Venice, probably the full sheets, some foxing, generally in good
condition, bound in marbled paper-covered boards (album)
343 x 485 mm. (overall)

8,000-12,000

$13,000-18,000
11,000-16,000

PROVENANCE:

Principe di Soragna (with his bookplate).


LITERATURE:

Succi 3-42

Visentinis set of engravings Prospectus Magni Canalis Venetiarum was commissioned by Canalettos great patron and
agent, the English Consul Joseph Smith, to reproduce 38 paintings of views of Venice by Canaletto from his own collection.
Visentini began the work in 1728 and in 1735 he published a first edition comprising 14 views only. It was not until 1742 that
Visentini published the first complete edition with all 38 engravings. The commercial success of these views of Venice was
such that the album continued to be published until the late 19th century.

14

*15
FRANCISCO DE GOYA Y LUCIENTES (1746-1828)
The four additional Plates for: Los Proverbios
four etchings with aquatint and drypoint, before 1824, on laid paper, without
watermark, fine impressions, from the First Edition of the additional plates
published in LArt, Paris, 1877, probably the full sheets, some very pale,
unobtrusive discolouration at the sheet edges, generally in very good condition
P. 245 x 350 mm., S. 295 x 428 mm.
(4)

5,000-7,000

$7,700-11,000
6,800-9,400

LITERATURE:

Delteil 220-3; Harris 266-9

16
FRANCISCO DE GOYA Y LUCIENTES
Los Desastres de La Guerra

LITERATURE:

Delteil 120-199; Harris 121-200


the complete set of eighty etchings with burnished aquatint, drypoint and
engraving, 1810-20, on laid paper without watermark, with title page and text, the
Fourth Edition, one of 275 sets of this edition, very good impressions, published
by the Real Academia de Nobles Artes de San Fernando, Madrid, 1906, the full
sheets, generally in very good condition, mounted on guards, in 19th century
marbled boards with red leather spine, some wear to the binding, otherwise in
very good condition (album)
270 x 360 mm. (overall)

10,000-15,000

Harris describes the Fourth Edition as excellently printed and superior in quality to
the Third Edition.

$16,000-23,000
14,000-20,000

15

17

18

JAMES ABBOTT MCNEILL WHISTLER (1834-1903)

JAMES ABBOTT MCNEILL WHISTLER

Wapping - The Pool

Fish Shop, Chelsea

etching and drypoint, 1879, on cream laid paper, watermark Arms of Amsterdam,
signed with the butterfly and inscribed imp in pencil in the lower margin,
Glasgows fourth or fifth state (of eight), a good impression printing with a rich
plate tone, the full sheet, a deckle edge below, generally in very good condition
P. 188 x 276 mm., S. 250 x 379 mm.

etching and drypoint, 1886, on laid paper without watermark, signed in pencil
with the butterfly and inscribed imp on the tab, a very good impression
of Glasgows first state (of two), printing with plate tone and wiping marks,
especially at lower left, trimmed to or on the platemark (as issued), an
unobtrusive paper split at the lower sheet edge at centre, generally in very good
condition
P., S. 140 x 217 mm.

8,000-12,000

$13,000-18,000
11,000-16,000

7,000-10,000

LITERATURE:

$11,000-15,000
9,500-13,000

Kennedy 174; Glasgow 180


PROVENANCE:

With Colnaghis, London (their stocknumber C17882 in pencil verso).


LITERATURE:

Kennedy 264; Glasgow 267

16

19
PAUL CESAR HELLEU (1859-1927)
Le Chapeau Vert
drypoint in colours, on heavy wove paper, signed in pencil, a good impression
of this rare print, with wide margins, a repaired tear in the lower margin, repaired
tears at the sheet edges, a paper loss at the lower left sheet corner, other
defects, framed
P. 548 x 340 mm., S. 720 x 545 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

EXHIBITED:

Forgotten Printmakers of the 19th Century, Kovler Gallery, Chicago, December 1967 January 1968, No. 491 (according to a pencil inscription on the reverse).

20
JAMES JACQUES JOSEPH TISSOT (1836-1906)
Promenade dans la Neige
etching and drypoint, 1880, on Van Gelder laid paper, a good impression of the
second state (of three), with the artists red monogram stamp (Lugt 1545), from
the edition of about one hundred (presumably of the first and second states),
with margins, time staining, the sheet slightly toned, otherwise in good condition
P. 565 x 265 mm., S. 613 x 360 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

LITERATURE:

Wentworth 48

21
JAMES JACQUES JOSEPH TISSOT
Le Journal
etching with drypoint, 1883, on laid paper, a good impression, with the artists red
monogram stamp (L. 1545), from the edition of unknown size, inscribed in pencil
at lower left D... tat dfinitif, with wide margins, presumably the full sheet, pale
time staining at the sheet edges, a couple of minor nicks and tears at the left
sheet edge, otherwise in good condition
P. 380 x 295 mm., S. 560 x 375 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

LITERATURE:

Wentworth 73

17

*22
PIERRE-AUGUSTE RENOIR (1841-1919)
La Danse la Campagne, 2eme Planche
etching, circa 1880, on wove paper, with the artists stamp signature (Lugt 2137a),
from the edition of unknown size, the full sheet, pale light-staining, backboard
staining, otherwise in good condition, framed
P. 220 x 136 mm., S. 327 x 254 mm.

5,000-8,000

$7,700-12,000
6,800-11,000

LITERATURE:

Delteil 2

*23
PAUL SIGNAC (1863-1935)
Le Dimanche Parisien
lithograph, 1887, on wove paper, a very good impression from the deluxe edition
of circa 75 (there were also a few trial proofs before the edition), made for the
Revue Indpendante , published by Edition des Fondateurs-Patrons, Paris,
printed to the edges of the sheet on three sides, a small margin at left (as issued),
generally in very good condition, framed
L., S. 173 x 127 mm.

6,000-8,000
LITERATURE:

Kornfeld & Wick 2b

18

$9,200-12,000
8,100-11,000

24
ODILON REDON (1840-1916)
Tentation de Saint Antoine Texte de Gustave Flaubert
the complete set of ten lithographs, 1888, on chine appliqu 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
L. 291 x 208 mm. (and smaller), S. 450 x 310 mm. (and similar), 451 x 317 mm. (overall)
(10)

20,000-30,000

$31,000-46,000
27,000-40,000

LITERATURE:

Mellerio 83-93

19

*25
HENRI DE TOULOUSE-LAUTREC (1864-1901)
La Clownesse assise (Mademoiselle CHA-U-KA-O)
lithograph in colours, 1896, on wove paper, watermark G. PELLET/ T. LAUTREC, a good, rich impression,
presumably from the edition published by Gustave Pellet, Paris, 1896, in the Elles series, indistinctly inscribed
with a paraphe or number and with Pellets stamp (L. 1190) at lower right, the colours very fresh and bright,
printed to the edges of the full sheet (as published), with deckle edges at right and above, in very good
condition, framed
S. 552 x 400 mm.

180,000-200,000

$280,000-300,000
250,000-270,000

LITERATURE:

Delteil 180; Adhmar 201; Wittrock 156; Adriani 172

Toulouse-Lautrecs portfolio Elles is one of the most celebrated and sought-after series in the history of
printmaking. As a regular visitor and at times long-term guest of the maisons closes or brothels of Paris, ToulouseLautrec was well-acquainted with the women who lived and worked there. He was particularly interested in
depicting them in their daily routines, at the wash table or dozing in bed. Unlike the other lithographs in the
series, the most famous of them however shows a woman in a public place rather than a private environment: La
Clownesse assise is shown in her costume in a cabaret. It is a private moment nonetheless, as she sits resting on a
bench at a corner, visibly tired and a bit despondent.
A dancer at the Nouveau Cirque and the Moulin Rouge, Mademoiselle CHA-U-KA-O claimed to be Japanese, yet
her name is in fact a phonetic transcription of the French words chahut (an acrobatic dance derived from the
cancan) and the chaos she caused whenever she came on stage. CHA-U-KA-O began her performing life as a lithe
and supple gymnast, as evident in a photograph taken by Toulouse-Lautrecs close companion Maurice Guibert,
for whom she would pose. By 1895 however, the agile, slender dancer had metamorphosed into that of the
ageing, slightly overweight clownesse. The arc of CHA-U-KA-O s life, ending in physical ruin, was bound to attract
Lautrec. His interest in human decrepitude was no doubt reinforced by his reading of Oscar Wildes The Picture of
Dorian Gray, first published in 1891 and subsequently translated into French. Lautrec became acquainted with the
author, and painted portraits of both Wilde and CHA-U-KA-O in the same year. Fascinated as he was by decadence
and decline, it is his ability to empathise with his subjects and his willingness to show them in all their human frailty
and vulnerability - of-stage rather than in the spotlight - that sets him apart from most of his contemporaries.

20

26
HENRI DE TOULOUSE-LAUTREC
Partie de Campagne
lithograph in colours, 1897, on wove paper, with the artists red signature stamp, numbered in pencil no.34, from
the edition of one hundred impressions, published by A. Vollard in the second LAlbum des estampes originales de
la Galerie Vollard, Paris, the full sheet, the colours fresh and bright, pale mount and time staining towards the sheet
edges, otherwise in good condition, framed
S. 395 x 515 mm.

40,000-60,000
PROVENANCE:

With Colnaghis, London.


Acquired from the above by the present owner.
LITERATURE:

Delteil 219; Adhmar 322; Wittrock 228; Adriani 228

22

$61,000-91,000
54,000-81,000

27

28

ALFRED SISLEY (1839-1899)

PAUL GAUGUIN (1848-1903) AND ARMAND SEGUIN


(1869-1903)

Bords de Rivire - Les Oies


lithograph in colours, 1897, on chine appliqu paper, signed in pencil, from the
edition of one hundred, published by A. Vollard, Paris, in LAlbum destampes
originales de la Galerie Vollard, with wide margins, generally in very good
condition
L. 212 x 315 mm., S. 373 x 490 mm.

3,000-5,000
LITERATURE:

$4,600-7,600
4,100-6,700

La Femme aux Figues


etching printed in greenish-grey, 1894, on simili Japan paper, a rich, tonal
impression of the first state (of three), inscribed 56 (?) in pencil at lower right,
from the edition of one hundred published for the portfolio Germinal by J. MeierGraefe, Paris, with wide margins, the sheet previously folded in the margins on
three sides, tape stains along the upper sheet edge, pale mount staining, the
subject in good condition, framed
P. 270 x 445 mm., S. 428 x 580 mm.

6,000-8,000

Delteil 6

$9,200-12,000
8,100-11,000

LITERATURE:

Mongan, Kornfeld & Joachim 25

23

MODERN PRINTS

l29
MAX BECKMANN (1884-1950)
Apokalypse
the complete book including 27 lithographs with handcolouring, 1943, on laid
paper, 16 hors-text and 11 en-texte, with title, text and justification, copy number
19, numbered and dedicated Fr Erich Madsack in black ink (not by the artists
hand), from the edition of 24 (a further 17 unnumbered copies are known, of
which seven are handcoloured), published by Bauersche Gieerei, Frankfurt am
Main, 1943, the colours very fresh, the full sheets, in very good condition, bound
(as issued), within the original textured buff paper-covered boards, with the title
on the cover, in a black cloth-covered protective box with a red morocco title
piece on the front (book)
400 x 310 mm.

25,000-35,000

$39,000-53,000
34,000-47,000

PROVENANCE:

Dr. Erich Madsack (1889-1969), Hannover; according to dedication.


Neuerburg Collection, presumably acquired by Dr Walter Neuerburg (1912-1989),
Cologne; with their blindstamp on the front fly-leaf (L. 1344a); sold Christies, New
York, Modern Prints from the Neuerburg Collection, 1 November 1988, lot 11 (US$
19.800).
Acquired at the above sale by the present owner.
LITERATURE:

Hofmaier 330-356
Max Beckmann - Apokalypse der wiederaufgefundene handkolorierte Zyklus, exh.
cat., Museum Wiesbaden et al. (eds.), Wiesbaden, 2004.
In April 1933 Max Beckmann was dismissed from his post as a teacher at the Stdel
art academy in Frankfurt am Main. Bereft of a permanent income and increasingly
unable to exhibit and sell his work, now considered degenerate, he decided to
emigrate to Amsterdam in 1937 and left Germany on 19 July of that year, a day after
the opening of the exhibition Entartete Kunst in Munich.
Some of his friends and patrons in Germany however remained faithful to him and
in 1941 Amsterdam is by then occupied by German troops and the artist lives and
works in hiding - he received a secret commission from Frankfurt. It is the initiative

24

of Ernst Holzinger, former director of the Stdel Museum, and of Georg Hartmann,
owner of the type-casting company Bauersche Giesserei, to publish a small edition
of the Apocalypse of Saint John with illustrations by Beckmann, in order to support
the artist living in exile. Hartmann was naturally, through his company, involved
in book production and had in the past published some illustrated books for
bibliophiles. He was also a collector, in particular of late medieval sculpture and
painting, an interest he shared with Beckmann. The choice of a biblical subject was
hence sympathetic to both the artist and the patron, and the Apocalypse certainly
seemed a suitable text for a book created in the midst of war. As the colophon of
the book states: In the fourth year of the second world war, as the visions of the
apocalyptic seer became gruesome reality, this print was made.
In the correspondence leading up to the creation and publication, Beckmann is
never named. The whole project was pursued in secret. The proofs and later some
handcoloured copies were clandestinely sent back and forth between Frankfurt
and Amsterdam. The numbered edition was limited to 24 copies in order to avoid
censorship; private publications in editions of 25 copies or more had to be submitted
to the ministry of propaganda for approval.
Nearly all of the 24 copies were intended and presumably given to patrons
and friends of the artist and of Georg Hartmann, including the present copy for
Erich Madsack, the publisher of the daily newspaper Hannoversche Anzeiger,
undoubtedly a client of Hartmanns type-casting company. According to the
publishers list of copies (preserved in facsimile in the Staatsbibliothek, Munich), this
copy was handcoloured on 2 March 1943. The publication of Madsacks newspaper
was discontinued by the Nazi regime in 1943.
The hand-colouring of the Apokalypse has been subject to much debate. Apart from
a few copies clearly inscribed as being coloured by Beckmann himself (including
copy numbers 1, 7 9 and 15 and a set of coloured working proofs) ,the majority were
probably hand-coloured by an anonymous artist in Frankfurt, presumably because
the shipping of copies from Germany to Amsterdam and back proved too dificult
and dangerous.
Created while the allied bombers flew over Amsterdam and any kind of cultural
engagement could be seen as un-German activity and treason, the Apokalyse by
Max Beckmann is an extraordinary document of defiance, both on the part of the
artist and of the publisher, in the face of war and state terror.
According to the publishers list of copies preserved in the Staatsbibliothek, Munich,
the present copy was handcoloured on 2 March 1943.

PROPERTY FROM THE PETER BENDIXEN COLLECTION

l30
MAX BECKMANN
Die Familie, from: Hlle
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., S. 870 x 613 mm.

10,000-15,000

$16,000-23,000
14,000-20,000

LITERATURE:

Hofmaier 149

VARIOUS PROPERTIES

l31
OTTO DIX (1891-1969)
Der Selbstmrder (Erhngter)
etching and drypoint, 1922, on wove paper, signed and inscribed
Probedruck in pencil, a trial proof of the third, final state ( the first and
second states exist in unique trial proofs only), aside from the edition
of fifty, a very good, rich and tonal impression, printing with much burr,
probably the full sheet, light-staining and some foxing in the margins,
otherwise in good condition, framed
P. 350 x 275 mm., S. 499 x 434 mm.

7,000-10,000

$11,000-15,000
9,500-13,000

LITERATURE:

Karsch 43

25

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

l32
ERICH HECKEL (1883-1970)
Weisse Pferde
woodcut printed from two blocks in black and green, pale lilac and dark blue, 1912, on soft, absorbent laid paper,
signed and dated 12 in pencil, titled and inscribed Aquarell Handdruck, a fine, early impression printed by the artist,
with loosely and transparently applied colours, Dubes second state (of four), before the unnumbered edition of
approximately eighty impressions (of the fourth, final state), the full sheet, with deckle edges, pale light-staining and
some foxing mainly in the margins, generally in good condition, framed
B. 305 x 385 mm., S. 337 x 580 mm.

25,000-35,000

$39,000-53,000
34,000-47,000

LITERATURE:

Dube H 242

The present early impression of Dubes second state reveals that the block - before it was cut down in the third state - was
in fact much wider than recorded by Dube. It shows a faint black tone and the right edge of the block well outside the
second borderline. The loose, monotype-like printing of the colours is characteristic for Heckels early, experimental proof
impressions. As indicated by Heckels inscription Aquarell Handdruck, he printed the present impression by hand and the
colours are watercolours, applied quite thinly - presumably with a brush - to the second block.
Depictions of animals are rare in Heckels printed oeuvre and unlike most depictions of landscapes and nature by the
Brcke artists, there is an sense of impending drama in this highly concentrated composition. This feeling of unease is
further heightened by the uneven shape of the block. This image of figures leading two white horses in a sudden gale is one
of the most memorable woodcuts of German Expressionist printmaking and a classic work of the period.

26

VARIOUS PROPERTIES

l33
ERICH HECKEL
Der Mann
woodcut, 1913, on oatmeal wove paper, signed and dated in pencil, titled
(possibly by another hand), a very good impression of this rare print, with wide
margins, possibly the full sheet, some scattered foxing at the sheet edges,
otherwise in good condition, framed
B. 431 x 216 mm., S. 637 x 481 mm.

8,000-12,000

$13,000-18,000
11,000-16,000

LITERATURE:

Dube H 262

l34
KARL SCHMIDT-ROTTLUFF (1884-1976)
Christus
woodcut, 1918, on Van Gelder laid paper, signed in pencil, a good impression,
presumably from the edition of 75 published in the portfolio 9 Holzschnitte by
Kurt Wolff Verlag, Munich, 1918, with margins, some minor staining and a few
tiny foxmarks, generally in good condition
B. 502 x 391 mm., S. 588 x 460 mm.

2,000-3,000

$3,100-4,600
2,700-4,000

LITERATURE:

Schapire H 208

27

35
PORTFOLIO
Bauhaus-Drucke. Neue Europische Graphik. Erste Mappe
the complete portfolio of 14 prints, 1920-21, in various techniques and on
various papers, some in colours, with title page and table of contents, with the
justification on the inside back of the folder, numbered on the justification in
black ink, copy number 53 from the total edition of 110 (the first ten were on
Japan paper), all signed in pencil, some dated, the full sheets, each within the
original paper mounts, the colours exceptionally fresh and bright, all in excellent
condition; within the original half-parchment folder, the boards with a woodcut
design in black by Lyonel Feininger, with the title in black on the spine, the folder
in very good condition
(portfolio)
575 x 460 mm. (overall)

150,000-250,000

$230,000-380,000
210,000-340,000

LITERATURE:

Shn 101; Weber 1.1-14

The portfolio includes:


Lyonel Feininger, Villa am Strand (Prasse W 226), woodcut, 1920, on Japan
paper, signed in pencil.
Lyonel Feininger, Spaziergnger (Prasse W 113), woodcut, 1918, on Japan paper,
signed in pencil.
Johannes Itten, Spruch (Rotzler Itten 223), lithograph in colours, 1921, on thin
white-layered card, signed in pencil.
Johannes Itten, Haus des weissen Mannes (Rotzler Itten 222), lithograph, 1921, on
cream wove paper, signed in pencil.
Paul Klee, Die Heilige vom innern Licht (Kornfeld 81), lithograph in colours, 1921,
on thin cream card, signed in pencil, dated and inscribed with his work number
122.

When in October 1921, two years after the founding of the Bauhaus in Weimar as
a modern academy for applied arts, its director Walter Gropius wrote to a number
of leading European artists to donate a previously unpublished graphic work to
the school, it was the beginning of one of the most ambitious print publishing
endeavours of the 20thcentury. The idea was for the school to print, produce and
distribute a series of five portfolios, each dedicated to diferent nationalities, thereby
giving an overview of the graphic production of the European avant-garde. The
motivation for the project was three-fold: 1) to raise additional funding for Bauhaus
- the portfolios were to be sold either individually or in subscription for the whole
series; 2) to raise public awareness of the Bauhaus and promote its principles; 3) to
represent the school in unison with a wider and not just German! modern art
movement. The title Neue Europische Graphik was programmatic and reflected
the scope and aim of the project.

Georg Muche, Radierung (Hand-Herz) (Schiller 13), etching, 1921, on thin cream
card, signed in pencil.

In the event, only four of the portfolios were produced - the second one, intended
for French artists, remained a fragment of four prints and was never issued; the
four others included prints by German, Italian and Russian artists. The present first
portfolio was dedicated to works by the so-called Meister of the Bauhaus, who were
teaching various subjects in a very practical, hands-on way in the workshops of the
school. These were: Feininger, Head of the printing workshop; Itten, who taught the
introductory course; Klee, Head of the bookbinding workshop; Marcks, in charge
of the ceramics studio; Muche, who taught textile design and weaving; Schlemmer,
general teacher and Head of the wall-painting course; and Schreyer, who taught
stage design. The portfolio is thus a reflection of the artistic personalities working
and teaching at the Bauhaus during the first years of its existence, and of the allencompassing spirit and structure of the school, based on the idea of the Bauhtte,
the building workshops of the medieval cathedrals of Europe.

Oskar Schlemmer, Figur H 2 (Grohmann GL 7), lithograph, on pink wove paper,


signed in pencil, dated 1922.

The present example is the finest we have seen on the market, with the prints,
papers and colours perfectly preserved.

Paul Klee, Hofmanneske Scene (Kornfeld 82), lithograph in colours, 1921, on thin
cream card, signed in pencil, dated and inscribed with his work number 123.
Gerhard Marcks, Die Katzen (Lammek H 27), woodcut, 1921, on oatmeal wove
paper, signed and dated in pencil.
Gerhard Marcks, Die Eule (Lammek H 28), woodcut, 1921, on oatmeal wove
paper, signed and dated in pencil.
Georg Muche, Tierkopf (Schiller 12), etching, 1921, on thin cream card, signed in
pencil.

Oskar Schlemmer, Figurenplan K 1 (Grohmann GL 8), lithograph, on yellow wove


paper, signed in pencil, dated 1922.
Lothar Schreyer, Farbform 6 (Mutter aus Bhnenwerk Kindersterben),
lithograph with hand-colouring, 1921, on thin cream Japan paper, signed in pencil,
dated 1922, with the Bauhaus blindstamp.
Lothar Schreyer, Farbform 2 (Nacht aus Bhnenwerk Kindersterben), lithograph
with hand-colouring, 1921, on thin cream Japan paper, signed in pencil, dated
1922, with the Bauhaus blindstamp.

28

l36
WASSILY KANDINSKY (1866-1944)
Kleine Welten VIII
woodcut, 1922, on wove paper, signed in pencil, from the edition of
two hundred (there was also an edition of thirty on Japan paper),
published by Propylen Verlag, Berlin, the full sheet, with light,
mount and backboard staining, framed
B. 273 x 233 mm., S. 365 x 305 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

LITERATURE:

Roethel 171; Friedel & Hoberg 130

37
LYONEL FEININGER (1871-1956)
Vollersroda
woodcut, 1919, on thin laid Japan paper, signed in pencil, a good
impression, with wide margins, possibly the full sheet, some
scattered foxmarks, some offsetting of coloured crayon (?) verso,
faintly visible recto, otherwise in good condition
B. 254 x 301 mm., S. 374 x 518 mm.

7,000-12,000
LITERATURE:

Prasse W 188

$11,000-18,000
9,500-16,000

l38
MARC CHAGALL (1887-1985)
Nicolai Gogol: Les Ames Mortes
the complete set of 96 etchings and 11 etched vignettes, 1948, on Arches wove paper watermarked Les Ames mortes,
the etchings hors-texte, with title page, text in French and justification, signed in black ink and numbered H.C. XXIX
on the justification, one of 33 hors commerce copies, aside from the edition of 335, published by Triade, Paris, the full
sheets, the etchings with some mount and backboard staining, otherwise in good condition, loose (as issued), within
paper wrappers with title printed in black on front, two volumes, within the original cream paper-covered boards
and slipcase, with title on spine, the paper wrappers with foxing, the slipcase showing some wear, stains and foxing
(portfolio)
400 x 300 mm. (overall)

15,000-20,000

$23,000-30,000
21,000-27,000

LITERATURE:

Cramer Books 17

31

l39
MARC CHAGALL
The Bible
the complete set of 105 etchings, 1956, hors-texte, on Montval paper, with text in French,
title page and justification, with an original crayon drawing on the title page of the first
volume, signed and dated 1966 in black ink and dedicated Pour Charles et Pierrette Sorlier
en souvenir, also signed on the justification, copy number 24, from the edition of 275 (there
were also twenty hors commerce copies numbered in Roman numerals), the full sheets,
pale mount-staining at the sheet edges, otherwise in good condition, loose (as issued),
within the original paper cover printed with lithographic text, grey paper-covered boards
with title in gilt on the spine and matching slipcase, some minor skinning to the grey paper
boards, otherwise in good condition (portfolio)
480 x 360 x 140 (overall)

40,000-60,000

$61,000-91,000
54,000-81,000

PROVENANCE:

Charles Sorlier (1921-1990), Paris, according to the dedication.


LITERATURE:

Cramer Books 29
Charles Sorlier was Marc Chagalls printer at Mourlots printing workshop in Paris.

32

l40
MARC CHAGALL
The Flute Player
lithograph in colours, 1957, on Arches wove
paper, signed in pencil and inscribed HC, an hors
commerce impression aside from the edition of
ninety, published by Maeght, Paris, the full sheet,
with deckle edges at left and right, the colours still
strong, with time and light-staining, pale pinpoint
foxing
L. 365 x 435 mm., S. 385 x 570 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

LITERATURE:

Mourlot 197

l41
MARC CHAGALL
Self-Portrait
lithograph in colours, 1960, on Arches wove paper,
signed in pencil, numbered 35/40, published by
Andr Seurat, Paris, the full sheet, the colours fresh,
some pale light-staining, generally in good condition
L. 315 x 250 mm., S. 475 x 320 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

LITERATURE:

Mourlot 282

33

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

l42
MARC CHAGALL
La Grand Bouquet
lithograph in colours, 1963, on BFK Rives wove paper, signed in pencil,
numbered 38/50 (there were also a few artists proofs), the full sheet, a
deckle edge below, time and mount staining, the colours still strong, framed
L. 670 x 505 mm., S. 817 x 590 mm.

7,000-10,000

$11,000-15,000
9,500-13,000

LITERATURE:

Mourlot 384

VARIOUS PROPERTIES

l43
MARC CHAGALL
Paravent
lithograph in colours, 1963, on two sheets of smooth wove paper, a proof
before the signed and numbered edition of one hundred (issued as a fourpanel screen), published by G. Cramer, Geneva, with wide margins, with
registration marks, the colours fresh, time staining, occasional soft creasing,
short tears at the upper sheet edges, otherwise in good condition
S. 1595 x 1187 mm. (left sheet)
S. 1595 x 1189 mm. (right sheet)

12,000-18,000
LITERATURE:

cf. Mourlot 390

34

$19,000-27,000
17,000-24,000

l*44
MARC CHAGALL
Paysan au Violon
lithograph in colours, 1968, on Arches wove paper, signed in pencil, inscribed
preuve dartiste III/XXV, an artists proof aside from the edition of fifty, the full
sheet, a deckle edge below, pale light-staining, otherwise in good condition
L. 295 x 225 mm., S. 574 x 420 mm.

4,000-6,000

$6,100-9,100
5,400-8,100

LITERATURE:

Mourlot 551

l45
AFTER MARC CHAGALL
BY CHARLES SORLIER (1921-1990)
La Flte Enchante
lithograph in colours, 1967, on Arches wove paper, signed in pencil, numbered
15/200, the full sheet, a deckle edge below, the colours bright and fresh,
generally in very good condition, framed
L. 1004 x 654 mm., S. 1015 x 670 mm.

12,000-18,000

$19,000-27,000
17,000-24,000

LITERATURE:

Charles Sorlier 38

35

l46
GEORGES BRAQUE (1882-1963)
Oiseau noir sur fond bleu (Oiseau VIII)
etching in colours, 1955, on wove paper, signed in pencil,
numbered 46/75, published by Maeght, Paris, the full sheet, a
deckle edge at right, pale adhesive staining at the upper and
lower sheet edges, otherwise in good condition
P. 147 x 221 mm., S. 280 x 380 mm.

2,500-3,500

$3,900-5,300
3,400-4,700

LITERATURE:

Vallier 100

l47
GEORGES BRAQUE
Les deux Oiseaux (Oiseaux X)
etching and aquatint in colours, 1956, on BFK Rives wove paper,
signed in pencil, numbered 12/50, published by Maeght, Paris,
the full sheet, a deckle edge below, generally in good condition
P. 165 x 276 mm., S. 325 x 432 mm.

2,500-3,500

$3,900-5,300
3,400-4,700

LITERATURE:

Vallier 107

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

l48
GEORGES BRAQUE
Au Couchant (Oiseau XVI)
lithograph in colours, 1958, on Arches wove paper, signed in
pencil, inscribed H.C., an hors commerce impression aside from
the edition of 75, published by Maeght, Paris, the full sheet, a
deckle edge at right, the colours fresh and bright, a short tear at
the centre left sheet edge, generally in good condition, framed
L., S. 485 x 655 mm.

3,000-5,000
LITERATURE:

Vallier 126

36

$4,600-7,600
4,100-6,700

VARIOUS PROPERTIES

l49
KEES VAN DONGEN (1877-1968)
Anatole France: La Rvolte des Anges
the set of 58 lithographs in colours, 1951, en-texte, on Lana wove paper, with an
additional suite printed in colours and another in black only, hors-texte, with
title, text by Anatole France in French, and justification, copy number XV, one
of 15 deluxe copies numbered in Roman numerals reserved for the founding
members of the publisher (the standard edition was 210), published by Scripta
et Picta, Paris, the full sheets, some time staining, otherwise in good condition,
loose (as issued), in paper wrappers with the title in gold, within the original
green cloth-covered folder and matching slipcase, some wear to the slipcase
(portfolio)
380 x 290 mm. (overall)

7,000-10,000

$11,000-15,000
9,500-13,000

LITERATURE:

Jufermans Books 16

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

l50
AFTER SONIA DELAUNAY (1885-1979)
Jacques Damase: Rythmes-Couleurs
the complete set of 11 pochoirs in colours, 1966, on handmade Moulin
Richard de Bas paper, with title, text and justification, signed in ballpoint pen
by the artist and author on the justification, copy numbered 26 from the
edition of ninety (there was also an edition of twenty with each print signed
and numbered, and ten numbered hors commerce copies), published by
ditions de la Galerie Motte, Paris, the full sheets, loose (as issued), in the
original blue linen-covered portfolio, with title on spine, generally in very
good condition (portfolio)
535x385 mm. (overall)

4,000-6,000

$6,100-9,100
5,400-8,100

VARIOUS PROPERTIES

l51
SALVADOR DAL (1904-1989)
Dix Recettes dImmortalit
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 notarys stamp and signature, copy number
85 from the edition of 210, published by Audouin-Descharnes, Paris, the prints all
signed in pencil and numbered 85/210, also with the notarys stamp, signature
and numbering verso, the full sheets, generally in very 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 slipcase, generally in very good condition
(portfolio)
655 x 490 x 130 mm. (overall)

6,000-8,000

$9,200-12,000
8,100-11,000

LITERATURE:

Michler & Lpsinger 567-577; Field 73-20

37

l52
FERNAND LGER (1881-1955)
Cirque
the complete portfolio comprising 34 lithographs in colours and 29 in black, 1950, on Arches paper, with title, text in
French and justification, signed in blue ink on the justification, copy number 89 of 280 (there were also twenty hors
commerce copies), published by Les ditions Verve, Paris, the full sheets, the colours very fresh and bright, some pale
time staining and occasional foxing, generally in very good condition, loose (as issued), in the original paper wrappers
with a lithograph printed in black and yellow on the front and in black on the reverse, within the original boards and
slipcase (portfolio)
445 x 350 mm. (overall)

12,000-18,000
LITERATURE:

Saphire 44-106

38

$19,000-27,000
17,000-24,000

l53
HENRI MATISSE (1869-1954)
La Robe jaune au Ruban noir
lithograph, 1922, on China paper, signed in black
ink, numbered 48/50 (there were also ten artists
proofs), with wide margins, the sheet slightly
reduced above, a deckle edge at right, two tiny
paper flaws at lower right, generally in good
condition
L. 395 x 288 mm., S. 530 x 358 mm.

6,000-8,000

$9,200-12,000
8,100-11,000

LITERATURE:

Duthuit-Matisse 424

l54
HENRI MATISSE
Jeune Fille la Chaise-longue dans un
Sous-Bois
lithograph, 1922, on China paper, signed in black
ink, numbered 46/50 (there were also ten artists
proofs), with margins, the sheet slightly reduced at
left and right, a couple of short printers creases with
an associated short tear at the upper right corner,
some pale staining at the left sheet edge
L. 410 x 515 mm., S. 460 x 585 mm.

4,000-6,000

$6,100-9,100
5,400-8,100

PROVENANCE:

Paul Prout, Paris (L. 2103c).


LITERATURE:

Duthuit-Matisse 425

39

l*55
HENRI MATISSE
Petite Aurore
lithograph, 1923, on China paper, signed in pencil, inscribed and numbered
epr. dartiste 7/10, an artists proof aside from the edition of fifty, the full sheet, a
deckle edge at left, generally in very good condition, framed
L. 130 x 201 mm., S. 287 x 377 mm.

8,000-12,000

$13,000-18,000
11,000-16,000

LITERATURE:

Duthuit-Matisse 436

l56
HENRI MATISSE
Danseuse debout, acoude, from: Dix Danseuses
lithograph, 1925-26, on Arches wove paper, signed in pencil, numbered 83/130
(there were also 15 impressions on Japan paper and five on China paper),
published by the Galerie dArt Contemporain, Paris, 1927, the full sheet, a deckle
edge at right, generally in very good condition, framed
L. 460 x 280 mm., S. 505 x 330 mm.

3,000-5,000
LITERATURE:

Duthuit-Matisse 482

40

$4,600-7,600
4,100-6,700

l57
HENRI MATISSE
Danseuse au Divan plie en deux, from: Dix Danseuses
lithograph, 1925-26, on Arches wove paper, signed in pencil, numbered 78/130
(there were also 15 impressions on Japan paper and five on China paper),
published by the Galerie dArt Contemporain, Paris, the full sheet, a deckle edge
below, in very good condition
L. 280 x 460 mm., S. 325 x 504 mm.

7,000-10,000

$11,000-15,000
9,500-13,000

LITERATURE:

Duthuit-Matisse 489

l58
HENRI MATISSE
Danseuse assise, from: Dix Danseuses
lithograph, 1927, on Arches wove paper, signed in pencil, numbered 81/130 (there
were also 15 impressions on Japan paper and five on China paper), published
by the Galerie dArt Contemporain, Paris, the full sheet, a deckle edge at right, in
very good condition
L. 440 x 280 mm., S. 502 x 326 mm.

7,000-10,000

$11,000-15,000
9,500-13,000

LITERATURE:

Duthuit-Matisse 480

41

l*59
HENRI MATISSE
Torse lAiguire
lithograph, 1927, on China paper, signed in pencil, numbered 21/50 (there were
also ten artists proofs), the full sheet, very pale light staining, otherwise in very
good condition
L. 364 x 263 mm., S. 498 x 359 mm.

8,000-12,000

$13,000-18,000
11,000-16,000

LITERATURE:

Duthuit-Matisse 494

l60
HENRI MATISSE
Haitienne
lithograph, 1945, on BFK Rives wove paper, signed in pencil and numbered
187/200, the full sheet, a deckle edge below, some handling creases and minor
time staining, otherwise in good condition
S. 400 x 300 mm.

4,000-6,000
PROVENANCE:

With Libreria Prandi, Reggio Emilia (with their blindstamp).


LITERATURE:

Duthuit-Matisse 567

42

$6,100-9,100
5,400-8,100

l61
JOAN MIR (1893-1983)
Femme et Chien devant la Lune
pochoir in 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 x 455 mm., S. 655 x 500 mm.

8,000-10,000

$13,000-15,000
11,000-13,000

PROVENANCE:

Pierre Meuz (not in Lugt.


LITERATURE:

Dupin 18

l62
JOAN MIR
Centenaire Mourlot
lithograph in colours, 1953, on Arches wove paper,
signed and inscribed Ea. in black ink, an artists
proof aside from the edition of 75, with deckle
edges at left and right, in very good condition
S. 507 x 660 mm.

15,000-20,000

$23,000-30,000
21,000-27,000

LITERATURE:

Mourlot 190

43

l63
JOAN MIR
Suites pour Ubu Roi
the complete set of 39 lithographs, including 26 in colours, 1966, on Arches paper, hors-texte, with title page and table of
contents, 13 signed, 13 initialled and 13 unsigned (as issued), all numbered 45/75, published by Triade Editeur, Paris, the full
sheets, all with a deckle edge below, the colours very fresh and vibrant, in very good condition, loose (as issued), within the
original green cloth-covered box with gilt lettering on the spine (portfolio)
570 x 785 mm. (overall)

40,000-60,000

$61,000-91,000
54,000-81,000

LITERATURE:

Mourlot 460-498; Cramer Books 108


The grotesque play Ubu Roi by Alfred Jarry (1873-1907), written in 1896, has often been seen as a precursor to surrealism and
had a strong influence on the writers and artists of the subsequent generation, including Joan Mir. Jarrys greedy and evil
character King Ubu reminded the artist uncannily of the Spanish dictator Jos Franco. Like Picasso in his two prints Sueo
Y Mentira de Franco (see lot 89), Mir uses Ubus story to at once ridicule the dictator and to denounce the injustices and
brutalities perpetrated by the regime in his native Spain.
Mir created three large series based on the story of Ubu: Ubu roi (1966), Ubu aux Balares (1971) and LEnfance dUbu (1975); a
total of one hundred lithographs, many of which contain only thinly disguised caricatures of Franco. Rather than his signature
use of cheerful primary colours, Mir in this series employed an equally vibrant, but somewhat diferent, slightly poisonous
palette, which adds to the sense of the ridiculous and grotesque.

44

l*64
JOAN MIR
LAdorateur du Soleil
etching, aquatint, and carborundum in colours, 1969, on Arches wove paper,
signed in pencil, inscribed HC (an hors commerce impression aside from the
edition of 75), published by Maeght Editeur, Paris, authenticated in pencil on the
reverse by Rosa Maria Malet, Fondaci Mir, Barcelona, dated 27 November
2014, the full sheet, a deckle edge above, a pale area of foxing at upper left,
otherwise in very good condition
S. 1064 x 679 mm.

8,000-12,000

$13,000-18,000
11,000-16,000

LITERATURE:

Dupin 483

l65
JOAN MIR
Dfil de Mannequins en Laponie
lithograph in colours, 1969, on Arches wove paper, signed in pencil, numbered
70/75, published by Maeght, Paris, the full sheet, mount staining at the sheet
edges, some minor soft creasing, generally in good condition, framed
L., S. 1260 x 865 mm.

8,000-12,000

$13,000-18,000
11,000-16,000

LITERATURE:

Mourlot 633

45

l66
JOAN MIR
Llibre dels sis Sentits
the complete set of six etchings and aquatints in colours, 1980, on Guarro wove paper, watermarked Sala Gaspar, each
signed, dated 25.X.80 and inscribed Bat. in pencil, the bon tirer impressions before the edition of fifty (there were also
14 hors commerce sets), the full sheets, published by Sala Gaspar, Barcelona, 1981, some soft handling creases and very
minor staining in the margins, otherwise in good condition
P. 720 x 545 mm., S. 905 x 700 mm. (each)

18,000-25,000

$28,000-38,000
25,000-34,000

LITERATURE:

Dupin 1165-1170
These are the bon tirer impressions, the final proofs which served as templates for the printing of the edition. As such they
were used in the studio and show some handling marks, including minor soft creases and traces of coloured inks in the
margins, which should not be considered as defects.

46

l67
JOAN MIR
Sculptures
lithograph in colours, 1971, on Arches wove paper, signed in pencil, numbered
124/150, before the unsigned edition with text, published by the Walker Art
Centre, Minneapolis, the full sheet; with Two Plates, from: Cartones, two
lithographs in colours, 1965, on Arches wove paper, both signed in pencil and
numbered 25/75, published by P. Matisse, New York, the full sheets; all generally
in very good condition (3)
M. 755: L. 855 x 727 mm., S. 858 x 730 mm.
M. 452: L. 305 x 425 mm., S. 420 x 548 mm.
M. 453: L. 505 x 635 mm., S. 545 x 707 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

LITERATURE:

Mourlot 452-453, 755; cf. Cramer Books 103

l68
PORTFOLIO
San Lazzaro et ses Amis
the complete portfolio including the suite of 8 lithographs in colours by
various artists, 1975, on Arches wove paper, with text in French, title page and
justification, copy number 36, from the edition of 75 (there were also 55 copies
for the artists and collaborators), published by XXe Sicle, Paris, each signed by
the artist, numbered 36/75, in very good condition, the full sheets, loose within
the paper wrappers, with the original presentation case (portfolio)
380 x 290 mm. (overall)

3,000-5,000

LITERATURE:

Cramer Books 1080


The portfolio includes lithographs by Max Bill, Alexander Calder, Max Ernst, Hans
Hartung, Joan Mir (Mourlot 1080), Henry Moore - Reclining Figure (Cramer 366),
Graham Sutherland and Zao Wou-ki (gerup 268).

$4,600-7,600
4,100-6,700

47

l69
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.

10,000-15,000

$16,000-23,000
14,000-20,000

This work has been authenticated by Nicola Campigli.

70
LOUIS MARCOUSSIS (1883-1941)
La Table
etching in colours, 1930, on Japan paper, signed in pencil, numbered 3/20
(there was also an edition of 120 on Arches), published by Jeanne Bucher,
Paris, with wide margins, presumably the whole sheet, some soft creases at
the corners, otherwise in very good condition
P. 245 x 180 mm., S. 500 x 379 mm.

3,000-5,000
LITERATURE:

Milet 52

48

$4,600-7,600
4,100-6,700

l71
GIORGIO MORANDI (1890-1964)
Natura morta con il Lume bianco a sinistra
etching, 1928, on Chine coll on an album sheet with an architectural
engraving verso, signed and inscribed P.d.S. (prova di stampa), a printers
proof aside from the edition of fifty, the full sheet, some minor time
staining and creasing, in good condition
P. 220 x 270 mm., S. 388 x 542 mm.

15,000-20,000

$23,000-30,000
21,000-27,000

PROVENANCE:

With Libreria Prandi, Reggio Emilia (with their blindstamp).


LITERATURE:

Vitali 47; Cordaro 1928 7

l72
GIORGIO MORANDI
Natura morta con due Oggetti e un Drappo su un Tavolo
etching, 1929, on wove paper, signed and dated in pencil, numbered
25/40, the full sheet, adhesive staining along the upper sheet edge,
otherwise in good condition
P. 235 x 195 mm., S. 347 x 330 m.

7,000-10,000

$11,000-15,000
9,500-13,000

LITERATURE:

Vitali 64; Cordaro 1929 12

l73
GIORGIO MORANDI
Natura morta a Tratti sottilissimi
etching, 1933, on Chine coll on Van Gelder Zonen laid paper, signed in
pencil, numbered 9/27, pale mount staining, in good condition
P. 255 x 235 mm., S. 443 x 327 mm.

10,000-15,000

$16,000-23,000
14,000-20,000

PROVENANCE:

With Libreria Prandi, Reggio Emilia (with their blindstamp).


LITERATURE:

Vitali 105; Cordaro 1933 7

49

Picassos La Suite Vollard is the most important series of etchings in his long and fertile printmaking career.The series is named after Ambroise Vollard (1867-1939), the dealer
and publisher who had given Picasso his first exhibition in Paris in 1901, thereby launching the most extraordinary career in the history of modern art. Rather paradoxically
for a series that cover the years 1930 to 1937, La Suite Vollard was conceived as a suite only in 1934, when Picasso asked to buy a Renoir and a Czanne from Vollards private
collection. Vollard ofered instead to swap the paintings for a group of printing plates, with the rights to publish them. The deal was agreed, and in 1936 Picasso handed over
97 plates which he had chosen for Vollard. The term suite is therefore something of a misnomer, as it is more of a rsum, a selection made by the artist from his graphic
output of seven years. Stylistically, the majority of the images reflect the neo-classical phase of Picassos work that made its first appearance in 1918, following a journey to
Rome the year earlier and subsequent trips to Florence, Naples and Pompeii. Technically, the Suite includes examples of all the etching techniques Picasso had explored and
mastered up to this point, ranging from straight etching and drypoint to the highly innovative sugar-lift aquatint, while thematically, the prints ofer a fascinating insight into
Picassos inspiration and obsessions as he approached late middle age. Four main motifs are played out in ever-changing variations throughout the series: the Battle of Love,
the Sculptors Studio, Rembrandt, and The Minotaur. The last plates are three portraits of Ambroise Vollard, which Picasso had etched in a single day in early 1937 ofered
here at beginning of a great selection of prints from La Suite Vollard on the following pages, including examples from all three editions: 260 on laid paper, 50 on laid paper
with wider margins, and the extremely limited edition of three impressions only, printed on vellum and signed in red ink.

l74
PABLO PICASSO (1881-1973)
Portrait de Vollard II, from: La Suite Vollard
aquatint, 1937, on vellum, signed in red ink, numbered 3/3 (there was also an edition of fifty
on Montval laid paper with wider margins and of 260 with narrower margins), published by
A. Vollard, Paris, 1939, the full sheet, in very good condition
P. 338 x 245 mm., S. 520 x 395 mm.

12,000-18,000
LITERATURE:

Bloch 231; Baer 618 Bb

50

$19,000-27,000
17,000-24,000

l75
PABLO PICASSO
Portrait de Vollard I, II, III, from: La Suite Vollard
two aquatints and one etching, 1937, on Montval laid paper, B. 231 watermark
Montgolfier, each signed in pencil, from the edition of fifty with wider margins
(there was also an edition of 260 with narrower margins), published by A.
Vollard, Paris, 1939, the full sheets, each in good condition
P. 348 x 248 mm., S. 499 x 386 mm. (and similar)
(3)

8,000-12,000

$13,000-18,000
11,000-16,000

LITERATURE:

Bloch 231, 232, 233; Baer 617, 618, 619

51

l76

l77

PABLO PICASSO

PABLO PICASSO

Femmes se reposant, from: La Suite Vollard

Le Repos du Sculpteur devant un Centaure et une Femme,


from: La Suite Vollard

drypoint, 1931, 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 left, in very
good condition
P. 300 x 366 mm., S. 337 x 444 mm.

8,000-12,000

$13,000-18,000
11,000-16,000

PROVENANCE:

etching, 1933, on vellum, signed in red crayon, numbered 3/3 (there were also
fifty on laid paper with wide margins and 260 with narrower margins), published
by A. Vollard, Paris, 1939, with wide margins, pale mount staining, slight rippling
towards the sheet edges (as is usual with vellum), binding holes at the sheet
edges, a couple of minor nicks at the upper left corner, a repaired tear at the
lower left sheet edge, otherwise in good condition, framed
P. 187 x 255 mm., S. 404 x 535 mm.

18,000-25,000

With Henri Petiet, Paris (with his number 210 in pencil at lower left recto).
LITERATURE:

Bloch 143; Baer 210

52

LITERATURE:

Bloch 167; Baer 320

$28,000-38,000
25,000-34,000

l*78
PABLO PICASSO
Sculpteur, Modle, et Buste sculpt, from: La Suite Vollard
etching, 1933, on Montval laid paper, watermark Montgolfier, signed in pencil,
from the edition of fifty with wider margins (there was also an edition of 260
with narrower margins), published by A. Vollard, Paris, 1939, the full sheet, pale
light- and mount staining, otherwise in good condition, framed
P. 267 x 192 mm., S. 505 x 385 mm.

6,000-8,000

$9,200-12,000
8,100-11,000

LITERATURE:

Bloch 148; Baer 300

l79
PABLO PICASSO
Le Repos du Sculpteur devant un Nu la Draperie, from: La
Suite Vollard
etching, 1933, on Montval 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 below, pale light-staining,
otherwise in good condition
P. 267 x 194 mm., S. 445 x 337 mm.

7,000-10,000

$11,000-15,000
9,500-13,000

LITERATURE:

Bloch 160; Baer 313

l80
PABLO PICASSO
Le Repos du Sculpteur 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.

8,000-10,000

$13,000-15,000
11,000-13,000

LITERATURE:

Bloch 172; Baer 325

53

l81
PABLO PICASSO
Trois Femmes nues prs dune Fentre, 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 below, pale time
staining, otherwise in good condition
P. 365 x 299 mm., S. 445 x 340 mm.

7,000-10,000

$11,000-15,000
9,500-13,000

PROVENANCE:

With Henri Petiet, Paris (with his number 328 in pencil at lower left recto).
LITERATURE:

Bloch 176; Baer 329

l*82
PABLO PICASSO
Sculpteur et Modle agenouill, from: La Suite Vollard
etching, 1933, on Montval 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 full sheet, some very minor surface dirt in the lower
right margin, otherwise in good condition, framed
P. 365 x 295 mm., S. 445 x 337 mm.

8,000-12,000
LITERATURE:

Bloch 178; Baer 331

54

$13,000-18,000
11,000-16,000

l83
PABLO PICASSO
Le Viol V, from: La Suite Vollard
drypoint, 1933, on Montval laid paper, watermark
Montgolfier, signed in pencil, from the edition of
fifty with wider margins (there was also an edition
of 260 with narrower margins), published by A.
Vollard, Paris, 1939, in very good condition, framed
P. 296 x 365 mm., S. 384 x 500 mm.

8,000-12,000

$13,000-18,000
11,000-16,000

PROVENANCE:

With Henri Petiet, Paris (with his number 349 in pencil


at lower left recto).
With Galerie Louise Leiris, Paris.
Acquired from the above by the present owner.
LITERATURE:

Bloch 182; Baer 341 Bc

l84
PABLO PICASSO
Modle nu et Sculptures, from:
La Suite Vollard
etching, 1933, 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
full sheet, the upper left corner skilfully made up,
otherwise in good condition
P. 380 x 296 mm., S. 445 x 340 mm.

7,000-10,000

$11,000-15,000
9,500-13,000

PROVENANCE:

With Henri Petiet, Paris (with his number 333 in pencil


at lower left recto).
LITERATURE:

Bloch 185; Baer 344

55

l85
PABLO PICASSO
Autoportrait sous trois Formes: Peintre
couronn, Sculpteur en Buste et
Minotaure amoureux, from:
La Suite Vollard
etching, 1933, on Montval paper, watermark
Montgolfier, signed in pencil, from the edition of
fifty with wider margins (there was also an edition
of 260 with narrower margins), published by A.
Vollard, Paris, 1939, the full sheet, in very good
condition, framed
P. 299 x 367 mm., S. 385 x 500 mm.

15,000-25,000

$23,000-38,000
21,000-34,000

PROVENANCE:

With Henri Petiet, Paris (with his number 354 in pencil


at lower left recto).
With Galerie Louise Leiris, Paris.
Acquired from the above by the present owner.
LITERATURE:

Bloch 191; Baer 350 Bc

l86
PABLO PICASSO
Modle et grande Sculpture de Dos,
from: La Suite Vollard
etching, 1933, on Montval 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 full sheet,
pale light-staining, otherwise in very good condition
P. 267 x 192 mm., S. 445 x 335 mm.

7,000-10,000
LITERATURE:

Bloch 186; Baer 345

56

$11,000-15,000
9,500-13,000

l87
PABLO PICASSO
Quatre Femmes nues et Tte sculpte,
from: La Suite Vollard
etching and engraving, 1934, 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 left, in very good condition
P. 223 x 316 mm., S. 340 x 450 mm.

20,000-30,000

$31,000-46,000
27,000-40,000

PROVENANCE:

With Henri Petiet, Paris (with his number 347 in pencil


at lower left recto).
LITERATURE:

Bloch 219; Baer 424Bd

l88
PABLO PICASSO
Minotaure aveugle guid par une Fillette
II, from: La Suite Vollard
etching, 1934, on Montval laid paper, watermark
Montgolfier, signed in pencil, from the edition of
fifty with wider margins (there was also an edition
of 260 with narrower margins), published by A.
Vollard, Paris, 1939, the full sheet, in very good
condition, framed
P. 240 x 295 mm., S. 383 x 504 mm.

15,000-25,000

$23,000-38,000
21,000-34,000

PROVENANCE:

With Henri Petiet, Paris (with his number 381 in pencil


at lower left recto).
With Galerie Louise Leiris, Paris.
Acquired from the above by the present owner.
LITERATURE:

Bloch 223; Baer 435 Bc

57

l89
PABLO PICASSO
Sueo y Mentira de Franco
the pair of etchings with aquatint, 1937, on Chine coll paper, both signed in pencil and numbered 147/150
(there were also thirty signed artists proofs numbered in Roman numerals and a stamp-signed edition of
850 on Montval), published by the artist, Paris, 1937, the full sheets, in good condition, framed
P. 315 x 422 mm., S. 382 x 575 mm. (each)
(2)

12,000-18,000

$19,000-27,000
17,000-24,000

LITERATURE:

Bloch 297-298; Baer 615-616; Cramer Books 28

l90
PABLO PICASSO
Tte dHomme de Profil gauche
aquatint and drypoint, 1937, on Richard de Bas laid paper, with the stamped
signature, numbered 38/50 (there were also 18 artists proofs), published by
Galerie L. Leiris, Paris, 1980, the full sheet, with deckle edges on all sides, in very
good condition, framed
P. 345 x 245 mm., S. 510 x 402 mm.

4,000-6,000
LITERATURE:

Bloch 302; Baer 630 IIBb1

58

$6,100-9,100
5,400-8,100

These two colour aquatints of Dora Maar, from a series of six executed in 1939, provide an unusual insight into Picassos character and working methods. Picasso found
colour printing challenging and frustrating in equal measure, and for three straight months the technicians at Lacourire were monopolised in producing these complex
portraits. Whilst the proofs were being pulled, Picasso hit upon the idea of producing a book containing reproductions of his notebooks. The Dora Maar portraits would serve
as the hors-texte illustrations. Ambroise Vollard, Picassos publisher, was enthusiastic about the project and negotiations about the paper and design of the binding were at
an advanced stage when Picasso suddenly abandoned the whole enterprise. Whilst he still liked the concept, the process seemed too laborious to him. The plates remained
in the atelier, which was virtually shut down as the war closed around Paris. When Picasso met Lacourire again in 1942, and saw that he was living in extremely straitened
circumstances, he decided to help his friend by allowing him to print some of his old plates. It is generally thought that the colour portraits were amongst these plates, and 104
impressions of Tete de Femme no. 2 and 105 impressions of Tete de Femme no. 5 were printed. But with the project for the book abandoned, Vollard dead, and Dora Maar
no longer his mistress and muse, Picasso refused to have them published. This was in spite of the entreaties of Madame Lacourire, who believed quite rightly that only by
publishing them would any money be made to recompense her husband and his numerous assistants for all their hard work three years before. Picasso, however, could not
be persuaded. The prints were packed up and stored in his studio for the next thirty years, where they were re-discovered after his death. The edition was subsequently divided
amongst Picassos heirs, and very few have subsequently appeared on the market.

l91

l92

PABLO PICASSO

PABLO PICASSO

Tte de Femme No. 2: Portrait de Dora Maar

Tte de Femme No. 5: Portrait de Dora Maar

aquatint and drypoint in colours, 1939, on Montval laid paper, watermark Vollard,
from the unsigned edition of 104 printed by Lacourire between 1939 and 1942
(there were also 21 artists proofs, of which only one was signed, according to
Baer), the full sheet, with deckle edges above and below, in very good condition
P. 299 x 237mm., S. 450 x 340mm.

aquatint and drypoint in colours, 1939, on Montval laid paper, watermark Picasso,
from the unsigned edition of 105 printed by Lacourire between 1939 and 1942
(there were also 11 artists proofs, of which only two were signed, according to
Baer), the full sheet, with deckle edges above and below, in very good condition
P. 299 x 237mm., S. 450 x 338mm.

20,000-30,000

30,000-50,000

$31,000-46,000
27,000-40,000

LITERATURE:

LITERATURE:

Bloch 1340; Baer 650D

Bloch 1337; Baer 653D

$46,000-76,000
41,000-67,000

59

l93

l94

PABLO PICASSO

PABLO PICASSO

Fumeur III

Fumeur au Maillot ray gris et bleu

aquatint in colours, 1964, on Richard de Bas wove paper, signed in pencil,


inscribed preuve dartiste, one of 15 artists proofs aside from the edition of fifty,
published by Galerie L. Leiris, 1965, the full sheet, with deckle edges on all four
sides, in very good condition
P. 417 x 317 mm., S. 560 x 408 mm.

aquatint in colours, 1964, on Auvergne Richard de Bas wove paper, signed in


pencil, inscribed preuve dartiste, one of 15 artists proofs aside from the edition
of fifty, published by Galerie L. Leiris, Paris, the full sheet, with deckle edges on all
four sides, in very good condition
P. 415 x 316 mm., S. 572 x 413 mm.

15,000-20,000

12,000-18,000

$23,000-30,000
21,000-27,000

LITERATURE:

LITERATURE:

Bloch 1171; Baer 1171

Bloch 1172; Baer 1172

60

$19,000-27,000
17,000-24,000

l95
PABLO PICASSO
Tte de Femme, from: Picasso Dessins
lithograph, 1925, on Japanese Imperial paper, signed in pencil, from the edition
of one hundred, published by Daniel Henry Kahnweiler, Paris, the full sheet,
generally in very good condition
L. 127 x 115 mm., S. 262 x 209 mm.

6,000-8,000

$9,200-12,000
8,100-11,000

LITERATURE:

Bloch. 73; Baer 240; Mourlot XX; Cramer Books 14

l96
PABLO PICASSO
Franoise
lithograph, 1946, on Arches wove paper, signed in pencil, numbered 27/50,
probably the full sheet, generally in good condition, framed
S. 650 x 505 mm.

25,000-35,000

$39,000-53,000
34,000-47,000

LITERATURE:

Bloch 401, Mourlot 45

61

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

l97
PABLO PICASSO
La Femme la Rsille (Femme aux Cheveux verts)
lithograph in colours, 1956, on Arches wove paper, signed in red crayon, numbered 40/50 (there were also five or six
proofs for the artist and printer), the full sheet, a deckle edge above and below, in very good condition, framed
S. 657 x 501 mm.

50,000-70,000
LITERATURE:

Bloch 612; Mourlot 178a

62

$77,000-110,000
68,000-94,000

l98
PABLO PICASSO
Femme accroupie au bras lev
lithograph, 1956, on Arches wove paper, signed in pencil, numbered 47/50
(there were also six proofs for the artist and printer), the full sheet, a deckle
edge at left and right, pale time staining, generally in good condition,
framed
L. 430 x 605 mm., S. 505 x 663 mm.

10,000-15,000

$16,000-23,000
14,000-20,000

Bloch 791; Mourlot 275

l*99
AFTER PABLO PICASSO
Maternit
offset lithograph in colours, 1963, on Arches wove paper, signed in pencil,
numbered 117/200, published by Editions Combat de la Paix, Paris,
probably the full sheet, pale light-staining, generally in very good condition
L. 800 x 600 mm., S. 893 x 633 mm.

6,000-8,000

$9,200-12,000
8,100-11,000

l*100
PABLO PICASSO
Colombe volant ( lArc-en-Ciel)
lithograph in colours, 1952, on Arches wove paper, signed in pencil and
numbered 50/200, probably the full sheet, with time and light-staining, the
colours slightly attenuated, handling creases in the margins, tape stains
along the upper sheet edge verso
L. 500 x 650 mm., S. 545 x 765 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

LITERATURE:

Bloch 712; Mourlot 214a

63

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

l101
PABLO PICASSO
Buste de Femme au Chapeau
linocut in colours, 1962, on Arches wove paper, signed in pencil, numbered 1/50 (there were also
approximately twenty artists proofs), published by Galerie L. Leiris, Paris, 1963, the full sheet, the colours
exceptionally fresh and strong, some very pale mount staining in the margins, in very good condition,
framed
B. 630 x 530 mm., S. 753 x 620 mm.

200,000-300,000

$310,000-460,000
270,000-400,000

PROVENANCE:

Georges Bloch (1901-1984), Zurich; his stamp verso (not in Lugt).


LITERATURE:

Bloch 1072; Baer 1318

Although linocuts form a relatively small part of Picassos oeuvre as a printmaker, he produced some of his most
outstanding compositions by this method in a short burst of activity between 1958 to 1963. It was a combination
of geographic necessity and artistic curiosity which led him, at the age of 78, to turn away from etching and
lithography hitherto his favourite means of graphic expression and take up the linocut technique. Picasso had
left Paris with Jacqueline Roque in 1958, dividing his time between Villa La Californie at Cannes, and the newly
acquired Chteau de Vauvenargues, near Aix-en-Provence. A major practical drawback of this move was the delay
in communicating with the printing studios in Paris. There plates could be proofed and returned within hours; now
it took days, robbing Picasso the immediate contact with his printers.
His first involvement with linocut printing had been rather casual. In 1952 he had produced a series of simple
posters for the potters of Vallauris, a village in the hills above Cannes. It was only six years later that he engaged
with the technique more intensely. Working with the young printer Hidalgo Arnra, he re-imagined Lucas
Cranachs sober Portrait of a Young Girl. The resulting print is astonishing, but he found the process too labourintensive and complicated, as it had required the cutting and registering of six diferent colour blocks, to be
printed precisely on top of one another.
When Picasso returned to linocut a few years later, he had come up with an extraordinary solution to his technical
problem: rather than use separate blocks for each colour, he printed the whole image from just one block
in the so-called reduction method. The block was printed in the lightest colour, then cut further and printed
successively from the lighter to the darker colours. While making the task of registration much simpler, it required
a tremendous power of imagination to foresee how each change in the block would afect the composition as
a whole. It was precisely the kind of artistic experiment which Picasso enjoyed and he embraced the challenge
wholeheartedly and playfully. His masterpiece of the period, Buste de femme aux chapeau, is one of his greatest
portraits of Jacqueline and a prime example of this technical tour-de-force - a creative liberation which resulted in
some of the most luminous and joyful images in Picassos entire oeuvre.

64

l102
PABLO PICASSO
Nature morte au Verre sous la Lampe
linocut in colours, 1962, on Arches wove paper, signed in pencil, numbered 38/50 (there were also
approximately twenty artists proofs), published by Galerie L. Leiris, Paris, 1963, the full sheet, the colours very
bright and fresh, pale mount staining in the margins, a short tear at the lower sheet edge, otherwise in very
good condition, framed
B. 530 x 638 mm., S. 622 x 754 mm.

100,000-150,000

$160,000-230,000
140,000-200,000

LITERATURE:

Bloch 1101; Baer 1312

Picasso had a voracious visual appetite and sought and found inspiration anywhere, from the Ancient Greeks,
Romans and Egyptians to Tribal and Folk Art and the Old Masters of Europe, such as Rembrandt, El Greco or
Velazquez. He unashamedly quoted the styles and compositions of the art of the past, thereby often radically
modernizing them and making them his own. It was in this spirit that in 1963, having just explored, reinvented
and finally mastered the technique of colour linocut printing, that he turned to a genre, which at the time - after
impressionism and his own cubist experiments - must have felt rather stale and old-fashioned: the still-life.
In its composition and selection of elements a ledge or table, some apples, a glass Nature morte au verre
sous la lampe is in its sparseness and simplicity very much in the Spanish, rather than in the more opulent and
ostentatious Netherlandish tradition. Yet by introducing another element, a ceiling lamp with a modern light bulb,
Picasso transforms the subject into something altogether diferent and entirely contemporary. No longer is this
a quiet, melancholic still-life, exploring the subtleties of natural shapes and hues. It is a celebration of saturated
colours, bold shapes and artificial light. Picasso thus breathes life into an old and tired genre and resuscitates it
for generations to come. Created when the artist was past his eightieth year, Nature morte au verre sous la lampe
would not look dated, or any less radical, next to the screenprints of Roy Lichtenstein and Andy Warhol, who in
1963 were just stepping onto the stage.

66

67

l104

VARIOUS PROPERTIES

l103

PABLO PICASSO

PABLO PICASSO

Le Djeuner sur lHerbe, daprs Manet

La Pique casse
linocut in colours, 1959, on Arches wove paper, signed in pencil in the upper and
lower margin, numbered 34/50 (there were also approximately twenty artists
proofs), published by L. Leiris, 1960, the full sheet, pale mount staining, three
short backed tears at the upper sheet edge, otherwise in good condition, framed
L. 534 x 640 mm., S. 622 x 755 mm.

15,000-20,000
LITERATURE:

Bloch 921; Baer 1244

68

$23,000-30,000
21,000-27,000

linocut, 1961, on Arches wove paper, signed in pencil, numbered 48/50 (there
were also approximately twenty artists proofs), published by Galerie L. Leiris,
Paris, 1963, the full sheet, light staining, pale foxing in the margins, the tip of the
upper left sheet corner torn and re-attached, other minor defects, the subject
generally in good condition
B. 530 x 640 mm., S. 620 x 752 mm.

8,000-12,000
LITERATURE:

Bloch 1023; Baer 1277

$13,000-18,000
11,000-16,000

l105
PABLO PICASSO
Femme au Chapeau Fleurs
linocut in colours, 1962, on Arches wove paper, signed in pencil, inscribed Epreuve dartiste, one of approximately
twenty artists proofs aside from the edition of fifty, published by Galerie L. Leiris, Paris, 1963, the full sheet, a deckle
edge below, the colours fresh and strong, in very good condition
B. 348 x 268 mm., S. 625 x 442 mm.

30,000-50,000

$46,000-76,000
41,000-67,000

LITERATURE:

Bloch 1075; Baer 1322

69

l106
PABLO PICASSO
LEspagnole
linocut in colours, 1962, on Arches wove paper, signed in pencil,
numbered 15/50 (there were also twenty artists proofs), published by
Galerie L. Leiris, Paris, 1963, with wide margins, the sheet slightly reduced,
very pale light and mount staining, otherwise in good condition, framed
B. 350 x 270 mm., S. 560 x 442 mm.

18,000-25,000

$28,000-38,000
25,000-34,000

LITERATURE:

Bloch 1095; Baer 1324

l107
PABLO PICASSO
Tte de Femme au Chapeau
linocut printed in red and brown, 1962, on Arches wove paper, a rare
impression of this unpublished print, third, final state, the full sheet, in
very good condition
B. 640 x 530 mm., S. 752 x 622 mm.

25,000-35,000

$39,000-53,000
34,000-47,000

Baer cites 96 impressions of this state printed by Arnra, however this print
is very scarce and rarely comes to market. It is very likely that the actual print
run was much smaller than planned; in fact Baer states that the edition was
not completed and the project abandoned.

70

l108
PABLO PICASSO
Toros Vallauris
linocut in colours, 1958, on Arches wove paper, signed in blue crayon,
numbered 144/195 in pencil (there were also 22 artists proofs), published
by the Association des Potiers de Vallauris, the full sheet, the black surface
slightly scuffed and rubbed in places, generally in good condition
B. 650 x 530 mm., S. 790 x 610 mm.

4,000-6,000

$6,100-9,100
5,400-8,100

LITERATURE:

Bloch 1282; Baer 1049

l109
ZAO WOU-KI (1920-2013)
Bouquet de Fleurs
lithograph in colours, 1953, on BFK Rives wove paper, signed in pencil,
numbered 43/55 (there were also ten artists proofs), published by La
Hune, Paris, printed by E. and J. Desjobert, Paris, the full sheet, pale time
staining, otherwise in very good condition
L. 550 x 460 mm., S. 647 x 500 mm.

4,000-6,000

$6,100-9,100
5,400-8,100

LITERATURE:

gerup 78

71

POST-WAR & CONTEMPORARY PRINTS

l110

l111

ALBERTO BURRI (1915-1995)

ALBERTO BURRI

Combustione 1-6

Cretti

the complete set of six etchings and aquatints, 1965-68, on Fabriano Rosaspina
paper, each signed in pencil, inscribed buono di stampa, the bon tirer
impressions before the edition of ninety (there were also 15 artists proofs),
printed and published by Stamperia 2RC, Rome, with their blindstamp, the full
sheets, in generally good condition
P. 380 x 310 mm., S. 640 x 485 mm. (and similar)
(6)

etching and aquatint with embossing, 1971, on Fabriano Rosaspina paper,


signed in pencil, numbered 14/90 (there were also 15 artists proofs), printed and
published by Stamperia 2RC, Rome, the full sheet, in good condition, framed
S. 667 x 960 mm.

12,000-15,000
PROVENANCE:

From the Archives of The Stamperia dArte 2RC, Rome.

72

$19,000-23,000
17,000-20,000

5,000-7,000

$7,700-11,000
6,800-9,400

112

113

MAN RAY (1890-1976)

BRUCE NAUMAN (B. 1941)

A lHeure de lObservatoire - Les Amoureux

Perfect Door, Perfect Odor, Perfect Rodo

lithograph in colours, 1970, on wove paper, signed in pencil, numbered 123/150,


published by J. Petithory, Paris, with wide margins, presumably the full sheet, a
deckle edge at left, a very pale moisture stain at the lower left corner, otherwise
in very good condition, framed
L. 354 x 895 mm., S. 676 x 1040 mm.

three lithographs, 1973, on Roll Rives wove paper, each signed and dated in
pencil, all numbered 27/50 (there were also ten artists proofs each), published
by Cirrus Editions, Los Angeles, with their blindstamp, the full sheets, pale light
and time staining, minor creases, Perfect Odor with a few small stains, all framed
S. 812 x 660 mm. (each)
(3)

12,000-18,000

5,000-7,000

$19,000-27,000
17,000-24,000

LITERATURE:

LITERATURE:

Anselmino 15

Cordes 23-25

$7,700-11,000
6,800-9,400

73

74

114
CY TWOMBLY (1928-2011)
Natural History, Part II: Some Trees of Italy
the complete set of eight lithographs, granolithographs and collotypes, 1975-6, on Fabriano Btten paper, plate I with
the transparent paper overlay, each initialled in pencil, numbered 46/98 (there were also 17 artists proofs), published by
Propylen Verlag, Berlin, printed by Matthieu Studio, Zrich-Dielsdorf, with their blindstamp, the full sheets, with deckle
edges at left and right, in very good condition, lacking the original paper-covered portfolio case, all framed (8)
I., S. 760 x 565 mm.
(8)

40,000-60,000

$61,000-91,000
54,000-81,000

LITERATURE:

Bastian 52-59

75

l115
RICHARD HAMILTON (1922-2011)
Picassos Meninas
etching with aquatint, roulette and drypoint, 1973, on wove paper, signed and titled in pencil, numbered 76/90 (there were
also 15 artists proofs), published by Propylen Verlag, Berlin, and Pantheon Presse, Rome, in the portfolio Hommage
Picasso, the full sheet, deckle edges at left and right, in very good condition, framed
P. 572 x 490 mm., S. 756 x 570 mm

18,000-25,000
LITERATURE:

Lullin 91

76

$28,000-38,000
25,000-34,000

l116
RICHARD HAMILTON
The Solomon R Guggenheim
unique 3D vacuum-formed multiple in white and black, 1970, signed, dated 1965/76 and annotated Mirra in black felt-tip pen
on the reverse (there were also three editions of 106 multiples in black, 117 in white and 48 in chrome), in good condition
590 x 590 mm. (overall)

30,000-50,000

$46,000-76,000
41,000-67,000

PROVENANCE:

With Galerie Delta, Rotterdam.


Acquired from the above by the present owner.
LITERATURE:

Lullin p. 250

77

PROPERTY FROM A PRIVATE COLLECTION, BELGRAVIA

117
ROY LICHTENSTEIN (1923-1997)
On
etching, 1962, on BFK Rives wove paper, signed and dated
in pencil, numbered 6/60 (there were also 15 artist proofs),
printing with a light plate tone, published by Galleria Schwarz,
Milan, the full sheet, light and time staining, framed
P. 150 x 112 mm., S. 253 x 190 mm.

10,000-15,000

$16,000-23,000
14,000-20,000

LITERATURE:

Corlett 32

VARIOUS PROPERTIES

118
ROY LICHTENSTEIN
Still Life with red Jar
screenprint in colours, 1994, on Lanaquarelle watercolour
paper, signed and dated in pencil, numbered 60/250 (there
were also fifty artists proofs), co-published by the artist
and Gemini G.E.L., Los Angeles, with their blindstamps and
inkstamp on the reverse, the full sheet, a deckle edge below, in
very good condition, framed
I. 381 x 333 mm., S. 544 x 491 mm.

5,000-7,000
LITERATURE:

Corlett 291

78

$7,700-11,000
6,800-9,400

*119
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 slightly attenuated, pale
light-staining, otherwise in good condition, framed
L. 663 x 488 mm., S. 690 x 515 mm.

10,000-15,000

$16,000-23,000
14,000-20,000

LITERATURE:

Corlett II.6

FROM THE COLLECTION OF PETER BENDIXEN

120
ROY LICHTENSTEIN
Crak!
offset lithograph in colours, 1963-64, on thin wove paper, signed in
pencil, from the edition of unknown size, published by Leo Castelli
Gallery, New York, with their address, the full sheet, the colours
bright and strong, a tiny nick and a scuff at the lower right sheet
edge, pale light-staining, otherwise in good condition
L. 473 x 685 mm., S. 505 x 718 mm.

5,000-7,000

$7,700-11,000
6,800-9,400

LITERATURE:

Corlett II.2

79

VARIOUS PROPERTIES

121
ANDY WARHOL (1928-1987)
Marilyn
screenprint in colours, 1967, on wove paper, signed with initials and dated in pencil verso, stamp numbered
55/250 (there were also 26 artists 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.

50,000-70,000
LITERATURE:

Feldman & Schellmann II.24

80

$77,000-110,000
68,000-94,000

122
ANDY WARHOL
Mick Jagger
screenprint in colours, 1975, on Arches Aquarelle wove paper, signed in pencil by the artist and in red ink by
the sitter, dedicated by the artist to Franca with love, numbered A.P. 6/50, an artists proof aside from the
edition of 250, published by Seabird Editions, London, with their copyright stamp on the reverse, printed to
or close to the edges of the full sheet, some minor cracks in the ink surface (as usual with this print), minor
time and light-staining, otherwise in good condition, framed
S. 1110 x 735 mm.

15,000-25,000

$23,000-38,000
21,000-34,000

PROVENANCE:

A gift from the artist to the present owner.


LITERATURE:

Feldman & Schellmann II.138

81

Id asked around 10 or 15 people for suggestions. Finally


one lady friend asked the right question, Well, what do
you love most? Thats how I started painting money.
Andy Warhol

82

123
ANDY WARHOL
$ (4)
the portfolio of two unique screenprints in colours, 1982, on Lenox Museum Board, each signed in pencil, numbered 14/35, from
the edition of unique colour variants (there were also ten artists proofs), published by the artist, New York, with his copyright
stamp verso, printed by Rupert Jasen Smith, New York, with his blindstamp, the full sheets, in very good condition
S. 1016 x 814 mm. (each)

100,000-150,000

$160,000-230,000
140,000-200,000

LITERATURE:

Feldman & Schellmann II.281-282

83

124
ANDY WARHOL
Hammer and Sickle
the complete set of four screenrprints in colours, 1977, on Strathmore Bristol paper, all signed, inscribed and numbered
A.P. 3/10 in pencil, artists proofs aside from the edition of fifty, published by Andy Warhol Enterprises Inc., New York,
the full sheets, F. & S. 163 with pale mottled foxing at upper sheet edge, otherwise in good condition (4)
S. 765 x 1017 mm.
(4)

30,000-40,000

$46,000-61,000
41,000-54,000

LITERATURE:

Feldman & Schellmann II.161-164


Everybodys always asking me if I am a communist because Ive done Mao. So now Im doing hammers and sickles for
Communism, and skulls for Fascism. (cited in: Andy Warhol, Giant Size, Phaidon, New York, 2006, p. 528)

84

125
ANDY WARHOL
The Marx Brothers, from: Ten Portraits of Jews of the
Twentieth Century
screenprint in colours, 1980, on Lenox Museum Board, signed in pencil,
numbered AP 10/30, an artists proof aside from the edition of two hundred,
co-published by Ronald Feldman Fine Arts, Inc., New York and Jonathan A
Editions, Tel Aviv, printed by Rupert Jasen Smith, New York, with his blindstamp,
with the artists copyright stamp on the reverse, the full sheet, in very good
condition, framed
S. 1016 x 814 mm.

12,000-18,000

$19,000-27,000
17,000-24,000

LITERATURE:

Feldman & Schellmann II.232

126
ANDY WARHOL
Speed Skater
screenprint in colours, 1983, on Arches Aquarelle cold-pressed paper, signed
in pencil, numbered 34/50 (there was also an edition of 150 and ten artists
proofs on Arches 88 paper), from the deluxe edition published by Visconti Art
Spectrum, Vienna, the full sheet, the signature slightly smudged, otherwise in
good condition, framed
I., S. 848 x 613 mm.

6,000-8,000

$9,200-12,000
8,100-11,000

LITERATURE:

Feldman & Schellmann II.303

85

127
ANDY WARHOL
One plate, from: Ladies and Gentlemen
screenprint in colours, 1975, on Arches wove paper,
signed and dated in pencil verso, numbered 21/125 (there
were also 25 artists proofs), published by L. Anselmino,
Milan, the full sheet, in good condition, framed
I. 851 x 673 mm., S. 1093 x 721 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

LITERATURE:

Feldman & Schellmann II.130

PROPERTY FROM A PRIVATE COLLECTION,


BELGRAVIA

128
ANDY WARHOL
After the Party
screenprint in colors, 1979, on Arches 88 paper,
signed in pencil, numbered 172/1000 (there were
also thirty artists proofs), published by Grosset
and Dunlap, Inc., New York, printed by Rupert
Jasen Smith, New York, with his blindstamp, the full
sheet, a deckle edge below, in very good condition,
framed
S. 546 x 775 mm.

7,000-10,000
LITERATURE:

Feldman & Schellmann II.183

86

$11,000-15,000
9,500-13,000

VARIOUS PROPERTIES

129
ANDY WARHOL
Love
the complete set of three screenprints in colours, 1983, on BFK Rives wove paper, each signed in pencil, numbered
59/100 (there were also ten artists proofs), published by Form K. K., Tokyo, with the artists copyright stamp verso, the
full sheets, in very good condition, all framed (3)
S. 662 x 500 mm. (each)
(3)

15,000-25,000

$23,000-38,000
21,000-34,000

LITERATURE:

Feldman & Schellmann II.310-312

87

130
SAM FRANCIS (1923-1994)
Untitled
monotype in colours, circa 1980, on wove paper, signed in pencil, a unique
impression, the full sheet, a short repaired tear at lower left, generally in good
condtion
S. 960 x 745 mm.

6,000-8,000

$9,200-12,000
8,100-11,000

131
SAM FRANCIS
Untitled
screenprint in colours, 1986, on wove paper, signed in pencil, inscribed
CTP 3, one of ten colour trial proofs, presumably each a unique variant,
aside from the edition of 56, published by Gemini G.E.L., Los Angeles, with
their blindstamps, in very good condition
I., S. 2134 x 1503 mm.

6,000-8,000
LITERATURE:

Lembark S 18
Sam Francis Archive Number: SFS-291

88

$9,200-12,000
8,100-11,000

132
SAM FRANCIS
King Corpse
screenprint in colours, 1986, on Arches paper, signed in pencil, numbered AP 13/14, an artists proof aside
from the edition of 65, published by Gemini G.E..L, Los Angeles, with their blindstamp, the full sheet, in very
good condition
S. 1063 x 1494 mm.

7,000-10,000

$11,000-15,000
9,500-13,000

LITERATURE:

Lembark S16

89

133

134

SAM FRANCIS

SAM FRANCIS

Pioggia dOro, from: Le Cinque Stagioni

La Primavera Fredda, from: Le Cinque Stagioni

etching and aquatint in colours, 1988, on wove paper, signed in pencil, inscribed
SP, a proof aside from the edition of thirty (there were also ten artists proofs),
published by 2RC Edizioni dArte, Rome, with their blindstamps, in very good
condition
I. 984 x 1994 mm., S. 1159 x 2413 mm.

etching and aquatint in colours, 1988, on wove paper, signed in pencil, inscribed
SP, a proof aside from the edition of thirty (there were also ten artists proofs),
published by 2RC Edizioni dArte, Rome, with their blindstamps, in very good
condition
I. 984 x 1994 mm., S. 1159 x 2413 mm.

5,000-7,000

5,000-7,000

$7,700-11,000
6,800-9,400

LITERATURE:

LITERATURE:

Lembark I 97

Lembark I 99

90

$7,700-11,000
6,800-9,400

l135
FRANCIS BACON (1909-1992)
Three Studies for a Self-Portrait
three lithographs in colours printed on one sheet, 1981, on Arches wove
paper, signed in pencil, numbered 139/150 (there were also 25 hors commerce
impressions and ten artists proofs), printed by Arts Litho, Paris, published by
ditions de la Diffrence, Paris, the full sheet, a deckle edge at right, in very good
condition, framed
L. 325 x 280 mm. (each), S. 473 x 1035 mm.

20,000-25,000

$31,000-38,000
27,000-34,000

LITERATURE:

Sabatier 15

l136
FRANCIS BACON
Triptych 1987 (Central Panel)
lithograph in colours, 1989, on Arches wove paper, signed in pencil, numbered
123/180, published by Galerie Lelong, Paris, with wide margins, the colours bright
and fresh, in good condition
L. 685 x 505 mm., S. 896 x 645 mm.

4,000-6,000

$6,100-9,100
5,400-8,100

LITERATURE:

Sabatier 25

l137
FRANCIS BACON
Logique de la Sensation
lithograph in colours, 1981, on wove paper, signed in pencil, numbered 119/150
(there were also 25 proofs numbered in Roman numerals), printed by Arts Litho,
Paris, with their blindstamp, published by ditions de la Diffrence, Paris, the full
sheet, generally in very good condition
L., S. 448 x 330 mm.

6,000-8,000

$9,200-12,000
8,100-11,000

LITERATURE:

Sabatier 28

91

l138

l139

FRANCIS BACON

FRANCIS BACON

Triptych August 1972

Second Version, Triptych 1944

the set of three lithographs in colours, 1979, on Arches wove paper, each signed
in pencil, numbered 123/180, published by Galerie Lelong, Paris, the full sheets,
deckle edges below, in very good condition, framed (3)
L. 655 x 485 mm., S. 898 x 625 mm. (each)

the set of three lithographs in colours, 1989, on Arches wove paper, each signed
in pencil, inscribed E.A., one of eight artists proof sets aside from the edition of
sixty, published by Michel Archimbaud for Librairie Sguier for IRCAM, Centre
Pompidou, Paris, the full sheets, in very good condition, framed (3)
L. 623 x 462 mm., S. 755 x 560 mm.

15,000-20,000

$23,000-30,000
21,000-27,000

15,000-20,000

LITERATURE:

Sabatier 23

LITERATURE:

Sabatier 24

92

$23,000-30,000
21,000-27,000

140

l140
FRANCIS BACON
Miroir de la Tauromachie
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 73 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

$61,000-91,000
54,000-81,000

LITERATURE:

Sabatier 29

140

l141
FRANCIS BACON
Right Panel, from: Triptych
etching with aquatint in colours, 1981, on Guarro wove paper, signed in pencil, numbered 48/99 (there
were also 15 artists proofs), published by Polgrafa, Barcelona, the full sheet, some surface dirt and handling
creases in the margins, otherwise in good condition
P. 289 x 296 mm., S. 645 x 497 mm.

4,000-6,000

$6,100-9,100
5,400-8,100

LITERATURE:

Sabatier 4

93

PROPERTY FROM A PRIVATE BRITISH COLLECTION

l142
LUCIAN FREUD (1922-2011)
Blond Girl
etching, 1985, on Somerset white wove paper, initialled in pencil, numbered 18/50 (there were also fifteen
artists proofs), published by James Kirkman, London, and Brooke Alexander, New York, the full sheet, in very
good condition, framed
P. 700 x 545 mm., S. 880 x 720 mm.

40,000-60,000
LITERATURE:

Hartley 24; Figura 33

94

$61,000-91,000
54,000-81,000

VARIOUS PROPERTIES

l143
LUCIAN FREUD
Woman with an Arm Tattoo
etching, 1996, on wove paper, initialled in pencil, numbered 36/40 (there were also 12 artists proofs),
published by Matthew Marks Gallery, New York, the full sheet, a deckle edge below, in very good condition,
framed
P. 592 x 815 mm., S. 700 x 916 mm.

40,000-60,000

$61,000-91,000
54,000-81,000

LITERATURE:

Hartley 54; Figura 40

95

l*144
LUCIAN FREUD
Eli
etching, 2002, on Somerset white wove paper, initialled in pencil, numbered 12/46 (there were also 12 artists proofs),
published by Matthew Marks Gallery, New York, the full sheet, in excellent condition, framed
P. 660 x 850 mm., S. 780 x 960 mm.

80,000-120,000

$130,000-180,000
110,000-160,000

LITERATURE:

Not in Hartley; Figura 93


Depicting the dozing whippet of Lucian Freuds studio assistant and friend David Dawson, Eli (2002) is the largest and most
impressive dog portrait in Freuds printed oeuvre; the other two being of his own whippet Pluto (1988) and Pluto, aged Twelve
(2000). This great depiction of a dog is executed with the same - or perhaps greater? - tenderness and attention to detail than
the artists portraits of his friends and family, and reveals the artists deep afection for the animal. The present impression is only
the second to be ofered at auction since its creation thirteen years ago, when the artist was already eighty years old.

96

l*145
LUCIAN FREUD
The Painters Doctor
etching, 2006, on Somerset white wove paper, signed in pencil, numbered 36 (there were also 12 artists proofs),
published by Acquavella LLC, New York, the full sheet, in very good condition, framed
P. 596 x 457 mm., S. 777 x 616 mm.

12,000-18,000

$19,000-27,000
17,000-24,000

LITERATURE:

Not in Hartley; Figura 86

97

PROPERTY FROM A PRIVATE GERMAN COLLECTION

l146
GERHARD RICHTER (B. 1932)
Bahnhof (Hannover)
offset lithograph, 1967, on white lightweight
cardboard, signed, dated and titled in pencil,
numbered 13/170 (there were also ten trial proofs),
published by Kunstverein Hannover, with their
stamp verso, the full sheet, generally in good
condition
L. 479 x 584 mm., S. 580 x 689 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

LITERATURE:

Butin 10

l147
GERHARD RICHTER
Wolke
offset lithograph, 1971, on white lightweight
cardboard, signed in pencil, numbered in pencil and
stamped on the reverse 133/150 (there were also 12
proofs numbered in Roman numerals), published
by Kunstring Folkwang, Essen, the full sheet, in very
good condition
L. 440 x 440 mm., S. 640 x 600 mm.

3,000-5,000
LITERATURE:

Butin 37

98

$4,600-7,600
4,100-6,700

l148
GERHARD RICHTER
Seestck II
offset lithograph in colours, 1970, on white wove paper, signed and dated
in pencil, inscribed Druckprobe, a trial proof aside from the edition of thirty,
published by Kirschbaum KG, Dsseldorf, the full sheet, a long diagonal scuff
within the subject, pale scattered pinpoint foxing in the margins
L. 541 x 457 mm., S. 676 x 531 mm.

4,000-6,000

$6,100-9,100
5,400-8,100

LITERATURE:

Butin 31

l149
GERHARD RICHTER
Seestck II
offset lithograph in colours on black tinted ground, 1970, on white wove paper,
signed and dated in pencil at lower centre, again signed and dated in black ink
at lower right, presumably a unique colour variant printed predominantly in
shades of green and yellow, a trial proof before the edition of one hundred, the
full sheet, the lower left corner in the black margin slightly discoloured, generally
in good condition
L. 521 x 432 mm., S. 599 x 447 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

LITERATURE:

Butin 31

99

l150
GERHARD RICHTER
Teydelandschaft
offset lithograph in colours, 1971, on white rag paper, signed and dated in pencil,
numbered 1/150 (there were also twenty on white cardboard numbered in
Roman numerals), the full sheet, pale light-staining, otherwise in very good
condition
L. 335 x 480 mm., S. 459 x 598 mm.

2,000-3,000

$3,100-4,600
2,700-4,000

LITERATURE:

Butin 41

l151
GERHARD RICHTER
Meer
offset print in colours, 1973, cellophaned and mounted on white card, signed,
dated 1973 and numbered 180/250 on the support sheet, published by
the Kunstverein, Ghent, with the justification stamp on the support sheet
underneath the image, the full sheets, in very good condition
I. 249 x 249 mm., S. 670 x 650 mm.

3,000-5,000

$4,600-7,600
4,100-6,700

LITERATURE:

Butin 48

l152
GERHARD RICHTER AND
BLINKY PALERMO (1943-1977)
Telefon
offset print in colours and screenprint in yellow, 1971, on white cardboard, signed
in pencil by both artists on the reverse, inscribed Belegexemplar, a proof aside
from the edition of fifty, published by the Krefelder Kunstverein, with their
stamp, the full sheet, in good condition
S., I. 605 x 480 mm.

4,000-6,000

$6,100-9,100
5,400-8,100

LITERATURE:

Butin 42; Jahn 26


The work is a collaborative work by Richter and Palermo and consists of two
photographs of a telephone and the inside of a light bulb by Richter printed in fourtone ofset newsprint (described somewhat confusingly as letterpress print by
Butin) and the yellow screenprint surface devised by Palermo.

100

VARIOUS PROPERTIES

153
CHRISTOPHER WOOL (B. 1955)
Black Book
the complete book including 17 screenprints, 1989, on smooth wove paper, with title page and justification,
signed on the justification and numbered 238/350, published by Thea Westreich, New York, and Gisela
Capitain, Cologne, the full sheets, bound (as issued), in very good condition, within the original black
cardboard covers (book)
587 x 410 mm. (overall)

20,000-30,000

$31,000-46,000
27,000-40,000
101

l154

l155

MARLENE DUMAS (B. 1953)

JAKE AND DINOS CHAPMAN (B. 1966 & B. 1962)

Purple Pose; Snowflake; Dorothy D-lite

My Colouring Book

three lithographs in colours, 1999, on wove paper, signed, titled and dated in
pencil, numbered 34/50, the full sheets, with deckle edges above and below, in
very good condition, not examined out of the frames (3)
S. 1220 x 680 mm. (each)
(3)

the complete set of 21 etchings, 2004, on Somerset TP wove paper, with the title
and justification page, each signed in pencil and numbered 25/35 on the reverse
(there were also ten artists proof sets), published by The Paragon Press, London,
the full sheets, in very good condition, within the original portfolio case with title
printed on the front (portfolio)
562 x 448 mm. (overall)

20,000-30,000

102

$31,000-46,000
27,000-40,000

5,000-7,000

END OF SALE

$7,700-11,000
6,800-9,400

INDEX
B

Bacon, F., 135, 136, 138, 139, 140, 141


Beckmann, M., 29, 30
Braque, G., 46, 47, 48
Burri, A., 110, 111

Nauman, B., 113

C
Campigli, M., 69
Canaletto, A. (after), 14
Chagall, M., 38, 39, 40, 41, 42, 43, 44
Chagall. M. (after), 45
Chapman, J. & D., 155

D
Dix, O., 31
Dongen, K. van, 49
Dumas, M., 154
Drer, A., 1, 2, 3

F
Feininger, L., 37
Francis, S., 130, 131, 132, 133, 134
Freud, L., 142, 143, 144, 145

G
Gauguin, P., 28
Goya, F. de, 15, 16

H
Hamilton, R., 115
Heckel, E., 32
Helleu, P., 19

P
Palermo, B., 152
Picasso, P., 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85,
86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 100,
101, 102, 103, 104, 105, 106, 107, 108
Picasso, P. (after), 99
Portfolio, 35, 68

R
Redon, O., 24
Rembrandt, 6, 7, 8, 9, 10, 11, 12
Renoir, P. A., 22
Richter, G., 146, 147, 148, 149, 150, 151, 152
Rubens, P. P., 5

S
Schmidt-Rottluff, K., 34
Seguin, A., 28
Signac, P., 23
Sisley, A., 27
Sorlier, C., 45

T
Tissot, J.J.J., 20, 21
Toulouse-Lautrec, H. de, 25, 26
Twombly, C., 114

V
Visentini, A., 14

Kandinsky, W., 36

Warhol, A., 121, 122, 123, 124, 125, 126, 127, 128, 129
Whistler, J. A. M., 17, 18
Wool, C., 153
Wou-Ki, Z., 109

L
Lger, F., 52
Lichtenstein, R., 117, 118, 119, 120

M
Man Ray, 112
Marcoussis, L., 70
Matisse, H., 53, 54, 55, 56, 57, 58, 59, 60
Mir, J., 61, 62, 63, 64, 65, 66, 67
Morandi, G., 71, 72, 73

103

Paula Rego:
Thirty Years of Print
Online Only

Sale Information
10-19 March 2015
christies.com/paularego

Contact Information:
Lucia Tro Santaf
ltrosantafe@christies.com
+44 (0) 20 7389 2472

PLEASE NOTE
This is not a sale catalogue for the auction. This summary is provided as
a courtesy. Please see the sale online for full descriptions, the conditions
of sale, and other important information regarding this auction.

A Selection of Lots from Paula Rego: Thirty Years of Print


Online Only | 10-19 March 2015

106

Girl Sitting on a Dog


(Rosenthal 20)
etching and aquatint, 1987
Estimate: 500-700

Nursery Rhymes (R. 35-65)


the complete set of 26
etchings, 1989
Estimate: 20,000-30,000

Josephs Dream (R. 75)


etching and aquatint, 1991
Estimate: 700-1,000

Pendle Witches (R. 124-135)


the complete set of 12
etchings, 1996
Estimate: 15,000-20,000

Peter Pan (R. 79-93)


the complete set of 15
etchings, 1992
Estimate: 15,000-20,000

The Childrens Crusade


(R. 141-152)
the complete set of 12
etchings, 1996-98
Estimate: 10,000-15,000

Embarkation (R. 76)


etching and aquatint, 1992
Estimate: 1,000-1,500

Nursery Rhymes (R. 35-65)


complete portfolio including
26 etchings, 1989
Estimate: 20,000-30,000

A Selection of Lots from Paula Rego: Thirty Years of Print


Online Only | 10-19 March 2015

La Celestina (R. 179)


lithograph in colours, 2001
Estimate: 1,500-2,500

The Salmon Coloured Dress


(R. 181)
lithograph in colours, 2001
Estimate: 1,500-2,500

Loving Berwick, from Jane Eyre


- The Guardians (R. 205)
lithograph, 2001
Estimate: 2,000-3,000

The Seduction of Prince Pig,


from: Mr. Pig (R. 234)
lithograph in colours, 2006
Estimate: 1,000-1,500

Come to Me, from Jane Eyre The Guardians (R. 209)


lithograph in colours, 2001-02
Estimate: 2,500-3,500

Mr Rochester, from: Jane Eyre The Guardians (R. 206)


lithograph, 2002
Estimate: 4,000-6,000

Moon Eggs
the complete series of 5
etchings, 2005
Estimate: 4,000-6,000

After Hogarth II (R. 171)


etching and aquatint, 2000
Estimate: 700-1,000
107

CONDITIONS OF SALE BUYING AT CHRISTIES


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

6 WITHDRAWAL
Christies may, at its option, withdraw any lot at any
time prior to or during the sale of the lot. Christies
has no liability to you for any decision to withdraw.

2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above,
a financial reference or a deposit as a condition
of allowing you to bid. If you have not bought
anything from any of our salerooms in the last two
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires years or if you want to spend more than on previous
and emeralds) may have been treated to improve occasions, please contact our Credit Department on
their look, through methods such as heating and +44 (0)20 7839 9060.
oiling. These methods are accepted by the international jewellery trade but may make the gemstone 3 IF YOU FAIL TO PROVIDE THE
RIGHT DOCUMENTS
less strong and/or require special care over time.
(b) All types of gemstones may have been improved If in our opinion you do not satisfy our bidder
by some method. You may request a gemmological identification and registration procedures including,
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date of the auction and you pay the fee for the report. we may require to our satisfaction, we may refuse
(c) We do not obtain a gemmological report for to register you to bid, and if you make a successful
every gemstone sold in our auctions. Where we bid, we may cancel the contract for sale between
do get gemmological reports from internationally you and the seller.
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from 4 BIDDING ON BEHALF OF
American gemmological laboratories will describe
ANOTHER PERSON
any improvement or treatment to the gemstone. If you are bidding on behalf of another person,
Reports from European gemmological laboratories that person will need to complete the registration
will describe any improvement or treatment only requirements above before you can bid, and supply
if we request that they do so, but will confirm a signed letter authorising you to bid for him/
when no improvement or treatment has been her. A bidder accepts personal liability to pay the
made. Because of differences in approach and purchase price and all other sums due unless it
technology, laboratories may not agree whether a has been agreed in writing with Christies before
particular gemstone has been treated, the amount commencement of the auction that the bidder is
of treatment or whether treatment is permanent. acting as an agent on behalf of a named third party
The gemmological laboratories will only report acceptable to Christies and that Christies will only
on the improvements or treatments known to the seek payment from the named third party.
laboratories at the date of the report.
(d) For jewellery sales, estimates are based on the 5 BIDDING IN PERSON
information in any gemmological report or, if no If you wish to bid in the saleroom you must
report is available, assume that the gemstones may register for a numbered bidding paddle at least
have been treated or enhanced.
30 minutes before the auction. You may register
online at www.christies.com or in person. For
7 WATCHES & CLOCKS
help, please contact the Credit Department on +44
(a) Almost all clocks and watches are repaired in (0)20 7839 9060.
their lifetime and may include parts which are
not original. We do not give a warranty that 6 BIDDING SERVICES
any individual component part of any watch is The bidding services described below are a free
authentic. Watchbands described as associated service offered as a convenience to our clients and
are not part of the original watch and may not be Christies is not responsible for any error (human
authentic. Clocks may be sold without pendulums, or otherwise), omission or breakdown in providing
weights or keys.
these services.
(b) As collectors watches often have very fine and
complex mechanisms, a general service, change of (a) Phone Bids
battery or further repair work may be necessary,
Your request for this service must be made no
for which you are responsible. We do not give a
later than 24 hours prior to the auction. We
warranty that any watch is in good working order.
will accept bids by telephone for lots only if our
Certificates are not available unless described in
staff are available to take the bids. If you need
the catalogue.
to bid in a language other than in English, you
(c) Most wristwatches have been opened to find out must arrange this well before the auction. We
the type and quality of movement. For that reason, may record telephone bids. By bidding on the
wristwatches with water resistant cases may not be telephone, you are agreeing to us recording your
waterproof and we recommend you have them conversations. You also agree that your telephone
checked by a competent watchmaker before use.
bids are governed by these Conditions of Sale.
Important information about the sale, transport and
shipping of watches and watchbands can be found
(b) Internet Bids on Christies Live
in paragraph H2(h).
For certain auctions we will accept bids over
the Internet. Please visit www.christies.com/
B
REGISTERING TO BID
livebidding and click on the Bid Live icon to see
1 NEW BIDDERS
details of how to watch, hear and bid at the auction
(a) If this is your first time bidding at Christies or from your computer. As well as these Conditions
you are a returning bidder who has not bought of Sale, internet bids are governed by the Christies
anything from any of our salerooms within the last LIVEG terms of use which are available on www.
two years you must register at least 48 hours before christies.com.
an auction to give us enough time to process and
approve your registration. We may, at our option, (c) Written Bids
decline to permit you to register as a bidder. You You can find a Written Bid Form at the back of our
will be asked for the following:
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(i) for individuals: Photo identification (driving the sale and viewing the lots online at www.
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not shown on the ID document, proof of your Written Bid Form at least 24 hours before the
current address (for example, a current utility bill auction. Bids must be placed in the currency of the
or bank statement).
saleroom. The auctioneer will take reasonable steps
(ii) for corporate clients: Your Certificate of to carry out written bids at the lowest possible price,
Incorporation or equivalent document(s) showing taking into account the reserve. If you make a
your name and registered address together with written bid on a lot which does not have a reserve
documentary proof of directors and beneficial and there is no higher bid than yours, we will bid
owners; and
on your behalf at around 50% of the low estimate
(iii) for trusts, partnerships, offshore companies or, if lower, the amount of your bid. If we receive
and other business structures, please contact us in written bids on a lot for identical amounts, and at
advance to discuss our requirements.
the auction these are the highest bids on the lot,
(b) We may also ask you to give us a financial we will sell the lot to the bidder whose written bid
reference and/or a deposit as a condition of we received first.
allowing you to bid. For help, please contact our
Credit Department on +44 (0)20 7839 9060.

C
AT THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our
premises or decline to permit participation in any
auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a
reserve. We identify lots that are offered without
reserve with the symbol next to the lot number.
The reserve cannot be more than the lots low
estimate.
3 AUCTIONEERS DISCRETION
The auctioneer can at his sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any
way he or she may decide, or change the order of
the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more
lots;
(e) reopen or continue the bidding even after the
hammer has fallen; and
(f) in the case of error or dispute and whether
during or after the auction, to continue the bidding,
determine the successful bidder, cancel the sale of
the lot, or reoffer and resell any lot. If any dispute
relating to bidding arises during or after the auction,
the auctioneers decision in exercise of this option is
final.
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders, and internet bidders through
Christies LIVEG (as shown above in Section B6);
and
(c) written bids (also known as absentee bids or
commission bids) left with us by a bidder before the
auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid
on behalf of the seller up to but not including
the amount of the reserve either by making
consecutive bids or by making bids in response
to other bidders. The auctioneer will not identify
these as bids made on behalf of the seller and will
not make any bid on behalf of the seller at or above
the reserve. If lots are offered without reserve,
the auctioneer will generally decide to open the
bidding at 50% of the low estimate for the lot.
If no bid is made at that level, the auctioneer may
decide to go backwards until a bid is made, and
then continue up from that amount. In the event
that there are no bids on a lot, the auctioneer may
deem such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments). The auctioneer
will decide at his or her sole option where the
bidding should start and the bid increments. The
usual bid increments are shown for guidance only on
the Written Bid Form at the back of this catalogue.
7 CURRENCY CONVERTER
The saleroom video screens (and Christies LIVETM)
may show bids in some other major currencies as
well as sterling. Any conversion is for guidance only
and we cannot be bound by any rate of exchange
used. Christies is not responsible for any error
(human or otherwise), omission or breakdown in
providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her
discretion as set out in paragraph C3 above, when
the auctioneers hammer strikes, we have accepted
the last bid. This means a contract for sale has been
formed between the seller and the successful bidder.
We will issue an invoice only to the registered
bidder who made the successful bid. While we
send out invoices by post and/or email after the
auction, we do not accept responsibility for telling
you whether or not your bid was successful. If you
have bid by written bid, you should contact us by
telephone or in person as soon as possible after the
auction to get details of the outcome of your bid
to avoid having to pay unnecessary storage charges.

9 LOCAL BIDDING LAWS


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

THE BUYERS PREMIUM, TAXES


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

terms of the authenticity warranty are as follows:


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

F
PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you must
pay the purchase price being:
(i) the hammer price; and
(ii) the buyers premium; and
(iii) any amounts due under section D3 above; and
(iv) any duties, goods, sales, use, compensating or
service tax or VAT.
Payment is due no later than by the end of the
seventh calendar day following the date of the
auction (the due date).
(b) We will only accept payment from the
registered bidder. Once issued, we cannot change
the buyers name on an invoice or re-issue the
invoice in a different name. You must pay
immediately even if you want to export the lot and
you need an export licence.
(c) You must pay for lots bought at Christies in
the United Kingdom in the currency stated on the
invoice in one of the following ways:
(i) Wire transfer
You must make payments to:
Lloyds Bank Plc, City Office, PO Box 217, 72
Lombard Street, London EC3P 3BT. Account
number: 00172710, sort code: 30-00-02 Swift
code: LOYDGB2LCTY. IBAN (international bank
account number): GB81 LOYD 3000 0200 1727
10.
(ii) Credit Card.
We accept most major credit cards subject to certain
conditions. To make a cardholder not present
(CNP) payment, you must complete a CNP
authorisation form which you can get from our
Cashiers Department. You must send a completed
CNP authorisation form by fax to +44 (0)20 7389
2869 or by post to the address set out in paragraph
(d) below. If you want to make a CNP payment
over the telephone, you must call +44 (0)20 7839
9060. CNP payments cannot be accepted by all
salerooms and are subject to certain restrictions.
Details of the conditions and restrictions applicable
to credit card payments are available from our
Cashiers Department, whose details are set out in
paragraph (d) below.
(iii) Cash
We accept cash subject to a maximum of %5,000
per buyer per year at our Cashiers Department only
(subject to conditions).
(iv) Bankers draft
You must make these payable to Christies and there
may be conditions.
(v) Cheque
You must make cheques payable to Christies.
Cheques must be from accounts in pounds sterling
from a United Kingdom bank.
(d) You must quote the sale number, your
invoice number and client number when making
a payment. All payments sent by post must be sent
to: Christies, Cashiers Department, 8 King Street,
St Jamess, London, SW1Y 6QT.
(e) For more information please contact our
Cashiers Department by phone on +44 (0)20 7839
9060 or fax on +44 (0)20 7389 2869.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of
the lot will not pass to you until we have
received full and clear payment of the
purchase
price, even in circumstances
where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will
transfer to you from whichever is the earlier of the
following:
(a) When you collect the lot; or
(b) At the end of the seventh day following the
date of the auction or, if earlier, the date the lot is
taken into care by a third party warehouse as set out
on the page headed Storage and Collection, unless
we have agreed otherwise with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full
by the due date, we will be entitled to do one or
more of the following (as well as enforce our rights
under paragraph F5 and any other rights we have by
law):
(i) to charge interest from the due date at a rate of
5% a year above the UK Lloyds Bank base rate from
time to time on the unpaid amount due;

(ii) we can cancel the sale of the lot. If we do this,


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

H TRANSPORT AND SHIPPING


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

110

material is from the African elephant, we will not


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

(c) In particular, please be aware that our written


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

to those proceedings), we agree we will each try to


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

10 REPORTING ON
WWW.CHRISTIES.COM
Details of all lots sold by us, including catalogue
descriptions and prices, may be reported on
www.christies.com. Sales totals are hammer
price plus buyers premium and do not reflect
J
OTHER TERMS
costs, financing fees, or application of buyers or
sellers credits. We regret that we cannot agree
1
OUR ABILITY TO CANCEL
In addition to the other rights of cancellation to requests to remove these details from www.
contained in this agreement, we can cancel a sale of christies.com.
a lot if we reasonably believe that completing the
GLOSSARY
transaction is, or may be, unlawful or that the sale J
places us or the seller under any liability to anyone authentic: a genuine example, rather than a copy
else or may damage our reputation.
or forgery of:
(i) the work of a particular artist, author or
2 RECORDINGS
manufacturer, if the lot is described in the
We may videotape and record proceedings at any Heading as the work of that artist, author or
auction. We will keep any personal information manufacturer;
confidential, except to the extent disclosure is (ii) a work created within a particular period or
required by law. However, we may, through this culture, if the lot is described in the Heading as a
process, use or share these recordings with another work created during that period or culture;
Christies Group company and marketing partners (iii) a work for a particular origin source if the lot
to analyse our customers and to help us to tailor is described in the Heading as being of that origin
our services for buyers. If you do not want to be or source; or
videotaped, you may make arrangements to make (iv) in the case of gems, a work which is made of
a telephone or written bid or bid on Christies a particular material, if the lot is described in the
LIVEG instead. Unless we agree otherwise Heading as being made of that material.
in writing, you may not videotape or record authenticity warranty: the guarantee we give in
proceedings at any auction.
this agreement that a lot is authentic as set out in
section E2 of this agreement.
3 COPYRIGHT
buyers premium: the charge the buyer pays us
We own the copyright in all images, illustrations and along with the hammer price.
written material produced by or for us relating to a catalogue description: the description of a lot
lot (including the contents of our catalogues unless in the catalogue for the auction, as amended by any
otherwise noted in the catalogue). You cannot use saleroom notice.
them without our prior written permission. We Christies Group: Christies International Plc,
do not offer any guarantee that you will gain any its subsidiaries and other companies within its
copyright or other reproduction rights to the lot.
corporate group.
condition: the physical condition of a lot.
4 ENFORCING THIS AGREEMENT
due date: has the meaning given to it in paragraph
If a court finds that any part of this agreement is not F1(a).
valid or is illegal or impossible to enforce, that part estimate: the price range included in the catalogue
of the agreement will be treated as being deleted or any saleroom notice within which we believe
and the rest of this agreement will not be affected. a lot may sell. Low estimate means the lower
figure in the range and high estimate means the
5 TRANSFERRING YOUR RIGHTS
higher figure. The mid estimate is the midpoint
AND RESPONSIBILITIES
between the two.
You may not grant a security over or transfer your hammer price: the amount of the highest bid the
rights or responsibilities under these terms on the auctioneer accepts for the sale of a lot.
contract of sale with the buyer unless we have Heading: has the meaning given to it in paragraph
given our written permission. This agreement will E2.
be binding on your successors or estate and anyone lot: an item to be offered at auction (or two or
who takes over your rights and responsibilities.
more items to be offered at auction as a group).
other damages: any special, consequential,
6 TRANSLATIONS
incidental or indirect damages of any kind or any
If we have provided a translation of this agreement, damages which fall within the meaning of special,
we will use this original version in deciding any incidental or consequential under local law.
issues or disputes which arise under this agreement. purchase price: has the meaning given to it in
paragraph F1(a).
7 PERSONAL INFORMATION
provenance: the ownership history of a lot.
We will hold and process your personal information qualified: has the meaning given to it in paragraph
and may pass it to another Christies Group E2 and Qualified Headings means the section
company for use as described in, and in line with, headed Qualified Headings on the page of
our privacy policy at www.christies.com.
the catalogue headed Important Notices and
Explanation of Cataloguing Practice.
reserve: the confidential amount below which we
8 WAIVER
No failure or delay to exercise any right or remedy will not sell a lot.
provided under these Conditions of Sale shall saleroom notice: a written notice posted next to
constitute a waiver of that or any other right or the lot in the saleroom and on www.christies.
remedy, nor shall it prevent or restrict the further com, which is also read to prospective telephone
exercise of that or any other right or remedy. No bidders and notified to clients who have left
single or partial exercise of such right or remedy commission bids, or an announcement made by the
shall prevent or restrict the further exercise of that auctioneer either at the beginning of the sale, or
before a particular lot is auctioned.
or any other right or remedy.
UPPER CASE type: means having all capital
letters.
9 LAW AND DISPUTES
This agreement, and any non-contractual obligations warranty: a statement or representation in which
arising out of or in connection with this agreement, or the person making it guarantees that the facts set
any other rights you may have relating to the purchase out in it are correct.
of a lot will be governed by the laws of England and
Wales. Before we or you start any court proceedings
(except in the limited circumstances where the dispute,
controversy or claim is related to proceedings brought
by someone else and this dispute could be joined

VAT SYMBOLS AND EXPLANATION


You can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of
the catalogue headed Conditions of Sale
VAT payable
Symbol
No
Symbol

We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.

We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyers premium
and shown separately on our invoice.
For qualifying books only, no VAT is payable on the hammer price or the buyers premium.

These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyers premium but will not be shown separately
on our invoice.

These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.

The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see U symbol above)

For wine offered in bond only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be
charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the
buyers premium and shown on the invoice.

VAT refunds: what can I reclaim?


If you are:
A non VAT registered
UK or EU buyer
UK VAT registered
buyer

No refund is possible
No symbol and

* and

EU VAT registered
buyer

No Symbol, and #

Subject to HMRCs rules, you can reclaim the Import VAT charged on the hammer price through
your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT
amount in the buyers premium is invoiced under Margin Scheme rules so cannot normally be
claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under
standard VAT rules (as if the lot had been sold with a U symbol) then, subject to HMRCs rules,
you can reclaim the VAT charged through your own VAT return.
The VAT amount in the buyers premium cannot be refunded. However,
on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT
rules (as if the lot had been sold with a U symbol).
See below for the rules that would then apply.

If you provide us with your EU VAT number we will not charge VAT on the
buyers premium. We will also refund the VAT on the hammer price if you
ship the lot from the UK and provide us with proof of shipping, within three months
of collection.

* and

The VAT amount on the hammer and in the buyers premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a U symbol).
See above for the rules that would then apply.
If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:

Non EU buyer
No Symbol

1. We CANNOT offer refunds of VAT


amounts or Import VAT to buyers who do
not meet all applicable conditions in full. If
you are unsure whether you will be entitled
to a refund, please contact Client Services at
the address below before you bid.
2. No VAT amounts or Import VAT
will be refunded where the total refund is
under %100.
3. In order to receive a refund of VAT
amounts/Import VAT (as applicable) nonEU buyers must:

The VAT amount in the buyers premium cannot be refunded.


However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a U symbol). Subject to HMRCs rules,
you can then reclaim the VAT charged through your own VAT return.

We will refund the VAT amount in the buyers premium.

U and

We will refund the VAT charged on the hammer price. VAT on the buyers premium can
only be refunded if you are an overseas business.
The VAT amount in the buyers premium cannot be refunded to non-trade clients.

(wine only)

No Excise Duty or Clearance VAT will be charged on the hammer price providing you export
the wine while in bond directly outside the EU using an Excise authorised shipper. VAT on the
buyers premium can only be refunded if you are an overseas business. The VAT amount in the
buyers premium cannot be refunded to non-trade clients.

* and

We will refund the Import VAT charged on the hammer price and the VAT amount
in the buyers premium.

(a) have registered to bid with an address


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

We charge a processing fee of %35.00


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

in a manner that infringes the rules outlined


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

7. All reinvoicing requests must be


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

SYMBOLS USED IN THIS CATALOGUE


The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed
Conditions of Sale

Christies has a direct financial interest in the


lot. See Important Notices and Explanation of
Cataloguing Practice.

Owned by Christies or another Christies


Group company in whole or part. See
Important Notices and Explanation of
Cataloguing Practice.

Christies has a direct financial interest in the


lot and has funded all or part of our interest
with the help of someone else. See Important
Notices and Explanation of Cataloguing
Practice.

Artists Resale Right. See Section D3 of the


Conditions of Sale.

Lot offered without reserve which will be


sold to the highest bidder regardless of the presale estimate in the catalogue.
~
Lot incorporates material from endangered
species which could result in export
restrictions.
See Section H2(b) of the Conditions of Sale.

Lot which may not be able to be shipped to


the US.
See Section H2(h)of the Conditions of Sale.

Lot containing jadeite and rubies from Burma


or of indeterminate origin. See Section H2(d)
of the Conditions of Sale.
?, *, , , #,
See VAT Symbols and Explanation.

See Storage and Collection Pages on South


Kensington sales only.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or
failure to, mark a lot

IMPORTANT NOTICES AND EXPLANATION


OF CATALOGUING PRACTICE
IMPORTANT NOTICES
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is identified in the catalogue with the symbol next to its lot
number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include guaranteeing a minimum price or making an advance
to the consignor that is secured solely by consigned
property. Where Christies holds such financial interest on its own we identify such lots with the symbol
next to the lot number. Where Christies has financed
all or part of such interest through a third party the
lots are identified in the catalogue with the symbol
. When a third party agrees to finance all or part of
Christies interest in a lot, it takes on all or part of the
risk of the lot not being sold and will be remunerated
in exchange for accepting this risk based on a fixed fee
if the third party is the successful bidder or on the final
hammer price in the event that the third party is not
the successful bidder. The third party may also bid for
the lot. Where it does so, and is the successful bidder,
the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may
incur a loss. Please see http://www.christies.com/
financial-interest/ for a more detailed explanation
of minimum price guarantees and third party financing
arrangements.
Where Christies has an ownership or financial interest
in every lot in the catalogue, Christies will not designate each lot with a symbol, but will state its interest at
the front of the catalogue.

112

FOR PICTURES, DRAWINGS, PRINTS AND


MINIATURES
Terms used in this catalogue have the meanings
ascribed to them below. Please note that all statements
in this catalogue as to authorship are made subject to
the provisions of the Conditions of Sale and authenticity warranty. Buyers are advised to inspect the property
themselves. Written condition reports are usually
available on request.
Qualified Headings
In Christies opinion a work by the artist.
*Attributed to
In Christies qualified opinion probably a work by the
artist in whole or in part.
*Studio of / Workshop of
In Christies qualified opinion a work executed in the
studio or workshop of the artist, possibly under his
supervision.
*Circle of
In Christies qualified opinion a work of the period of
the artist and showing his influence.
*Follower of
In Christies qualified opinion a work executed in the
artists style but not necessarily by a pupil.
*Manner of
In Christies qualified opinion a work executed in the
artists style but of a later date.
*After
In Christies qualified opinion a copy (of any date) of
a work of the artist.
Signed /Dated /Inscribed
In Christies qualified opinion the work has been
signed/dated/inscribed by the artist.

With signature / With date /


With inscription
In Christies qualified opinion the signature/
date/inscription appears to be by a hand other than
that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate date
when prefixed with circa) on which the matrix was
worked and not necessarily the date when the impression was printed or published.
*This term and its definition in this Explanation of
Cataloguing Practice are a qualified statement as to
authorship. While the use of this term is based upon
careful study and represents the opinion of specialists,
Christies and the consignor assume no risk, liability
and responsibility for the authenticity of authorship of
any lot in this catalogue described by this term, and
the authenticity warranty shall not be available with
respect to lots described using this term.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works of
art. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety)
Regulations 1988 (as amended in 1989 and 1993,
the Regulations). Accordingly, these items should
not be used as furniture in your home in their current condition. If you do intend to use such items for
this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate)
in order that they comply with the provisions of the
Regulations.

STORAGE AND COLLECTION


STORAGE AND COLLECTION

EXTENDED LIABILITY CHARGE

POST-WAR & CONTEMPORARY ART

All furniture and carpet lots (sold and unsold)


not collected from Christies by 9.00 am
on the day following the auction will be
removed by Cadogan Tate Ltd to their
warehouse at:
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com.
While at King Street lots are available for
collection on any working day, 9.00 am to
4.30 pm. Once transferred to Cadogan Tate
lots will be available for collection from the
first working day following the day of their
removal from King Street,
9.00 am to 5.00 pm Monday to Friday.
To avoid waiting times on collection at
Cadogan Tate, we advise that you contact
Cadogan Tate directly, 24 hours in advance,
prior to collection on +44 (0)800 988 6100.

From the day of transfer of sold items to


Cadogan Tate Ltd, all such lots are automatically insured by Cadogan Tate Ltd at the sum
of the hammer price plus buyers premium.
The Extended Liability Charge in this respect
by Cadogan Tate Ltd is 0.6% of the sum of
the hammer price plus buyers 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

PAYMENT

TRANSFER, STORAGE & RELATED CHARGES

Cadogan Tate Ltds storage charges may be


paid in advance or at the time of collection.
Lots may only be released from Cadogan
Tate Ltds warehouse on production of
the Collection Order from Christies,
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 Christies, 8 King Street,
London SW1Y 6QT.
Lots will not be released until all outstanding
charges due to Christies and Cadogan Tate
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

BOOKS

Please note that all lots from book department


sales will be stored at Christies King Street for
collection and not transferred to Cadogan Tate.

Christies Fine Art Storage Services


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

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 LTds Warehouse


241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
28/10/14

113

WORLDWIDE SALEROOMS AND OFFICES


ARGENTINA

CANADA

BUENOS AIRES
+54 11 43 93 42 22
Cristina Carlisle

TORONTO
+1 416 960 2063
Brett Sherlock

AUSTRALIA

CHILE

SYDNEY
+61 (0)2 9326 1422
Ronan Sulich

SANTIAGO
+56 2 2 2631642
Denise Ratinoff
de Lira

AUSTRIA
COLOMBIA
VIENNA
+43 (0)1 533 8812
Angela Baillou

BOGOTA
+571 635 54 00
Juanita Madrinan

BELGIUM
DENMARK
BRUSSELS
+32 (0)2 512 88 30
Roland de Lathuy

COPENHAGEN
+45 3962 2377
Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)

BERMUDA
BERMUDA
+1 401 849 9222
Betsy Ray

FINLAND AND THE


BALTIC STATES

BRAZIL
RIO DE JANEIRO
+5521 2225 6553
Candida Sodre
SO PAULO
+5511 3061 2576
Nathalie Lenci

HELSINKI
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
BRITTANY AND THE
LOIRE VALLEY
+33 (0)6 09 44 90 78
Virginie Greggory
(Consultant)
GREATER EASTERN
FRANCE
+33 (0)6 07 16 34 25
Jean-Louis Janin Daviet

INDIA
PARIS
+33 (0)1 40 76 85 85
POITOU-CHARENTE
AQUITAINE
+33 (0)5 56 81 65 47
Marie-Cqcile Moueix
PROVENCE - ALPES
CTE DAZUR
+33 (0)6 71 99 97 67
Fabienne Albertini-Cohen
RHNE ALPES
+33 (0)6 61 81 82 53
Dominique Pierron
(Consultant)
GERMANY

MUMBAI
+91 (22) 2280 7905
Sonal Singh

MEXICO CITY
+52 55 5281 5503
Gabriela Lobo

DELHI
+91 (98) 1032 2399
Sanjay Sharma

MONACO
+377 97 97 11 00
Nancy Dotta

INDONESIA

THE NETHERLANDS

JAKARTA
+62 (0)21 7278 6268
Charmie Hamami
ISRAEL
TEL AVIV
+972 (0)3 695 0695
Roni Gilat-Baharaff
ITALY

DSSELDORF
+49 (0)21 14 91 59 30

MILAN
+39 02 303 2831

Arno Verkade
FRANKFURT

+49 (0)173 317 3975


Anja Schaller
(Consultant)
HAMBURG
+49 (0)40 27 94 073
Christiane GrAfin
zu Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine GrAfin
Huyn

MEXICO

ROME
+39 06 686 3333
Marina Cicogna Business
Development Director
JAPAN
TOKYO
+81 (0)3 6267 1766
Chie Banta

AMSTERDAM
+31 (0)20 57 55 255
PEOPLES REPUBLIC
OF CHINA
BEIJING
+86 (0)10 8572 7900
Jinqing Cai
HONG KONG
+852 2760 1766
SHANGHAI
+86 (0)21 6355 1766
Gwenn Delamaire
PORTUGAL
LISBON
+351 919 317 233
Mafalda Pereira Coutinho
(Independent Consultant)

MALAYSIA
KUALA LUMPUR
+60 3 6207 9230
Lim Meng Hong

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

(Consultant)
NORD-PAS DE CALAIS
+33 (0)6 09 63 21 02
Jean-Louis Brqmilts
(Consultant)

DENOTES SALEROOM
ENQUIRIES?

114

Call the Saleroom or Office

26/01/15

EMAIL

info@christies.com

RUSSIA

SWEDEN

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

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

SINGAPORE
SINGAPORE
+65 6235 3828
Wen Li Tang
SOUTH AFRICA
CAPE TOWN
+27 (21) 761 2676

Juliet Lomberg
(Independent
Consultant)
DURBAN &
JOHANNESBURG
+27 (31) 207 8247
Gillian Scott-Berning

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

(Independent
Consultant)
SOUTH KOREA
SEOUL
+82 2 720 5266
Hye-Kyung Bae
SPAIN

SWITZERLAND

UNITED KINGDOM

UNITED STATES

LONDON,
KING STREET
+44 (0)20 7839 9060

BOSTON
+1 617 536 6000
Elizabeth M. Chapin

LONDON,
SOUTH KENSINGTON
+44 (0)20 7930 6074

CHICAGO
+1 312 787 2765
Lisa Cavanaugh

GENEVA
+41 (0)22 319 1766
Eveline de Proyart

NORTH
+44 (0)20 7752 3004
Thomas Scott

DALLAS
+1 214 599 0735
Capera Ryan

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

SOUTH
+44 (0)1730 814 300
Mark Wrey

HOUSTON
+1 713 802 0191
Jessica Phifer

EAST
+44 (0)20 7752 3004
Thomas Scott

LOS ANGELES
+1 310 385 2600

TAIWAN
TAIPEI
+886 2 2736 3356
Ada Ong
THAILAND
BANGKOK
+66 (0)2 652 1097
Yaovanee Nirandara
Punchalee Phenjati
TURKEY

NORTHWEST
AND WALES
+44 (0)20 7752 3004
Jane Blood
SCOTLAND
+44 (0)131 225 4756
Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)

ISTANBUL
+90 (532) 558 7514
Eda Kehale ArgVn
(Consultant)

ISLE OF MAN
+44 (0)20 7389 2032

UNITED ARAB
EMIRATES

CHANNEL ISLANDS
+44 (0)1534 485 988
Melissa Bonn

DUBAI
+971 (0)4 425 5647

BARCELONA
+34 (0)93 487 8259

IRELAND
+353 (0)59 86 24996
Christine Ryall

MIAMI
+1 305 445 1487
Jessica Katz
NEWPORT
+1 401 849 9222
Betsy D. Ray
NEW YORK
+1 212 636 2000
PALM BEACH
+1 561 833 6952
Maura Smith
PHILADELPHIA
+1 610 520 1590
Christie Lebano
SAN FRANCISCO
+1 415 982 0982
Ellanor Notides

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

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

08/08/14

115

CHRISTIES SPECIALIST DEPARTMENTS AND SERVICES

DEPARTMENTS
AMERICAN FURNITURE

NY: +1 212 636 2230


AMERICAN INDIAN ART

NY: +1 212 606 0536


AMERICAN PICTURES

NY: +1 212 636 2140


ANGLO-INDIAN ART

KS: +44 (0)20 7389 2570


ANTIQUITIES

INDIAN
CONTEMPORARY ART

KS: +44 (0)20 7389 2700


NY: +1 212 636 2189
INTERIORS

SK: +44 (0)20 7389 2236


NY: +1 212 636 2032
ISLAMIC WORKS OF ART

POSTERS
PRINTS

KS: +44 (0)20 7389 2328


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

KS: +44 (0)20 7389 2700


SK: +44 (0)20 7752 3239

KS: +44 (0)20 7389 2343

JAPANESE
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KEY TO ABBREVIATIONS

KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
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SK:
London, South Kensington
06/11/14

116

YAYOI KUSAMA (1b.1929)


Pumpkin
screenprint in colours, 2000, on wove paper, signed in pencil, titled, dated and numbered 115/200 Image: 300 x 350 mm., Sheet: 481 x 640 mm.
1,5002,000

Prints and Multiples


London, South Kensington 22 April 2015
Viewing

Contact

1821 April
85 Old Brompton Road
London SW7 3LD

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

christies.com

BRUCE NAUMAN (B. 1941)


Pay Attention
lithograph, 1973 signed in pencil, numbered 3/50
Sheet: 37 x 27 in. (902 x 641 mm.)
$60,000-80,000

BRUCE NAUMAN / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

20/21 Prints & Multiples


New York 23-24 April 2015
Viewing

Contact

1822 April
20 Rockefeller Plaza
New York, NY 10020

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

christies.com

AFTER LT-COL. JAMES PATTISON COCKBURN, 60TH REGIMENT


The Cone of Montmorency as it appeared in 1829
handcoloured aquatint, published London, 1833 from Cockburns Quebec set
19 x 26 in. (49.4 x 67.6 cm.), the set of six
15,000 25,000

The Winkworth Collection:


A Treasure House of Canadiana in London
London, South Kensington 1 April 2015
Viewing

Contact

28 March 1 April
85 Old Brompton Road
London SW7 3LD

Nicholas Lambourn
nlambourn@christies.com
+44 (0)20 7389 2040

christies.com

PRINTS AND MULTIPLES


Wednesday 18 March 2015 at 2.00 pm
8 King Street, St. Jamess, London SW1Y 6QT
Code Name: RODO
Sale number: 10402
(Dealers billing name and address must agree with tax exemption certificate.
Once issued, we cannot change the buyers name on an invoice or re-issue
the invoice in a different name.)

BID ONLINE FOR THIS SALE


AT CHRISTIES.COM

ABSENTEE BIDS FORM


Christies London
Written bids must be received at least 24 hours before the auction begins.
Christies will confirm all bids received by fax by return fax. If you have not received
confirmation within one business day, please contact the Bid Department.
Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870 on-line www.christies.com

10402
Client Number (if applicable)

Sale Number

Billing Name (please print)

BIDDING INCREMENTS
Bidding generally starts below the low estimate and increases in steps
(bid increments) of up to 10 per cent. The auctioneer will decide where
the bidding should start and the bid increments. Written bids that do not
conform to the increments set below may be lowered to the next bidding
interval.
UK50 to UK 1,000
UK1,000 to UK2,000
UK2,000 to UK3,000
UK3,000 to UK5,000

UK5,000 to UK10,000
UK10,000 to UK20,000
UK20,000 to UK30,000
UK30,000 to UK50,000


UK50,000 to UK100,000
UK100,000 to UK120,000
Above UK200,000

by UK50s
by UK100s
by UK200s
by UK200, 500, 800
(eg UK4,200, 4,500, 4,800)
by UK500s
by UK1,000s
by UK2,000s
by UK2,000, 5,000, 8,000
(eg UK32,200, 35,000,
38,000)
by UK5,000s
by UK10,000s
at auctioneers discretion

The auctioneer may vary the increments during the course of the
auction at his or her own discretion.
1. I request Christies to bid on the stated lots up to the
maximum bid I have indicated for each lot.
2. I understand that if my bid is successful, the amount payable
will be the sum of the hammer price and the buyers
premium (together with any taxes chargeable on the hammer
price and buyers premium and any applicable Artists Resale
Royalty in accordance with the Conditions of Sale). The buyers
premium rate shall be an amount equal to 25% of the hammer
price of each lot up to and including 50,000, 20% on any
amount over 50,000 up to and including 1,000,000 and 12%
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flat rate of 17.5% of the hammer price of each lot sold.
3. I agree to be bound by the Conditions of Sale printed in
the catalogue.
4. I understand that if Christies receive written bids on a lot for
identical amounts and at the auction these are the highest bids on
the lot, Christies will sell the lot to the bidder whose written bid
it received and accepted first.
5.
Written bids submitted on no reserve lots will, in the
absence of a higher bid, be executed at approximately 50% of the
low estimate or at the amount of the bid if it is less than 50%
of the low estimate.
I understand that Christies written bid service is a free service
provided for clients and that, while Christies will be as careful as
it reasonably can be, Christies will not be liable for any problems
with this service or loss or damage arising from circumstances
beyond Christies reasonable control.

Address

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Signature

If you have not previously bid or consigned with Christies, please attach copies of the following documents.
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companies or partnerships: please contact the Compliance Department at +44(0)20 7839 9060 for advice on
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PLEASE PRINT CLEARLY


Lot number
(in numerical order)

Maximum Bid UK
(excluding buyers premium)

Lot number
(in numerical order)

Maximum Bid UK
(excluding buyers premium)

If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS


Please quote number below:

Auction Results: +44 (0)20 7839 9060

30.01.15

121

PHOTOGRAPHS, POSTERS & PRINTS

expert knowledge beautifully presented

Code
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N61
N11
P61
K13
K72

Subscription Title
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Original works from the great masters of all periods of western
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Location

Issues

UKPrice

US$Price

EURPrice

King Street

57

91

86

New York
New York
Paris
South Kensington

5
3
2
4

119
71
38
68

190
114
61
114

181
108
57
103

South Kensington

43

71

66

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CHRISTIES
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Christies International
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Christie, Manson & Woods Ltd. (2015)

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29/01/15

8 King Street St. Jamess London SW1Y 6QT

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