2
Prints & Multiples
Wednesday 17 September 2014
PROPERTIES FROM
The Ahlers Collection
The Peter Bendixen Collection
The Mira Jacob Collection
AUCTION
Wednesday 17 September 2014
at 2.00 pm
SERVICES VIEWING
PAYMENT
Buyers
Tel: +44 (0)20 7839 9060 COPYRIGHT NOTICE
Fax: +44 (0)20 7389 2869 No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or
Consignors by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written
Tel: +44 (0)20 7389 2586 permission of Christies.
Fax: +44 (0)20 7581 5295 COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2014)
SHIPPING
Tel: +44 (0)20 7389 2712
Fax: +44 (0)20 7389 2869 These auctions feature
Browse this auction and view real-time
STORAGE AND COLLECTION
results on your iPhone, iPod Touch, Bid live in Christies salerooms worldwide
Tel: +44 (0)20 7752 3248
iPad and Android register at christies.com
Fax: +44 (0)20 7581 3321
3
Contents
2 Calendar of Auctions
2 Christies International Print Department
2 Specialists and Services for this Auction
3 Auction Information
6 Property for Sale
132 Index
133 Important Notices and Explanation of Cataloguing Practice
134 Buying at Christies
135 Storage and Collection
136 Conditions of Sale and Limited Warranty
138 Salerooms and Offices Worldwide
140 Christies Specialist Departments and Services
145 Absentee Bids Form
146 Catalogue Subscriptions
front cover:
Lot 100 (detail)
Succession Picasso/DACS, London 2014
inside front cover:
Lot 173 (detail)
opposite:
Lot 37 (detail)
inside back cover:
Lot 156 (detail)
back cover:
Lot 53
christies.com
5
19TH CENTURY PRINTS
(LOTS 1-37)
1
RUDOLPHE BRESDIN (1822-1885)
Le Bon Samaritain
lithograph, 1861, on two types of chine coll, a good, clear
impression, Prauds frst state B, before the transfer to a new
stone and the addition of the title in the lower margin, one of
approximately 175 impressions from the second or third edition
on these papers (there were also 125 on a single sheet of chine
coll), printed by Lemercier, Paris, 1867, on a wove support
sheet, probably the full sheet, a few pale foxmarks mainly in the
margins, the support sheet with pale mount-staining and surface
dirt, a short tear at the lower sheet edge, the subject in very
good condition
L. 565 x 445 mm., S. 890 x 629 mm.
2,500-3,500 $4,300-5,900
3,200-4,400
LITERATURE:
Van Gelder 100; Praud 29
2
RUDOLPHE BRESDIN
La comdie de la mort
lithograph, 1854, on chine appliqu, a fne impression of
Prauds very rare frst state (of fve), with wide margins, a small
surface abrasion in the upper subject, a pale stain in the upper
right margin, other minor defects
L. 218 x 151 mm., S. 320 x 240 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
LITERATURE:
Van Gelder 84; Praud 129
Praud records seven impressions of the frst state, including the
present one. Four of these are in public collections: The Hague,
Gemeentemuseum; Paris, Bibliothque National; Washington
National Gallery; and New York, Public Library.
6
3
FLICIEN ROPS (1833 -1898)
Les Sataniques
the complete set of fve burnished heliogravures, circa 1880, the frontispiece Satan semant livraie (Le Semeur dIvraie) (E. 783) on cream simili
Japan paper, a fne proof impression, inscribed Les Dmoniques/ No. 1 Le Semeur dIvraie in pencil, presumably by the artist, plates 1-4 on wove
paper, watermark J. WHATMAN TURKEY MILL 1889, fne proof impressions, signed in red crayon, titled and inscribed with extensive
explanations by the artist in pencil, the full sheets with deckle edges, paper tape along the sheet edges verso, the sheets slightly cockled, generally
in good condition
P. 282 x 207 mm. (and similar), S. 568 x 390 mm. (and similar) (5)
6,000-8,000 $11,000-13,000
7,600-10,000
PROVENANCE:
Roger Marx (1859-1913), Paris (L. 1800b); probably his posthumous sale, Drouot (expert L. Delteil),
Paris, 26 April 2 May 1914, lot 1105 (fr. 340).
Heinrich Stinnes (1867-1932), MIhlheim a. d. Ruhr, Cologne
(L. 1376) (frontispiece only); possibly R. Puppel, Berlin, 19-20 May 1938.
Sothebys, London, 14 December 1978, lot 359 (frontispiece; 220) and lot 360 (plate 1-4, 900).
LITERATURE:
Exsteens 784-787
7
4
ODILON REDON (1840-1916)
30,000-50,000 $51,000-84,000
38,000-63,000
PROVENANCE:
Sothebys, London, 5 December 1984, lot 251 (13,000).
LITERATURE:
Mellerio 83-93
8
5
ODILON REDON
Songes
the complete set of six lithographs, 1891, on chine appliqu paper, fne, rich
impressions from the edition of eighty, printed by Becquet, published by
Dumont, Paris, the full sheets, the support sheets each with a moisture stain at
upper left, scattered foxing mostly in the margins, within the original grey paper
folder with the title on the front (some minor wear and discolouration) (portfolio)
L. 275 x 208 mm. (and smaller), S. 454 x 317 mm. (and similar),
464 x 325 mm. (overall) (6)
25,000-35,000 $43,000-59,000
32,000-44,000
PROVENANCE:
Christies, London, 6 December 1984, lot 344 (10,000).
LITERATURE:
Mellerio 110-115
9
l6
JAMES ENSOR (1860-1949)
3,000-5,000 $5,100-8,400
3,800-6,300
PROVENANCE:
With Bob de Gryse, Ostende.
Purchased from the above, then by descent.
LITERATURE:
Delteil, Croquez, Taevernier, Elesh 34
l7
JAMES ENSOR
7,000-10,000 $12,000-17,000
8,800-13,000
PROVENANCE:
Ernestine Mollet, a gift from the artist.
With Bob de Gryse, Ostende.
Purchased from the above, then by descent.
LITERATURE:
Delteil, Croquez, Taevenier 104; Elesh 106
Ernestine Mollet was the wife of Ensors servant
August Van Yper.
10
l8 l9
JAMES ENSOR JAMES ENSOR
Lorgueil, from: Les sept pchs capitaux La luxure, from: Les sept pchs capitaux
etching extensively handcoloured with watercolour, gouache and etching extensively handcoloured with watercolour, 1888, on Arches
crayon, 1904, on Japan paper, Eleshs fourth, fnal state, signed in laid paper, signed, dated and titled in pencil, counter-signed and
pencil, with small margins, remains of old glue at the upper sheet titled in pencil verso, with wide margins, pale time staining, otherwise
corners verso, otherwise in very good condition in good condition
P. 98 x 150 mm., S. 160 x 251 mm. P. 96 x 137 mm., S. 226 x 298 mm.
11
l10
JAMES ENSOR
1,000-1,500 $1,700-2,500
1,300-1,900
PROVENANCE:
Auguste Joye (1878-1959), Brussels (L. 3084); possibly his posthumous sale,
Galerie Georges Giroux, Brussels, 9-10 June 1960.
Sothebys, London, 6 December 1983, lot 473 (450).
LITERATURE:
Deleteil, Croquez, Taevernier, Elesh 17
l11
JAMES ENSOR
8,000-12,000 $14,000-20,000
11,000-15,000
PROVENANCE:
Albert Croquez (1886-1949), Paris; a gift from the artist in 1930.
Mira Jacob Wolfovska (1912-2004), Paris, with her blindstamp (not in Lugt).
EXHIBITED:
James Ensor - Oeuvre grav Collection Mira Jacob, Editions Les Muse de la Ville,
Strasbourg/ Kunstmuseum Basel, 1995-96, no. 40.
LITERATURE:
Delteil, Croquez, Taevernier, Elesh 33
l12
JAMES ENSOR
La kermesse au moulin
etching extensively handcoloured with watercolour, 1889, on China paper,
signed, dated and titled in pencil, with wide margins, in very good condition
P. 139 x 178 mm., S. 233 x 284 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
PROVENANCE:
Mira Jacob Wolfovska (1912-2004), Paris, without her blindstamp.
LITERATURE:
J. Janssens, James Ensor, Bonfni Press Corporation, Naefels, Switzerland, Paris,
p. 42 (this impression illustrated).
Delteil, Croquez, Taevernier, Elesh 72
12
13
CAMILLE PISSARRO (1830-1903)
7,000-10,000 $12,000-17,000
8,800-13,000
PROVENANCE:
Christies, London, 2 December 1982, lot 208 (3,600).
LITERATURE:
Delteil 49
Loys Delteil records one impression of the frst state; the present, unique
impression of the second state; two of the third state and a posthumous
edition of 18 impressions.
14
CAMILLE PISSARRO
4,000-6,000 $6,800-10,000
5,100-7,500
PROVENANCE:
Christies, London, 2 December 1982, lot 210 (1,600).
LITERATURE:
Delteil 54
Loys Delteil records two impressions of the frst state; fve of the present
second state (four of which are numbered); about 12 of the third, fnal state
and another 15 posthumous impressions.
15
CAMILLE PISSARRO
Mendiant a la Bquille
lithograph, 1897, on chine coll, a fne impression of this very rare print,
second, fnal state, numbered No. 1 in pencil, with wide margins,
scattered foxing and other minor defects in the margins, otherwise
generally in good condition
L. 252 x 308 mm., S. 314 x 452 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
LITERATURE:
Delteil 182
Delteil cites only two impressions of the frst state, and three to four
impressions of this, the second, fnal state.
13
16
CAMILLE PISSARRO
Pissarro referred to his monotypes as dessins imprims, or printed
Baigneuse debout et Baigneuse agenouille drawings, and, like Degas, he revelled in the experimentation and freedom
the monotype technique allows. From letters written to his son Lucien, we
monotype in colours, circa 1895-6, on laid paper, signed with the
know that Pissarro worked frst in black in order to defne composition and
monogram in ink, with margins, some discolouration and minor tonal values, later heightening the composition with colour (Letters, pp.
staining in the margins, a small hole towards the right sheet edge, 339-40). In the present example, the black ink was applied and then wiped
generally in very good condition, framed in a fne early Louis XIV to create the tree. The pointed end of a brush was used to defne the two
carved and gilt oak frame bathers. Whilst the majority of the colour appears to be printed, there are
areas where the pigment remains proud of the surface, suggesting that the
L. 125 x 178 mm., S. 170 x 225 mm.
artist continued working on the sheet after the plate was printed.
15,000-20,000 $26,000-34,000 The present work relates directly to a painted version of Baigneuse debout
19,000-25,000 et Baigneuse agenouille (The Nikon Television Corporation collection,
Japan). In common with other instances where Pissarro re-interpreted
LITERATURE: subjects in different media, the present monotype displays great
cf. Pissarro & Venturi 941; cf. Wildenstein 1103 spontaneity with brisk application of pigment and bold colour.
14
17
JAMES ABBOTT MCNEILL WHISTLER (1834-1903)
15,000-25,000 $26,000-42,000
19,000-31,000
PROVENANCE:
Unidentifed collectors mark, initials P.P. in a diamond
(not in Lugt).
LITERATURE:
Way 101; Levy 196; Spink/Stratis/Tedeschi 67
18
JAMES ABBOTT MCNEILL WHISTLER
Churchyard
lithograph, 1887, on wove paper, a good lifetime impression of
the only state (Way calls for 12 impressions only), with margins,
in good condition; together with Drury Lane Rags, lithograph,
1888, on laid paper, a good lifetime impression of the only state
(Way calls for 14 impressions), with margins, some foxing and
time staining at the sheet edges, generally in good condition
S. 320 x 201 mm.
S. 325 x 203 mm. (2)
3,000-4,000 $5,100-6,700
3,800-5,000
PROVENANCE:
Churchyard: Mlle. Rosalind Birnie Philip (1921), London
(Lugt 406).
Drury Lane Rags: Roger Marx (1859-1913), Paris (Lugt 2229).
LITERATURE:
Way 17; Levy 30; Spink, Stratis & Tedeschi 21
Way 21; Levy 34; Spink, Stratis & Tedeschi 25
15
19
HENRI DE TOULOUSE-LAUTREC (1864-1901)
Sortie de th:tre
lithograph, 1896, on wove paper, a fne impression of this rare print, with
wide margins, deckle edges above and below, the sheet slightly toned,
otherwise in very good condition
L. 320 x 265 mm., S. 474 x 349 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
LITERATURE:
Delteil 169; Adhmar 218; Adriani 195; Wittrock 147
Wittrock records an edition of approximately twenty impressions, eleven of
which are in public collections.
20
PAUL CSAR HELLEU (1859-1927)
6,000-8,000 $11,000-13,000
7,600-10,000
PROVENANCE:
J. Chavasse (d. 1919) (L. 1430).
Unidentifed collectors mark, initials P.P. in a diamond (not in Lugt).
EXHIBITED:
Paul Helleu 1859-1927, Muse Eugne Boudin, Honfeur, 1993, no. 124.
21
MILE BERNARD (1868 1941)
2,500-3,500 $4,300-5,900
3,200-4,400
LITERATURE:
Morane 10
16
THE PARIS RAGE FOR PRINTS
`No one pays attention nowadays to anything but prints; its a rage,
the young generation produces nothing else.
(Camille Pissarro, in a letter to his son Lucien, 1897, quoted in: Carvalho/Vellekoop, p. 11).
In the 1890s a passion for printmaking swept through Paris. Inspired by the vivid, fat colours, strong contours
and non-linear perspective of Japanese woodcuts, many artists turned to colour lithography as a truly modern
medium. This revolution in taste was led by a young group of artists known as the Nabis. The name derived
from the Hebrew word navi for prophet, refected the groups mystical bent their search for a purer, more
subjective vision of reality, characterised by expressive colour and decorative form. The artists were supported by a
coterie of infuential publishers, critics and collectors, most notably Andr Marty, the publisher of seminal quarterly
print album LEstampe originale, the art critic and writer Claude Roger-Marx, and the publicist and editor Andr
Mellerio. In addition to the Nabis - Pierre Bonnard, Maurice Denis, Paul Ranson and Edouard Vuillard - lithography
was enthusiastically embraced by other imminent artists of the Parisian avant-garde, perhaps most famously by
Henri de Toulouse-Lautrec, whose prints and posters came to defne the Belle Epoque.
The present collection comprises several key works of the period as well as great rarities, including: a trial proof
for Bonnards famous La Petite Blanchisseuse (lot 28); colour decompositions for Maurice Deniss Tendresse
(lot 32); the Album de la Revue Blanche (lot 24), a ground-breaking publication of the its time, rarely found
complete and in good condition; Bonnards series Quelques aspects de la vie de Paris (lot 29), a beautiful
evocation of Parisian street-life in the 1890s; and Paul Elie Ransons delightfully fierce and comical Tigre dans
les jungles (lot 37), which perhaps reveals its Asian influence most clearly.
The second part of the collection will be offered in the sale of Prints and Multiples at Christies South
Kensington on 4 December 2014.
LITERATURE:
C. Feller Ives, The Great Wave - The Infuence of Japanese Woodcuts on French Prints, Metropolitan Museum of Art, New
York, 1974.
P. Dennis Cate/ G. B. Murray/ R. Thompson, Prints Abound - Paris in the 1890s, National Gallery of Art,
Washington, D.C., London, 2000.
F. Roos Rosa de Carvalho/M. Vellekoop, Printmaking in Paris - The rage for prints at the fn de sicle, Van Gogh
Museum, Amsterdam, Brussels, 2013.
l22
PIERRE BONNARD (1867-1947)
3,000-5,000 $5,100-8,400
3,800-6,300
LITERATURE:
Roger-Marx 32; Bouvet 30
17
l23
PORTFOLIO
LEstampe Moderne
the complete edition in 24 volumes, 1897-99, comprising 96 lithographs and collotypes
after designs by contributing artists, mostly in colours, on simili Japan, with the suite of 96
duplicate impressions printed in black only, on China paper, and the four additional prints
reserved for subscribers, all stamped TIRAGE de LUXE and numbered No. 89 verso, each
subject with title and commentary on a tissue-thin cover sheet, with two text folders with title,
cover-page, preface and table of contents (without the second year), from the deluxe edition
of 150 (the total edition was 2000), published by Ch. Masson & H. Piazza, Paris, each with
the publishers blindstamp (Lugt 2790) recto, the full sheets, in very good condition, loose (as
issued), in the original greenish-grey paper wrappers with title and cover design by Alphonse
Mucha, each covered with glacine, in two brown, marbled portfolio boxes, not original, all in
very good condition (portfolio)
560 x 415 mm. (each volume)
600 x 440 mm. (each box)
4,000-6,000 $6,800-10,000
5,100-7,500
18
l24
PORTFOLIO
8,000-12,000 $14,000-20,000
11,000-15,000
The portfolio includes: Pierre Bonnard, cover (Roger-Marx 33) and Femme au paraplui (R.-M. 35);
Charles Cottet, Bretonnes; Maurice Denis, La visitation; Henri-Gabriel Ibels, Paysanne avec panier;
Paul Ranson, La liseuse couche; Odilon Redon, Cheval ail (Mellerio 127); Jzsef Rippl-Ronai, La
liseuse avec la lampe; Ker Xavier Roussel, La fantme; Paul Srusier, La marchande de chiffons;
Henri de Toulouse-Lautrec, Carnaval (Delteil 64; Adriani 42; Adhmar 54; Wittrock 61); Felix
Vallotton, Les trois baigneuses (Godefroy 132) and Edouard Vuillard, La couturiere (R.-M. 13).
l25
PIERRE BONNARD (1867-1947)
Scne de famille
lithograph in colours, 1893, on smooth wove paper, signed in pencil,
numbered 59, from the edition of one hundred, published by Claude
Roger-Marx and Andr Marty for the third issue of LEstampe Originale,
Paris, printed by Charpentier with his blindstamp, with wide margins,
irregularly trimmed at left and right, the upper and lower sheet edges with
horizontal creases, pale foxing, some adhesive stains and surface dirt
L. 310 x 180 mm., S. 580 x 400 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Roger-Marx, Bouvet 4
l26
PIERRE BONNARD
2,000-3,000 $3,400-5,100
2,600-3,800
LITERATURE:
Roger-Marx 41; Bouvet 41
l27
PIERRE BONNARD
Dans la rue
lithograph in colours, circa 1900, on wove paper, signed in pencil,
numbered 25, from the edition of one hundred, with wide margins,
presumably the full sheet, with light-and time staining, a backed tear at
the lower sheet edge, another, shorter tear at the upper left sheet edge,
some small nicks and paper losses at the sheet edges
L. 265 x 130 mm., S. 490 x 320 mm.
2,000-3,000 $3,400-5,100
2,600-3,800
LITERATURE:
Roger-Marx 46; Bouvet 71
20
l28
PIERRE BONNARD
La petite blanchisseuse
lithograph in colours, 1896, on China paper, signed in pencil, inscribed 4e etat, a rare trial
proof, lacking the yellow stone, before the edition of one hundred, published in LAlbum des
Peintres-Graveurs, printed by A. Clot, Paris, the full sheet, the colours fresh, an unobtrusive
scuff in the upper subject, otherwise in very good condition
L. 295 x 200mm., S. 573 x 437 mm.
25,000-35,000 $43,000-59,000
32,000-44,000
LITERATURE:
Roger-Marx 42; Bouvet 40
21
l29
PIERRE BONNARD
15,000-20,000 $26,000-34,000
19,000-25,000
LITERATURE:
Roger-Marx 56-68; Bouvet 58-70
No one better captures the look of the street, the coloured patch seen through the Parisian mist, the
passing silhouettes, a young girls frail grace. A searching hand moving with simian pliancy seizes the
passing gesture, the evanescent faces of the street, born and vanished on the instant. It is the poetry
of life that is gone, a remembrance of things, of animals, of human beings. (Gustave Geffroy, quoted
in: Rediscovered Printmakers of the 19th Century, Merrill Chase Gallery, Chicago, 1978).
22
30
EDOUARD VUILLARD (1868-1940)
6,000-8,000 $11,000-13,000
7,600-10,000
LITERATURE:
Roger-Marx 42
31
EDOUARD VUILLARD
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Roger-Marx 35 & 36
23
l32 l33
MAURICE DENIS (1870-1943) MAURICE DENIS
24
34
JZSEF RIPPL-RNAI (1861-1927)
La fxte de village
lithograph in colours, 1896, on Ingres Ecoles Canson laid paper,
signed in pencil, inscribed no.1, from the edition of one hundred,
published in the Album des Peintres-Gravures by Ambroise Vollard,
Paris, with wide margins, light-staining, pale scattered foxing in the
margins, taped to the front mount, framed
L. 395 x 535 mm., S. 450 x 600 mm.
3,000-5,000 $5,100-8,400
3,800-6,300
LITERATURE:
Jackson 36
35
MILE BERNARD (1868-1941)
1,200-1,800 $2,100-3,000
1,600-2,300
LITERATURE:
cf. Morane 4
36
PAUL GAUGUIN (1848-1903)
10,000-15,000 $17,000-25,000
13,000-19,000
LITERATURE:
Gurin, Mongan, Kornfeld 19.IV.D
25
37
PAUL ELIE RANSON (1864-1909)
12,000-18,000 $21,000-30,000
16,000-23,000
26
MODERN PRINTS
(LOTS 38-117)
VARIOUS PROPERTIES
l38
EDVARD MUNCH (1863-1944)
Self-Portrait
lithograph, 1895, on soft laid China paper, signed in pencil, a fne, In his best prints Munch perfectly matched medium and content and created
rich impression of Wolls second state (of four), printing very evenly, highly condensed images, which are visually as simple as they are complex.
with wide margins, trimmed slightly irregularly at left, a diagonal Self-Portrait is reduced to four elements charged with meaning: the skeleton
arm alludes to the hand of the artist, whilst presaging his inevitable death;
printers crease at upper right, some minor creases and surface dirt in his white disembodied face hovers on a dark surface, calling to mind a death
the margins, generally in very good condition mask, as well as that frst of all prints, the veil of Veronica with the face of
L. 462 x 320 mm., S. 587 x 382 mm. Christ; the inscription of the artists name and the date of the print at the top
mimics the entablature of a tombstone, a reference also to the lithographic
50,000-70,000 $85,000-120,000 stone; and fnally the intense, velvety black of the background, the colour of
mourning, signifying eternal night.
63,000-88,000
PROVENANCE: The present second state is the defnitive version of Edvard Munchs Self-
Christies, London, 6 December 1984, lot 241 (13,500). Portrait. In the frst, unfnished state the background is still patchy, without
LITERATURE: the impenetrable blackness. In the third and fourth states, the skeleton arm
Schiefer 31; Woll 37 and the inscription at the top are obliterated, thus losing all the memento
mori connotations, which make this image one of the most chilling yet
E. Prelinger/ M. Parke-Taylor, The symbolist prints of Edvard Munch The touching self-portraits of modern art reminiscent in essence, if not in spirit
Vivian and David Campbell Collection, Art Gallery of Ontario, Toronto or style, to James Ensors Mon portrait en 1960 (see lot 6).
(exh. cat.), 1997, no. 14, p. 93-96 (another impression illustrated).
27
l39
EDVARD MUNCH
Madonna
lithograph, 1895, on thin greyish-white China paper, not signed, a fne, early impression of
this highly important print, Wolls rare frst state (of seven), with narrow margins outside the
borderline, laid down onto tan card, the upper left corner torn and with associated paper losses
partially made up, a short tear at the lower left sheet corner, a long vertical crease from the upper
left to the chin, some pinpoint foxing, various other, lesser defects
L. 605 x 441 mm., S. 610 x 443 mm., support sheet 703 x 531 mm.
50,000-70,000 $85,000-120,000
63,000-88,000
LITERATURE:
Schiefer 33; Woll 39
28
PROPERTY FROM THE AHLERS COLLECTION
l40
EDVARD MUNCH
80,000-120,000 $140,000-200,000
110,000-150,000
LITERATURE:
Schiefer 212; Woll 244
Woll records only four impressions of the frst state, excluding this example: two in the Munch Museum, Oslo; one in the Bergesen Collection, Oslo; and
one in another private collection. Another impression, with the upper left part of the subject made up, was sold in these room on 18 September 2013.
29
THE PETER BENDIXEN COLLECTION
15,000-25,000 $26,000-42,000
19,000-31,000
LITERATURE:
Hofmaier 142
Although published in an edition of 75, Hlle is today perhaps the rarest of Beckmanns graphic cycles. At the time of publication, 25 of the sets were taken apart
and the prints sold individually by the publisher I. B. Neumann. Of the remaining ffty complete sets, very few seem to have remained intact. Only two complete
sets have been offered at auction within the last thirty years and even individual plates rarely come to the market. The large format the largest in Beckmanns
printed oeuvre and the unusually dark and gruesome nature of the scenes depicted probably contributed to the low survival rate of these lithographs.
With an unfinching eye and a wicked sense of humour - reminiscent of Otto Dixs most morbid and grotesque images Beckmann in eleven plates summarized
his experience of life in Berlin in 1918-19. It is a vision of a society torn apart by war, poverty, hunger, violence, ideology and decadence; a journey into the abyss.
Martyrium (lot 41) depicts the assassination of the socialist leader Rosa Luxemburg in Berlin on 15 January 1919, as it was reported in the communist newspaper
Die Rote Fahne nearly a month later. Luxemburg was hit with the butt of a rife, then shot in the head by members of the Social-Democratic Partys militia.
l42
MAX BECKMANN
20,000-30,000 $34,000-51,000
26,000-38,000
LITERATURE:
Hofmaier 146
Malepartus was the name of a nightclub in Frankfurt, which borrowed its
name from the foxs residence in Goethes epic poem Reineke Fuchs. It is
the juxtaposition of images of violence and misery with those of glamour
and decadence, which gives Beckmanns depictions of the inter-war years
their bite.
30
l43
MAX BECKMANN
15,000-25,000 $26,000-42,000
19,000-31,000
LITERATURE:
Hofmaier 149
In Die Familie Beckmann shows how war and violence has entered his own
domestic world, as his little son Peter plays enthusiastically with a soldiers
helmet and hand grenades.
l44
MAX BECKMANN
Eislauf
lithograph, 1922, on laid paper, signed in pencil, numbered 5/40
(one of forty numbered impressions from the total edition of two
hundred), published by Verlag R. Piper, Munich, the full sheet, in
very good condition
L. 405 x 240 mm., S. 707 x 527 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
LITERATURE:
Hofmaier 223
This print was probably intended for the portfolio Berliner Reise,
which shows the life and amusements of different strata of society in
1920s Berlin. The plate which became plate 5 of the portfolio, Der
Schlittschuhlufer (H. 217) is also a skating scene, but decidedly more
gloomy and under-class than this rather cheerful plate.
31
l45
PABLO PICASSO (1881-1973)
7,000-10,000 $12,000-17,000
8,800-13,000
LITERATURE:
Bloch 28; Baer 39
Picasso frst composed this print in 1915, but must have printed only
a few proofs at the time - Baer records only two impressions from
this period. He returned to the plate 15 years later, together with the
printer Louis Fort, and made a few small changes with the scraper,
but again printed only a handful of impressions (one before and a
total of four after some changes to the image), before an edition was
fnally printed in 1947.
46
ROBERT DELAUNAY (1885-1941)
2,500-3,500 $4,300-5,900
3,200-4,400
LITERATURE:
cf. Loyer & Perussaux 2 (this version not recorded)
Delaunay frst created a lithograph (L. & P. 2) of this subject, closely
related to his cubist painting of 1909 (Solomon R. Guggenheim
Museum, New York) around 1923-1925. Not much later, probably
in 1926, the idea arose of producing a portfolio of ten lithographs,
all based on Delaunays paintings of the church of Saint-Severin in
Paris - a building he had been fascinated by since 1907. The portfolio
was to be accompanied by a text on the history of the church by Joris-
Karl Huysmans and published by Editions Spes in Paris. However, the
project was abandoned and the present lithograph is the only plate
realised and presumably was printed in only a few proof impressions.
32
47
LYONEL FEININGER (1871-1956)
The Gate
etching and drypoint, 1912, on tan simili Japan paper, signed in
pencil, a very good impression printing with much burr, from the
edition of 125 signed impressions (there was also a numbered edition
of 125 impressions), published by Paul Westheim, Weimar, in the
portfolio Die Schaffenden, 1919 (vol. 1), with their blindstamp, the
sheet trimmed on all sides, the blindstamp partially trimmed and with
a paper split, otherwise in good condition
P. 270 x 198 mm., S. 326 x 288 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
LITERATURE:
Prasse E 52
48
LYONEL FEININGER
Strasse in Paris
woodcut, 1918, on thin, fbrous Kozo Japan paper, signed and titled
in pencil, erroneously inscribed with the work number 1880 at lower
centre and with the correct work number 1883 at lower right, a
good impression of this rare, monumental print, second, fnal state,
with wide margins, probably the full sheet, pale mount staining, a
small paper loss at the upper sheet edge and the upper right corner, a
few minor nicks at the sheet edges and corners, pale mount staining,
generally in good condition
B. 543 x 412 mm., S. 696 x 496 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
LITERATURE:
Prasse W 97
33
l49
OTTO DIX (1891-1969)
8,000-12,000 $14,000-20,000
11,000-15,000
LITERATURE:
Karsch 68 IIIb
l50
CONRAD FELIXMLLER (1897-1977)
Menschen im Wald
woodcut printed from four blocks in pink, green, blue
and black, 1918, on cream laid paper, signed in pencil,
an impression from the edition of 75 published by the
Frauenbund zur FUrderung neuer deutscher Kunst,
Hamburg, hand-printed by Voigt, Berlin, the full sheet,
the colours fresh, a thin spot with associated tiny hole
in the upper right margin, a short tear at the lower sheet
edge, another at the right sheet edge, some minor creases,
pinpoint foxmarks and small stains in the margins,
otherwise in good condition
B. 250 x 300 mm., S. 349 x 420 mm.
2,500-3,500 $4,300-5,900
3,200-4,400
LITERATURE:
SUhn 135
FOR OTHER IMPORTANT PRINTS FROM THE PETER BENDIXEN COLLECTION, PLEASE SEE LOTS 147-152 AND 180-183 OF THIS CATALOGUE.
OTHER WORKS FROM THE COLLECTION WILL ALSO BE OFFERED IN THE SALE AT SOUTH KENSINGTON ON 18 SEPTEMBER 2014
AND IN THE SALES OF POST-WAR AND CONTEMPORARY ART IN AMSTERDAM ON 4 AND 5 NOVEMBER 2014.
34
VARIOUS PROPERTIES
l51
CONRAD FELIXMLLER
Geliebte Frau
steel-drypoint printed in sanguine, 1921, on stiff cream wove paper,
signed, dated, titled and inscribed Probedruck Stahlstich, a trial
proof of an unrecorded frst state, before the monogram at upper
right and before the edition of 25, a fne, rich impression printing
with much burr and plate tone, with margins, possibly the full sheet,
a deckle edge below, light-stained, remains of adhesive tape at the
sheet edges verso
P. 259 x 199 mm., S. 310 x 221 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
PROVENANCE:
Christies, London, 26 June 1984, lot 102 ( 2,000).
LITERATURE:
SUhn 252
l *52
MAX PECHSTEIN (1881-1955)
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
KrIger H 140
35
PROPERTY FROM THE AHLERS COLLECTION
53
ERNST LUDWIG KIRCHNER (1880-1938)
200,000-300,000 $340,000-510,000
260,000-380,000
PROVENANCE:
A private American Collection; Galerie Kornfeld, Bern, 17 June 1988, lot 17 (CHF 410,000).
EXHIBITED:
Expressionistische Bilder - Sammlung Firmengruppe Ahlers, Lenbachhaus, Munich; Wilhelm Lehmbruck Museum, Duisburg; Kunsthalle Emden;
Kunsthalle Bielefeld; Rupertinum, Salzburg; Schirn Kunsthalle, Frankfurt am Main; Germanisches Nationalmuseum, Nuremberg, 1993-1997.
LITERATURE:
Schiefer H 182; Dube H 207.
Magdalena M. Moeller, Ernst Ludwig Kirchner Meisterwerke der Druckgraphik, Stuttgart, 1990, no. 58, p. 130-31 (another impression illustrated).
Jutta Hlsewig-Johnen (ed.), Expressionistische Bilder Sammlung Firmengruppe Ahlers, Kthe Kollwitz-Museum (exh. cat.), Berlin (et al.),
Stuttgart, 1993, no. 24, p. 114 (the present impression illustrated).
Magdalena M. Moeller, Kirchner as a German Artist, in: Jill Lloyd, Magdalena M. Moeller (eds.), Ernst Ludwig Kirchner: the Dresden and Berlin
Years, Royal Academy of Arts, London, 2003, p. 23-25 (another impression illustrated).
Ina Conzen, Katja Nellman (et al.), Brycke, Bauhaus, Blauer Reiter SchJtze der Sammlung Max Fischer, Staatsgalerie Stuttgart (exh. cat.),
Stuttgart, 2010, no. 81, p. 98-100 (another impression illustrated).
Felix Krmer (ed.), Ernst Ludwig Kirchner Retrospective, Stdel Museum (exh. cat.), Frankfurt am Main, 2010, no. 26, p. 86 and 254 (another
impression illustrated).
Kirchners Akt mit schwarzem Hut is one of Kirchners boldest, most confrontational
depictions of the female nude and an icon of German Expressionism. This image of
a standing woman, dressed only in slippers, black hat and choker, was inspired by a
reproduction of Lucas Cranachs Venus (Stdel Museum, Frankfurt am Main), which Kirchner
had seen in the studio of his fellow artist Otto Mueller. Whilst this was certainly the frst
inspiration, he presumably also knew Cranachs Cupid complaining to Venus, possibly the
version in London (National Gallery), in which Venus wears an equally incongruous wide-
brimmed hat. This large woodcut portrait of Dodo Groe, the artists girlfriend during his
Dresden years, was created in 1912, following his move to Berlin and the break-up with
Dodo. It is a highly ambiguous image, poised between seduction and confrontation, and one
of the most haunting Expressionist works in any medium. For Kirchner, Dodo remained the
ideal model, muse and lover: even many years later, in a diary entry of 1919, he praised her
beauty as superior to a Cranach Venus.
The woodcut, which was probably begun in Dresden and completed in Berlin, is closely
related to Kirchners painting Stehender Akt mit Hut of 1910 (Gordon 163; Stdel Museum,
Frankfurt am Main). In the woodcut however, Kirchner intensifed the mannerist tendencies -
already present in Cranachs Venus by distorting the proportions and elongating the fgure
even further. It is in woodcuts such as the present Akt mit schwarzem Hut that Kirchner, as
Magdalena Moeller wrote, produced his fnest pictorial solutions (Moeller, Kirchner as a
German Artist, p. 25).
We are grateful to Professor Dr. Gnther Gercken, Ltjensee, Germany, for his assistance in
cataloguing this lot. Professor Gerken is currently preparing the catalogue raisonn of prints
by Ernst Ludwig Kirchner, the frst two volumes of which (1904-1911) have been published
last year (Galerie Kornfeld Verlag, Bern, 2013). Gercken records the present, probably
unique impression of the frst state, and 11 impressions of the second or third states, two of
which are in public collections (Stdel Museum, Frankfurt am Main; Graphische Sammlung,
Staatsgalerie Stuttgart).
Lucas Cranach the Elder, Cupid complaining to Venus,
circa 1525
The National Gallery, London, UK
36
*54
ERNST LUDWIG KIRCHNER
Myggelsee
woodcut printed from two blocks in black, violet and green, 1912, on stiff cream wove paper,
signed in pencil, inscribed Eigendruck, the only known impression of the frst state (of two), before
the spots on the sails are removed, a fne, rich yet transparent impression of this important early
colour woodcut, the violet in the sky partially reworked with watercolour by the artist, with wide
margins, probably the full sheet, mount staining, a repaired tear in the right margin, another short
tear at the upper sheet edge, framed
B. 375 x 302 mm., S. 500 x 397 mm.
150,000-250,000 $260,000-420,000
190,000-310,000
PROVENANCE:
Perry T. Rathbone, Boston (1911-2000).
William R. Valentiner, Detroit (1880-1958); a gift from above; inscribed in pencil verso:
For William Valentiner/ on his 60th Birthday/ from Perry Rathbone.
Galerie Kornfeld, Bern, 21 June 1991, lot 58 (CHF 145,000).
EXHIBITED:
On loan to the Harvard Art Museums (Busch-Reisinger Museum), Cambridge, Mass., 1993-2003.
LITERATURE:
Schiefer H 178; Dube H 210
With Kirchners move to Berlin the previous year, 1911, the long summer days spent by the Moritzburg
Lakes outside of Dresden were a thing of the past. Instead, during the summer of 1912 Kirchner and the
other Brcke artists made excursions to the lakes surrounding Berlin, including the large Mggelsee near
Kpenick to the south-east of Berlin, in search of a cooling bath and inspiration. The atmosphere however,
as portrayed in this woodcut composed of two solid blocks of the complementary colours green and
violet and the very effectively used white paper tone, is one of serene contemplation rather than bucolic
abandon, as found in the bathing scenes of the Dresden years.
This very rare print only fve impressions are known is one of Kirchners most important colour
woodcuts of the Berlin period and one of his early large-scale landscapes in the medium.
We are grateful to Professor Dr. Gnther Gercken, Ltjensee, Germany, for his assistance in cataloguing
this lot. Professor Gercken is currently preparing the catalogue raisonn of prints by Ernst Ludwig Kirchner,
the frst two volumes of which (1904-1911) have been published last year (Galerie Kornfeld Verlag, Bern,
2013). Gercken records only the present impression of the frst state and four impressions of the second,
fnal state.
38
55
ERNST LUDWIG KIRCHNER
50,000-70,000 $85,000-120,000
63,000-88,000
PROVENANCE:
Possibly Gustav Schiefer, Hildesheim/ Hamburg
(1857-1935); according to an inscription on the back
of the frame.
LITERATURE:
Schiefer H 281; Dube H 330
E.W. Kornfeld, Ernst Ludwig Kirchner - Dresden,
Berlin, Davos, Bern, 1979, p. 128-29. (another
impression illustrated).
Magdalena M. Moeller, Ernst Ludwig Kirchner -
Meisterwerke der Druckgraphik, Stuttgart, 1990, p.268,
no. 127 (another impression illustrated).
While spending his frst winter in Frauenkirch above Davos, Kirchner in December 1918 received a commission from the Vereinigung fr Neue Kunst in
Frankfurt to print a woodcut. The subject of this print, meant as an annual edition (Jahresgabe) for the members of the arts club, was to be a portrait of
the Frankfurt art dealer Ludwig Schames, who had exhibited Kirchners work for the frst time in 1916.
Although Kirchners state of health had somewhat improved in the mountains, he was still suffering from frayed nerves and bouts of depression and
paralysis; it is hence somewhat surprising that Kirchner accepted the commission. It is unclear from his correspondence whether the edition was to be 120,
150 or even 180 - in any case it was very unlike Kirchner, who rarely printed more than a dozen impressions of each subject, to produce so large an edition.
As an added diffculty, Kirchner did not have a printing press at the time and had to print each impression by rubbing it by hand.
The woodcut shows Ludwig Schames almost frontally as a close-up of his face and large, fowing beard. In the undefned background, Kirchner placed a
female fgure, certainly one of Kirchners own carved wood sculptures, as an attribute of the art dealer Schames. Kirchner had not seen him for over two
years and must have created the portrait either from memory or with the help of a now lost photograph. Kopf Ludwig Schames, with its jagged edges,
extreme vertical format, and dense, rhythmic contrasts of black and white, became one of his most dramatic and monumental woodcut portraits.
We are grateful to Professor Dr. Gnther Gercken, Ltjensee, Germany, for his assistance in cataloguing this lot. Professor Gercken is currently preparing
the catalogue raisonn of prints by Ernst Ludwig Kirchner, the frst two volumes of which (1904-1911) have been published last year (Galerie Kornfeld
Verlag, Bern, 2013). Of the frst and third states Gercken records only a few impressions respectively.
40
VARIOUS PROPERTIES
56
ERNST LUDWIG KIRCHNER
Erotische Szene IV
lithograph, 1910, on white wove paper, signed in pencil, one of
only two known impressions, with margins, the signature faint,
some very pale light-staining, two short repaired tears at the lower
left sheet edge and one at the upper sheet edge at centre, otherwise
in good condition, framed
L. 170 x 210 mm., S. 239 x 283 mm.
15,000-20,000 $26,000-34,000
19,000-25,000
PROVENANCE:
A private American collection; sold Kornfeld, Bern, 17 June 1988, lot 16.
A private German collection, purchased at the above sale (CHF 40,000).
LITERATURE:
Schiefer L 315; Dube L 188; Gercken 487
Gnther Gercken, Ernst Ludwig Kirchner - Lithographien - Neue
Erkenntnisse: Verzeichnis der Steine, Galerie Kornfeld (exh. cat.),
Bern 2007, no. 11, p. 36, 61, 64 (another impression illustrated).
Kirchners erotic lithographs count amongst the greatest rarities of German Expressionist printmaking. The present lithograph is the fourth from a series
of seven erotic lithographs created in 1910 in Dresden. They presumably refect Kirchners own sexual experiences with his girlfriend Dodo Groe and are
joyful and unrestrained, while a second, much darker series of erotic lithographs created in Berlin in 1915, depict scenes between prostitutes and their -
usually dressed - customers.
Kirchner printed the entire series of 1910 from one stone (Gerckens stone H) by pulling only very few impressions of each subject before erasing and
re-using it for another scene. It is in fact doubtful whether he printed more than two impressions of each subject: Gercken records one complete set of
all seven scenes in the Kornfeld Collection, Bern/ Davos, fve of which are unique impressions. Only two plates are known in two impressions, including the
present one.
57
ERNST LUDWIG KIRCHNER
15,000-25,000 $26,000-42,000
19,000-31,000
PROVENANCE:
With the Kirchner estate stamp of the Kunstmuseum Basel (L. 1570b)
verso, numbered L308.
Private collection, Germany.
LITERATURE:
Schiefer L 308; Dube L 320
Schiefer and Dube record only one impression, presumably the present one,
and no other example has come to light since.
41
PROPERTY FROM THE AHLERS COLLECTION
l58
ERICH HECKEL (1883-1970)
Stehende
woodcut with watercolour in ochre, 1912, on soft laid paper, signed and dated
in pencil, numbered in pencil (4), Dubes frst state (of two), one of a few
handcoloured impressions of this rare print, with margins, deckle edges above and
below, presumably the full sheet, minor moisture staining and some surface dirt in
the margins, some pale foxmarks, generally in good original condition, framed
B. 358 x 190 mm., S. 580 x 345 mm.
80,000-120,000 $140,000-200,000
110,000-150,000
PROVENANCE:
Private German collection; Villa Grisebach, Berlin,
1 June 1990, lot 22 (DM 110,000).
LITERATURE:
Dube H 234
To our knowledge, only three impressions of this print have been offered at auction within
the last thirty years, including the present one with handcolouring in ochre.
42
l*59
WASSILY KANDINSKY (1866-1944)
Kleine Welten
the complete portfolio of 12 prints, including four lithographs PROVENANCE:
in colours, two woodcuts in colours and two in black, and four Richard Doetsch-Benziger (1877-1958), Basel (with his bookplate).
drypoints, 1922, on wove paper, all signed, with title, justifcation
LITERATURE:
and explanation page, the title page with the unsigned woodcut
Roethel 164-75
vignette in black, the justifcation verso, copy no. 60 from the total
Klaus Weber (ed.), Punkt. Linie. Flche. - Druckgraphik am Bauhaus,
edition of 230 (numbers 1-30 were on Japan paper), published by
Bauhaus-Archiv Berlin Museum fIr Gestaltung (exh. cat.), Berlin,
Propylen Verlag, Berlin, printed at the Staatliches Bauhaus, Weimar,
1999-2000, no. 14, p. 118-127 (other impressions illustrated).
presumably the full sheets, the colours very fresh, in excellent
Helmut Friedel/ Annegret Hoberg/ Melanie Horst, Kandinsky
condition, all within their original paper mounts with protective
- Das druckgrafsche Werk - Complete Prints, Stdtische Galerie im
glacine sheets, within the original green half-leather folder with
Lenbachhaus und Kunstbau/ Kunstmuseum Bonn (exh. cat.), 2008-
yellow paper sides with the cover vignette on the front and the title
2009, no. 123-135 (other impressions illustrated).
and artists name in gilt on the spine (portfolio)
468 x 352 x 17 mm. (overall)
150,000-250,000 $260,000-420,000
190,000-310,000
44
For me, the province of art and the province of nature thus became more and more widely separated,
until I was able to experience both as completely independent realms. (Kandinsky, Reminiscences, 1913,
quoted in: Friedel/ Hoberg/ Horst, p. 208)
Having created abstract works as early as 1910, Kleine Welten can be considered as the earliest purely
abstract major work of printmaking and the most important portfolio created at the Bauhaus. Possibly
still under the infuence of the Russian avant-garde, although more lyrical and playful in spirit, Kandinsky
created the series in 1922, shortly after joining the teaching staff at the Bauhaus: he took up his
position and within a short period of time, developed into an artist who made a strong impact on the
Bauhaus, but who was surely also shaped by it in return. For the connection between art, craft and
industrial shaping of form that the Bauhaus propagated led, under the overall concept of functionality,
to a clarifcation and objectifcation of the language of forms that corresponded with Kandinskys artistic
objectives in the 1920s. What seemed outdated to him, in any case, was the expressionistic pathos of the
pre-war era. (C. Schreier, The Creation of a Work is the Creation of a World Kandinsky and his Small
Worlds Portfolio, in: Friedel/ Hoberg/ Horst, p. 57)
45
VARIOUS PROPERTIES
l60
MARC CHAGALL (1887-1985)
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Mourlot 100; cf. Cramer books 24
l61
MARC CHAGALL
3,000-5,000 $5,100-8,400
3,800-6,300
LITERATURE:
Mourlot 197
l62
MARC CHAGALL
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Mourlot 1018
46
l63
MARC CHAGALL
6,000-8,000 $11,000-13,000
7,600-10,000
LITERATURE:
Mourlot 485a
l64
AFTER MARC CHAGALL BY CHARLES SORLIER
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Charles Sorlier 21
47
l65
SALVADOR DAL (1904-1989)
28,000-32,000 $48,000-54,000
36,000-40,000
LITERATURE:
Michler & LUpsinger 227-236
l66
SALVADOR DAL
6,000-8,000 $11,000-13,000
7,600-10,000
LITERATURE:
Michler & LUpsinger 567-577; Field 73-20
48
l67
MAURITS CORNELIS ESCHER (1898-1972)
20,000-30,000 $34,000-51,000
26,000-38,000
PROVENANCE:
Christies, London, 26 June 1984, lot 92
(2,600).
LITERATURE:
Bool 357
l*68
MAURITS CORNELIS ESCHER
Encounter
lithograph, 1944, on wove paper, with
partial watermark Holland, signed and
titled in pencil, numbered 7/30, with
wide margins, light-staining, a few skinned
patches at the upper sheet edge, otherwise in
good condition, framed
L. 340 x 465 mm., S. 450 x 600 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
LITERATURE:
Bool 331
49
l69
JOAN MIR (1893-1983)
10,000-15,000 $17,000-25,000
13,000-19,000
PROVENANCE:
Pierre Meuz (not in Lugt).
LITERATURE:
Dupin 18
Joan Mir visited New York in 1947 and where he worked at Stanley
William Hayters (1901-1988) pioneering print workshop Atelier 17,
creating the plates for Srie I and II (Lots 70-72). Hayters approach
to intaglio printing was innovative and experimental. His studio,
which had frst been established in Paris in 1927 before relocating to
New York at the outbreak of World War II, became a centre for the
European and American avant-garde. It was presumably here that
Mir met the American abstract painter Carl Holty (1900-1973), to
whom one of the proofs is dedicated (Lot 71). The following three
lots are some of only a few trial proofs printed by Mir at Atelier
17 in 1947, and refect Hayters infuence in their unconventional
methods of inking: with a roller (lot 70), fngerprints (lot 71), and by
selective wiping (lot 72). Each of the present impressions is unique.
The plates returned to Paris with Mir, where they were printed
by Lacourire and published by Maeght in a tiny edition of 13
impressions in 1952-53.
l70
JOAN MIR
10,000-15,000 $17,000-25,000
13,000-19,000
PROVENANCE:
Heinrich Neuerburg (1880-1956), Cologne (L. 1344a); then
by descent.
Dr. Walter Neuerburg (1912-86); his sale, Christies, New
York, 1 November 1988, lot 98 ($35,000).
LITERATURE:
cf. Dupin 75
50
l71
JOAN MIR
10,000-15,000 $17,000-25,000
13,000-19,000
PROVENANCE:
Carl Robert Holty (1900-73), New York; a gift from the
artist; then by descent.
Christies, New York, 16 November 1987, lot 204 ($24,000).
Pierre Meuz (not in Lugt).
LITERATURE:
cf. Dupin 75
l72
JOAN MIR
10,000-15,000 $17,000-25,000
13,000-19,000
PROVENANCE:
Pierre Meuz (not in Lugt).
LITERATURE:
cf. Dupin 83
51
l73
JOAN MIR
La Main
soft-ground etching and aquatint in colours,
1953, on BFK Rives wove paper, signed
and dated in pencil, inscribed H.C., one of
a few hors commerce impressions aside from
the edition of 75, the colours very fresh,
published by Maeght, Paris, the full sheet,
with deckle edges above and below, in very
good condition
P. 355 x 485 mm., S. 510 x 650 mm.
7,000-10,000 $12,000-17,000
8,800-13,000
LITERATURE:
Dupin 100
l74
JOAN MIR
Femme au Miroir
lithograph in colours, 1956, on BFK Rives
wove paper, signed in pencil, numbered
50/150, published in Derrire le Miroir, 10
Ans dEdition, Maeght, Paris, the colours
very fresh and bright, the full sheet, a deckle
edge at left, in very good condition
L. 382 x 560 mm., S. 390 x 565 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
PROVENANCE:
Pierre Meuz (not in Lugt).
LITERATURE:
Mourlot 242; cf. Cramer 36
52
l75
JOAN MIR
Equinoxe
etching, aquatint and carborundum in colours, 1967, on wove paper, signed and dedicated
pour Sylvie avec mon affection in pencil, inscribed H.C., one of a few hors commerce
impressions aside from the edition of 75, published by Maeght, Paris, probably the full
sheet, a deckle edge at right, very pale scattered pinpoint foxing, otherwise in good
condition
P., S. 1045 x 737 mm.
25,000-35,000 $43,000-59,000
32,000-44,000
LITERATURE:
Dupin 428
53
l76
JOAN MIR
10,000-15,000 $17,000-25,000
13,000-19,000
LITERATURE:
cf. Dupin 93
54
l77
JOAN MIR
La Commedia dellArte VI
etching in colours, 1979, on Arches paper, signed and inscribed
E.A. in pencil, an artists proof aside from the edition of thirty
(there were also 15 hors commerce impressions), published by
Maeght, printed by Joan Barbar, Barcelona, the full sheet, in
very good condition
S. 565 x 762 mm.
2,000-3,000 $3,400-5,100
2,600-3,800
LITERATURE:
Dupin 1111
78
JOAN MIR
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Dupin 1171; cf. Cramer books 254
Dl79
JOAN MIR
Two plates from: Cartones (M. 452 & 453; cf. C. books 103)
two lithographs printed in colours, 1965, on Arches wove paper,
both signed in pencil, numbered 27/75, published by P. Matisse,
New York, the full sheets, both in very good condition; with
MirA Sculptures (M. 755), lithograph in colours, 1971, on
Arches wove paper, signed in pencil, numbered 116/150, before
the unsigned edition with text, published by the Walker Art
Centre, Minneapolis, the full sheet, in very good condition
M. 452: L. 305 x 425 mm., S. 420 x 548 mm.
M. 453: L. 505 x 635 mm., S. 545 x 707 mm.
M. 755: L. 855 x 727 mm., S. 858 x 730 mm. (3)
3,000-5,000 $5,100-8,400
3,800-6,300
55
80
l80 l81
HENRI LAURENS (1885-1954) HENRI LAURENS
81
56
82
l82 83
HENRI LAURENS LOUIS MARCOUSSIS (1883-1941)
83
57
Dl*84
PABLO PICASSO (1881-1973)
7,000-10,000 $12,000-17,000
8,800-13,000
LITERATURE:
Cramer books 20
l85
PABLO PICASSO
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Bloch 167; Baer 320
l86
PABLO PICASSO
10,000-15,000 $17,000-25,000
13,000-19,000
LITERATURE:
Bloch 172; Baer 325
58
l*87
PABLO PICASSO
Faune devoilant une Femme, from: La Suite Vollard In a room fooded with moonlight a handsome and god-like faun unveils
aquatint, 1936, on Montval laid paper, watermark Picasso, signed in a sleeping woman. Based on Rembrandts etching Jupiter and Antiope,
1659 (B., Holl. 204), it contains many autobiographical allusions to the
pencil, from the edition of 260 (there was also an edition of ffty with artists passionate relationship with his lover Marie-Thrse Walter, whose
wider margins), published by A. Vollard, Paris, 1939, the full sheet, a powerful physical allure is so evocatively portrayed in the curvaceous fgure
deckle edge at right, pale light-staining, generally in good condition of the sleeper. Unlike Rembrandts Jupiter, who leers lecherously at the
P. 316 x 420 mm., S. 340 x 451 mm. nubile Antiope, this faun gazes upon her, transfxed by her beauty and
reaching out to caress the object of his desire.
30,000-50,000 $51,000-84,000
At the time this aquatint was made, Marie-Thrse had given birth to their
38,000-63,000 daughter, Maya, and it has been suggested that this aquatint is Picassos
nostalgic evocation of a passion now passing, irrevocably changed with the
LITERATURE:
advent of parenthood. It is undoubtedly one of the most beautiful examples
Bloch 230; Baer 609 of the artists graphic work, both poetic and mysterious - and a dazzling
display of his draughtsmanship and his command of the sugar-lift etching
technique.
59
l*88
PABLO PICASSO
FranAoise en soleil
lithograph, 1946, on Arches wove paper, initialled in pencil by Fernand Mourlot, inscribed
with his reference 48 and numbered 6/6 verso, one of six proofs reserved for the artist and
the printer (aside from the edition of ffty), the full sheet, a deckle edge above and below,
the sheet slightly toned, otherwise in very good condition
L. 540 x 445 mm., S. 654 x 500 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
LITERATURE:
Bloch 404; Mourlot 48
60
`In the old days pictures went forward towards completion by stages
A picture used to be a sum of additions. In my case a picture is a sum of
destructions. I do a picture then I destroy it It could be interesting to
preserve photographically, not the stages, but the metamorphoses of a
picture (Picasso, quoted in: Cahiers dArt, Paris, 1935, vol. 10, no. 10, p.
173-8, translated in: A. Barr, Picasso: Fifty Years of His Art, New York, 1946,
p. 272).
This present collection (lots 88-97) includes various states from his famous
series Femme au Fauteuil, which reveal the sometimes dramatic and
surprising transformations the subject underwent in the course of Picassos
intense engagement with it. Each impression is one of only six proofs pulled
by Mourlot. These rare prints offer a unique insight into Picassos creative
process and his unrestrained and playful visual mind.
l*89
PABLO PICASSO
Femme au Fauteuil
lithograph in colours, 1948, on Arches wove paper, a proof
impression of the second, fnal state, without the black stone,
inscribed with the printer Fernand Mourlots reference 133 bis 1
tat sans noir, one of six proofs reserved for the artist and the printer
(there was no edition of this state), the full sheet, a deckle edge above
and below, generally in good condition
L., S. 652 x 500 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
LITERATURE:
cf. Mourlot 133
The present impression is incorrectly inscribed 1 tat verso. It is the second
state, without the black stone, after the reworking of the colour stones.
This is probably a unique proof; Mourlot does not record other impressions
printed without the black stone.
l*90
PABLO PICASSO
Femme au Fauteuil
lithograph, 1948, on China paper, a proof impression of the frst state
(of six), initialled in pencil by the printer Fernand Mourlot verso,
inscribed with his reference 138, NOIR, de 133 bis, preuve unique,
one of six proofs reserved for the artist and the printer (there was no
edition of this state), the full sheet, a minor tear at the right sheet
edge, a repaired tear at the lower left sheet edge, some soft creases at
the sheet edges
L. 650 x 500 mm., S. 670 x 505 mm.
7,000-10,000 $12,000-17,000
8,800-13,000
LITERATURE:
cf. Mourlot 138
61
l*91
PABLO PICASSO
Femme au Fauteuil
lithograph, 1948, on Arches wove paper, a proof impression of
the second state (of six), initialled in pencil by the printer Fernand
Mourlot, inscribed with his reference 138, NOIR, de 133 bis, preuve
unique verso, one of six proofs reserved for the artist and the printer
(there was no edition of this state), the full sheet, deckle edges above
and below, the sheet slightly toned, scattered foxing verso, generally in
good condition
S. 657 x 500 mm.
10,000-15,000 $17,000-25,000
13,000-19,000
LITERATURE:
cf. Mourlot 138
l*92
PABLO PICASSO
Femme au Fauteuil
lithograph, 1948, on Arches wove paper, a proof impression of the
third state (of six), initialled in pencil by the printer Fernand Mourlot,
inscribed with his reference 138, 3e tat and numbered 6/6 verso,
one of six proofs reserved for the artist and printer (there was no
edition of this state), the full sheet, a deckle edge at right and left, the
sheet slightly toned, faint scuffng in the image, generally in good
condition
L. 700 x 547 mm., S. 765 x 565 mm.
12,000-18,000 $21,000-30,000
16,000-23,000
LITERATURE:
cf. Mourlot 138
62
l*93
PABLO PICASSO
Femme au Fauteuil
lithograph, 1948, on Arches wove paper, a proof impression of the
ffth state (of six), initialled in pencil by the printer Fernand Mourlot,
inscribed with his reference 138, 5e tat and numbered 6/6 verso,
one of six proofs reserved for the artist and the printer (there was no
edition of this state), the full sheet, a deckle edge at right and left,
very pale foxing in the margin at lower right, the sheet slightly toned,
otherwise in good condition
L. 697 x 545 mm., S. 760 x 563 mm.
20,000-300,000 $34,000-510,000
26,000-380,000
LITERATURE:
cf. Mourlot 138
l*94
PABLO PICASSO
Femme au Fauteuil
lithograph, 1948, on Arches wove paper, a proof impression of the
sixth, fnal state, initialled in pencil by the printer Fernand Mourlot,
inscribed with his reference 138, 6e tat and numbered 6/6 verso,
one of six proofs reserved for the artist and the printer (there was no
edition of this state), the full sheet, a deckle edge at right and left, the
sheet slightly toned, otherwise in very good condition
L. 697 x 545 mm., S. 764 x 562 mm,
20,000-30,000 $34,000-51,000
26,000-38,000
LITERATURE:
cf. Mourlot 138
63
l*95
PABLO PICASSO
20,000-30,000 $34,000-51,000
26,000-38,000
LITERATURE:
cf. Mourlot 134
95
l*96
PABLO PICASSO
12,000-18,000 $21,000-30,000
16,000-23,000
LITERATURE:
cf. Mourlot 135
96
l*97
PABLO PICASSO
18,000-25,000 $31,000-42,000
23,000-31,000
LITERATURE:
cf. Mourlot 135
97
64
l*98 l99
PABLO PICASSO PABLO PICASSO
65
l100
PABLO PICASSO
250,000-350,000 $430,000-590,000
320,000-440,000
LITERATURE:
Bloch 859; Baer 1053
D. Ashton, Picasso on Art: A Selection of Views, London, 1972.
R. Penrose and J. Golding ( eds.), Picasso 1881/1973, London 1973.
A. Malraux, Picassos Mask, 1976, p. 118.
D. Giraudy/D. Bourgois, Picasso Linograveur, Muse Picasso, Antibes (et al.)
(exh. cat.), 1988-89.
P. Elliott, Picasso on Paper, National Gallery of Scotland, Edinburgh (exh. cat.),
2007, no. 77 (another impression illustrated).
C. Riopelle/ A. Robbins, Picasso: Challenging the Past, National Gallery, London
(exh. cat.), 2009, no. 37 (another impression illustrated).
`To me there is no past or future in art. The art of the Greeks, of the Explaining the genesis of Picassos great linocut Buste de Femme daprs
Egyptians, of the great painters who lived in other times, is not an art of the Cranach le Jeune, Picassos dealer Daniel-Henry Kahnweiler said: One of
past; perhaps it is more alive today than it ever was. (Picasso, quoted in: Picassos notable characteristics was his need to transform existing works of
Ashton, p. 4). art, to compose variations on a theme, as it were. His point of departure
was often simply a reproduction in a book; or even a postcard sent by myself,
Throughout his career Picasso made works in response to the great art such as Cranach the Youngers Portrait of a Woman [1564] in Vienna, which
of the past. Describing his approach to his artistic predecessors he said: I became his frst linocut in colour. Among other things, what struck him in
have a horror of copying myself. But when I am shown a portfolio of old particular about this painting was the way the womans shadow rhymes
drawings, for instance, I have no qualms about taking anything I want from with the upper part of her body... This need to transform was certainly an
them. (Picasso, in conversation with C. Zervos, 1935, quoted in: Ashton, p. important characteristic of Picassos genius. (Daniel-Henry Kahnweiler,
10). This sustained dialogue with the past reached its zenith in the 1950s, Introduction: A Free Man, in: Penrose/ Golding, p. 8-9)
when Picasso devoted himself in painting, sculpture and print to reworking
masterpieces by artists as diverse as Cranach, Velsquez, Delacroix and Picasso had made a preparatory linocut (cf. Baer 1052) after this postcard
Manet. the day before executing Buste de Femme. This preliminary work, printed
in black from one block, follows Cranachs composition closely - the young
girl is depicted in three-quarter profle and faces in the same direction as
the painting, requiring Picasso to reverse the image in the cutting. The
effect is somewhat laboured, and when Picasso revisited the subject again
the following day, he abandoned this creative hindrance, this time cutting
the subject freely and adapting Cranachs composition in a much more
spontaneous way. The result is a tour de force of printmaking: with fuid
cuts of the linocut gouge and the overprinting of bright, fat colour from fve
separate blocks, Picasso amplifed what he had described to Kahnweiler as
the paintings internal `rhymes. Flattening the pictorial space, the bulging
shadow on the girls right now merges with the undulating shape of her black
bodice and shoulders, themselves echoed in the loops of the gold chain and
hair net, and by the curved strokes in the background. The girls features
are playfully distorted, so that we seem to see her from the front and in full
profle simultaneously.
What Picasso described to Andr Malraux as his desire to paint against the
canvases that are important to methats painting: for a painter it means
wrestling with painting. (A. Malraux, Picassos Mask, 1976, p. 118), also
resonates with the iconoclastic transformation of Cranachs delicate portrait
into an exuberant display of colour and rhythmic patterns in this most layered
and painterly of all his prints.
66
l*101
PABLO PICASSO
Femme au Collier
linocut rinc, 1964, on Arches wove paper, signed in red crayon, dated 27.6.64. in black
ink verso (this impression cited in Baer), one of about fve rinc impressions, probably the
full sheet, the paper slightly toned, mount staining at the sheet edges, otherwise in good
condition, framed
S. 750 x 618 mm.
30,000-50,000 $51,000-84,000
38,000-63,000
LITERATURE:
Bloch 928; Baer 1258
68
l102
PABLO PICASSO
10,000-15,000 $17,000-25,000
13,000-19,000
LITERATURE:
Bloch 1023; Baer 1277
l103
PABLO PICASSO
Toros Vallauris
linocut in colours, 1958, on Arches wove paper, signed in blue
crayon, numbered 145/195 in pencil (there were also 22 artists
proofs), published by the Association des Potiers de Vallauris, the
full sheet, in good condition
B. 650 x 530 mm., S. 610 x 790 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Bloch 1282; Baer 1049
69
l*104 l105
PABLO PICASSO AFTER PABLO PICASSO BY JACQUES VILLON
Char romain, avec cuyre tombant, femme nue et spectateurs, Nature Morte
from: Series 347 aquatint in colours, 1928, on wove paper, signed in pencil,
etching, 1968, on BFK Rives wove paper, signed in pencil, numbered numbered 20/200 (there were also nine impressions printed in
28/50 (there were also 17 artists proofs), published by Galerie L. black only), published by Galerie Bernheim-Jeune, Paris, with small
Leiris, Paris, 1969, the full sheet, a deckle edge at right, in very good margins, the sheet taped down to the back mount, framed
condition, framed P. 375 x 500 mm., S. 400 x 523 mm.
P. 315 x 392 mm., S. 472 x 567 mm.
7,000-10,000 $12,000-17,000
6,000-8,000 $11,000-13,000 8,800-13,000
7,600-10,000 LITERATURE:
70
l106
AFTER PABLO PICASSO
Dora Maar
lithograph in colours, 1955, on Arches wove paper, signed in pencil, numbered 87/100 (there
was also an unsigned poster edition of fve hundred copies), published by the Muse des Arts
Decoratifs, printed by Mourlot, Paris, with wide margins, probably the full sheet, in good
condition
L. 920 x 600 mm., S. 1040 x 695 mm.
12,000-18,000 $21,000-30,000
16,000-23,000
LITERATURE:
Czwiklitzer 92; Rodrigo 38
71
l*107
AFTER PABLO PICASSO
Imaginary Portraits
the complete set of 29 lithographs in colours, 1969, with title page and justifcation, on Arches
wove paper, numbered on the justifcation A 90, the prints numbered A 90/250 in pencil
(there was also an edition of 250 marked F, reserved for distribution in France), published
by Harry N. Abrams, New York, the full sheets, in excellent condition, loose (as issued),
within the original orange cloth and tan corduroy-covered box with a leather clasp, in good
condition (portfolio)
690 x 530 x 60 mm. (overall)
50,000-70,000 $85,000-120,000
63,000-88,000
Included with this lot is the original packing box that the work was shipped in from the publisher.
72
l*108
GEORGES ROUAULT (1871-1958)
Automne
aquatint in colours, 1938, on Montval
laid paper, third, fnal state, not signed,
numbered 145/175, the full sheet, a deckle
edge below, the colours quite fresh, light-,
mount and time staining, some short tears in
the lower margin
P. 510 x 655 mm., S. 572 x 775 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
LITERATURE:
Champion and Rouault 288
6,000-8,000 $11,000-13,000
7,600-10,000
LITERATURE:
Duthuit-Matisse 511
73
l*110
HENRI MATISSE
3,000-5,000 $5,100-8,400
3,800-6,300
LITERATURE:
Duthuit-Matisse 462
VARIOUS PROPERTIES
l*111
HENRI MATISSE
Torse f 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 $14,000-20,000
11,000-15,000
LITERATURE:
Duthuit-Matisse 494
l*112
HENRI MATISSE
Marguerite VI
lithograph, 1945, on BFK Rives paper, signed in pencil, numbered
12/25, the full sheet, in very good condition
L. 415 x 300 mm., S. 500 x 325 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
LITERATURE:
Duthuit-Matisse 575
74
l*113
HENRI MATISSE
8,000-12,000 $14,000-20,000
11,000-15,000
LITERATURE:
Duthuit-Matisse 801
l*114
HENRI MATISSE
8,000-12,000 $14,000-20,000
11,000-15,000
LITERATURE:
Duthuit-Matisse 822
75
l115
MASSIMO CAMPIGLI (1895-1971)
Ritratto di donna
monotype in colours, 1950, on Fabriano wove paper, probably a
unique impression, signed and dated in brown ink, the full sheet,
in good condition, framed
S. 538 x 423 mm.
15,000-25,000 $26,000-42,000
19,000-31,000
This work has been authenticated by Nicola Campigli.
l116
GIORGIO MORANDI (1890-1964)
10,000-15,000 $17,000-25,000
13,000-19,000
LITERATURE:
Vitali 109; Cordaro p. 126
76
l117
HENRY MOORE (1898-1986)
Sheep
the complete portfolio including 12 etchings, 1972-74, on Rives wove paper, with a watermark designed by the artist, with title, text and
justifcation, signed in black ink on the justifcation, copy number 59, from the total edition of eighty (there was also a deluxe edition of 15),
published by Gerald Cramer, Geneva, 1975, each etching signed and inscribed with the plate number in pencil, numbered 59/80, the full
sheets, all in excellent condition, loose (as issued), within the original vellum wrappers with the title and etching on the front (portfolio)
445 x 500 mm. (overall)
15,000-25,000 $26,000-42,000
19,000-31,000
LITERATURE:
Cramer 196-7, 199-201, 225-9, 231-2
Sheep have always had some special meaning for me, more so
than cows or horses, whether it is that I saw them as a boy in
parts of the Yorkshire landscape or whether its from reading
the Bible in early childhood where sheep have a mention, and
not horses for instance, I really would not like to say.
(Henry Moore, Introduction to: Sheep, Grald Cramer, 1975)
After observing for hours the sheep out of his studio window at Perry
Green, Henry Moore made numerous drawings which he assembled in his
Sheep Sketchbook as well as printing the present series of 12 etchings,
representing a kind of life cycle, from the birth of the lambs to growing up
and the sheep being shorn.
77
POST-WAR AND CONTEMPORARY PRINTS
(LOTS 118-193)
l118
FRANCIS BACON (1909-1992)
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 justifcation, each lithograph signed in
pencil, printed on folded sheets with letterpress text on the inside pages, copy number
64 from the edition of 150 (there were also fve 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 $68,000-100,000
51,000-75,000
LITERATURE:
Sabatier 29
78
l119 l120
FRANCIS BACON FRANCIS BACON
79
l121
FRANCIS BACON
5,000-7,000 $8,500-12,000
6,300-8,800
LITERATURE:
Sabatier 34
l122
FRANCIS BACON
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Sabatier 19
l123
FRANCIS BACON
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Sabatier 4
80
l124
FRANCIS BACON
20,000-30,000 $34,000-51,000
26,000-38,000
LITERATURE:
Sabatier 10
81
l125 l126
FRANCIS BACON FRANCIS BACON
82
l127
FRANCIS BACON
12,000-18,000 $21,000-30,000
16,000-23,000
LITERATURE:
Sabatier 21
l128
FRANCIS BACON
Logique de la sensation
lithograph in colours, 1981, on wove paper, signed in pencil,
numbered 122/150 (there were also 25 copies numbered in Roman
numerals), printed by Arts Litho, Paris, with their blindstamp,
published by ditions de la Diffrence, Paris, the full sheet, in very
good condition
L., S. 448 x 330 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
LITERATURE:
Sabatier 28
l129
FRANCIS BACON
6,000-8,000 $11,000-13,000
7,600-10,000
LITERATURE:
Sabatier 22
83
l *130
LUCIAN FREUD (1922-2011)
Head of a Man
etching, 1986-87, on BFK Rives wove paper, initialled in pencil,
numbered 13/20 (there were also six artists proofs), co-published by
James Kirkman, London, and Brooke Alexander, New York, the full
sheet, a deckle edge at left, in very good condition, framed
P. 226 x 183 mm., S. 505 x 435 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
LITERATURE:
Hartley 29; Figura 66
l131
DAVID HOCKNEY (B. 1937)
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Scottish Arts Council, Tokyo 44
84
l132
DAVID HOCKNEY
8,000-12,000 $14,000-20,000
11,000-15,000
LITERATURE:
Tokyo 260; Tyler 271
133
JIM DINE (B. 1935)
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Williams College 3,4, 5, 6, 9
85
D134
ALBERTO BURRI (1915-1995)
6,000-8,000 $11,000-13,000
7,600-10,000
PROVENANCE:
From the Archives of The Stamperia dArte 2RC, Rome.
The use of acetate was experimental and this particular type has yellowed to a warmer colour over time. The numbered edition was created with a variation
of this acetate that was less prone to discolouration. One impression is dated 68.
l135
ALBERTO BURRI
6,000-8,000 $11,000-13,000
7,600-10,000
86
D136 l137
ALBERTO BURRI ALBERTO BURRI
87
l138
AFTER LUCIO FONTANA (1899-1968)
4,000-6,000 $6,800-10,000
5,100-7,500
l139
AFTER LUCIO FONTANA
3,000-5,000 $5,100-8,400
3,800-6,300
l140
AFTER LUCIO FONTANA
3,000-5,000 $5,100-8,400
3,800-6,300
88
l141
EDUARDO CHILLIDA (1924-2002)
Aldikatu IV
etching, 1973, on Guarro wove paper, watermark La Cometa, signed
and inscribed H.C. in pencil, an hors commerce impression aside from
the edition of 75 (there were also four artists proofs), published by
Editorial Gustavo Gili - Las Estampas de la Cometa, Barcelona, the
full sheet, in good condition
P. 448 x 696 mm., S. 1010 x 760 mm.
4,000-6,000 $6,800-10,000
5,100-7,500
LITERATURE:
Koelen 72012
l142
EDUARDO CHILLIDA
12,000-18,000 $21,000-30,000
16,000-23,000
LITERATURE:
Koelen 73024-73039
89
143
Art has long had separate parts but the best
DONALD JUDD (1928-1994)
work has become, with time and diffculty,
Untitled preeminent. This is now threatened. An old
the complete set of ten woodcuts printed in ultramarine blue, 1988, example from the 50s of categorization is
on Okawara paper, each signed in pencil on the reverse, numbered printmaking. It was completely separate from art
5/25, published by Brooke Alexander Editions, New York, printed in general and had its own mastersPrintmaking
by Derrire LEtoile Studios, New York, the full sheets, in excellent seemed to be dead forever. Yet in the 60s it was
condition, framed revived by several painters and is now, again, a
S. 600 x 800 mm. (each) (10) serious form of art.
60,000-80,000 $110,000-130,000 Donald Judd, A Long Discussion, Not about
76,000-100,000 Master-pieces but Why There Are so Few of
LITERATURE: Them: Part II, First published in: Art in America,
Schellmann 167-176 October 1984, pp. 9-15; reprinted in: Art
Monthly, February 1985, pp. 3-9.
90
144
DONALD JUDD
Untitled
the complete set of four woodcuts in cadmium red, 1991-1994, on laid Misumata Japan
paper, each with the artists estate stamp verso, numbered AP 3/3, a set of artists proofs aside
from the edition of ten (Schellmann calls for two artists proof sets), published by Brooke
Alexander Editions, New York, printed by Derrire LEtoile Studios, New York, the full
sheets, in excellent condition, framed
B. 635 x 960 mm., S. 670 x 995 mm. (each) (4)
25,000-35,000 $43,000-59,000
32,000-44,000
LITERATURE:
Schellmann 223-226
92
145
DONALD JUDD
Untitled
the complete set of four woodcuts in cadmium yellow, 1991-1994, on laid Misumata
Japan paper, each with the artists estate stamp verso, numbered 2/15, published by Brooke
Alexander Editions, New York, printed by Derrire LEtoile Studios, New York, the full
sheets, in excellent condition, framed
B. 635 x 960 mm., S. 670 x 995 mm. (each) (4)
20,000-30,000 $34,000-51,000
26,000-38,000
LITERATURE:
Schellmann 235-238
93
THE COLLECTION OF PETER BENDIXEN
146
ANDY WARHOL (1928-1987)
Liz
offset lithograph in colours, 1964, on wove paper, signed and dated in ball-point pen, from the edition
of approximately three hundred, published by Leo Castelli Gallery, New York, the full sheet, the
colours slightly attenuated, some very minor creases at the sheet corners, a few pale moisture stains at
the left sheet edge, otherwise in good condition
L. 558 x 558 mm., S. 586 x 585 mm.
25,000-35,000 $43,000-59,000
32,000-44,000
LITERATURE:
Feldman & Schellmann II.7
94
147
PORTFOLIO
11 Pop Artists,Volume I
the complete portfolio of eleven prints in various media in colours, 1965, on various papers, with title, introduction and
justifcation pages, the print by Warhol stamp-signed (as issued), the others signed and numbered 12/200 (there were
also ffty artists proof sets), published by Original Editions, New York, generally in very good condition, the mount of
the Wesselmann relief slightly scuffed and with surface dirt, within the original coral cloth-covered box with title printed
in purple (portfolio)
630 x 525 mm. (overall)
20,000-30,000 $34,000-51,000
26,000-38,000
The portfolio includes:
Allan DArchangelo, Landscape I; Jim Dine, Awl (M. 35); Allen Jones, Miss America; Gerald Laing, Compact; Roy Lichtenstein,
Moonscape (C. 37); Peter Phillips, Custom Print I; Mel Ramos, Chic; James Rosenquist, Circles of Confusion (G. 10);
Andy Warhol, Jacqueline Kennedy I (F. & S. II.13); John Wesley, Maiden; and Tom Wesselmann, Cut-out Nude.
95
148
ROY LICHTENSTEIN (1923-1997)
Crak!
offset lithograph in colours, 1963-64,
on thin wove paper, signed and dated
1964 in pencil, numbered 216/300,
published by Leo Castelli Gallery,
New York, the colours strong and
fresh, the paper slightly toned, a tiny
pale stain in the signature, otherwise in
very good condition
L. 474 x 686 mm., S. 490 x 704 mm.
8,000-12,000 $14,000-20,000
11,000-15,000
LITERATURE:
Corlett II.2
149
ROY LICHTENSTEIN
Shipboard Girl
offset lithograph in colours, 1965, on thin wove paper, signed
in pencil, from the edition of unknown size, published by Leo
Castelli Gallery, New York, the full sheet, the colours very fresh
and bright, in very good condition
L. 660 x 485 mm., S. 690 x 515 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
LITERATURE:
Corlett II.6
96
150
ROY LICHTENSTEIN
50,000-70,000 $85,000-120,000
63,000-88,000
LITERATURE:
Corlett 39
97
151
ROY LICHTENSTEIN
3,000-5,000 $5,100-8,400
3,800-6,300
LITERATURE:
Corlett II.4
152
ROY LICHTENSTEIN
Brushstrokes
screenprint in colours, 1967, on wove paper,
signed in pencil, not numbered (a proof
aside from the edition of three hundred),
published by Leo Castelli Gallery, New
York, for the Pasadena Art Museum,
California, with margins, the sheet reduced
in width, the occasional faint scuffs in the
matt black areas, framed
I. 556 x 762 mm., S. 584 x 787 mm.
6,000-8,000 $11,000-13,000
7,600-10,000
LITERATURE:
Corlett 45
FOR OTHER IMPORTANT PRINTS FROM THE PETER BENDIXEN COLLECTION, PLEASE SEE LOTS 180-183 OF THIS CATALOGUE.
OTHER WORKS FROM THE COLLECTION WILL ALSO BE OFFERED IN THE SALE AT SOUTH KENSINGTON ON 18 SEPTEMBER 2014
AND IN THE SALES OF POST-WAR AND CONTEMPORARY ART IN AMSTERDAM ON 4 AND 5 NOVEMBER 2014.
98
VARIOUS PROPERTIES
*153
ROY LICHTENSTEIN
Crying Girl
offset lithograph in colours, 1963, on wove paper, signed in pencil, from the edition of
unknown size, published by Leo Castelli Gallery, New York, the full sheet, the colours very
slightly attenuated, pinholes at the sheet corners, otherwise in very good condition, framed
L. 438 x 590 mm., S. 463 x 614 mm.
25,000-35,000 $43,000-59,000
32,000-44,000
LITERATURE:
Corlett II.1
99
*154
ROY LICHTENSTEIN
50,000-70,000 $85,000-120,000
63,000-88,000
LITERATURE:
Corlett 38
100
155
ROY LICHTENSTEIN
20,000-30,000 $34,000-51,000
26,000-38,000
LITERATURE:
Corlett 247
101
156
ROY LICHTENSTEIN
100,000-150,000 $170,000-250,000
130,000-190,000
LITERATURE:
Corlett 284
102
*157
ANDY WARHOL (1928-1987)
A Gold Book
the complete book including nineteen plates and the title page, 1957, comprising 13 offset
lithographs on gold paper, four offset lithographs with hand-colouring on wove paper
and two offset lithographs on wove paper, the full sheets, in a later cardboard binding
with offset lithograph and handcoloured paper wrappers, with the artists estate stamps
initialled in pencil T.J.H. and numbered PM20.0037 on the inside back page, occasional
soft handling creases, minor nicks to the sheet edges, minor oxidisation to some of the gold
sheets, generally in good condition (book)
385 x 295 x 10 mm. (overall)
10,000-15,000 $17,000-25,000
13,000-19,000
LITERATURE:
Feldman & Schellmann IV.106-124
104
158
ANDY WARHOL
Marilyn
screenprint in colours, 1967, on wove paper, signed in pencil verso, stamp numbered 203/250
(there were also 26 artists proofs lettered A-Z), published by Factory Additions, New York,
the full sheet, the pink slightly attenuated, a few minor moisture stains at the lower sheet edge
verso slightly showing through recto, generally in good condition, framed
S. 916 x 916 mm.
60,000-80,000 $110,000-130,000
76,000-100,000
LITERATURE:
Feldman & Schellmann II.28
105
159
ANDY WARHOL
Marilyn
the complete set of ten screenprints in colours, 1967, on wove paper,
each signed in pencil verso, stamp numbered 178/250 (there were
also 26 artists proofs lettered A-Z), each with the Andy Warhol
Authentication Board Stamp (numbered A118.107 - A127.107)
verso, published by Factory Additions, New York, the full sheets,
generally in very good condition
I., S. 916 x 915 mm. (and similar) (10)
1,000,000-1,500,000 $1,700,000-2,500,000
1,300,000-1,900,000
LITERATURE:
Feldman & Schellmann II.22-31
106
160
ANDY WARHOL
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.
70,000-100,000 $120,000-170,000
88,000-130,000
LITERATURE:
Feldman & Schellmann II.24
161
ANDY WARHOL
Mick Jagger
screenprint in colours, 1975, on Arches Aquarelle wove paper,
signed in pencil by the artist and by Mick Jagger in black felt-tip pen,
numbered 24/250 (there were also ffty artists proofs), published
by Seabird Editions, London, with their stamp verso, the full sheet,
a small pale yellow stain in the lower left corner, otherwise in good
condition, framed
S. 1110 x 734 mm.
15,000-25,000 $26,000-42,000
19,000-31,000
LITERATURE:
Feldman & Schellmann 139
162
ANDY WARHOL
Mick Jagger
screenprint in colours, 1975, on Arches Aquarelle paper, signed in
pencil by the artist and by Mick Jagger in red felt-tip pen (slightly
faded), numbered 218/250 (there were also ffty artists proofs),
published by Seabird Editions, London, with their stamp verso, the
full sheet, with deckle edges above and below, the pink with several
diagonal cracks, minor cracks in the orange and shiny green areas, the
sheet slightly cockled due to hinging, otherwise in good condition,
framed
S. 1106 x 734 mm.
15,000-25,000 $26,000-42,000
19,000-31,000
LITERATURE:
Feldman & Schellmann II.140
109
163
ANDY WARHOL
30,000-40,000 $51,000-67,000
38,000-50,000
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 Andy Warhol, Giant Size, Phaidon,
New York, 2006, p. 528.
110
164
ANDY WARHOL
Red Lenin
screenprint in colours, 1987, on Arches wove
paper, signed on the reverse by the executor of
the Andy Warhol Estate, with their stamped
authentication certifcate, numbered 89/120
(there were also 24 artists proofs) published by
the artists estate, New York, printed by Rupert
Jasen Smith, New York, with his blindstamp, the
full sheet, in good condition, framed
I., S. 1020 x 750 mm.
50,000-70,000 $85,000-120,000
63,000-88,000
LITERATURE:
Feldman & Schellmann II.403
*165
ANDY WARHOL
$ (1)
unique screenprint in colours, 1982, on Lenox
Museum Board, signed in pencil, numbered
51/60, from the edition of sixty unique variants
(there were also ten artists proofs and 15 trial
proofs), printed by Rupert Jasen Smith, with
his blindstamp, with the artists copyright stamp
on the reverse, the full sheet, in very good
condition, framed
I., S. 501 x 398 mm.
20,000-30,000 $34,000-51,000
26,000-38,000
LITERATURE:
Feldman & Schellmann II.278
111
*166
ANDY WARHOL
60,000-80,000 $110,000-130,000
76,000-100,000
LITERATURE:
Feldman & Schellmann II.355
Due to the way the work is attached to the backboard we are unable to verify the artists stamp and the stamp of the Andy Warhol
Authentication Board verso, nor the Warner Bros. copyright stamp, or the Ronald Feldman Fine Arts, Inc., New York copyright
inkstamp on the reverse.
112
167
ANDY WARHOL
30,000-50,000 $51,000-84,000
38,000-63,000
LITERATURE:
Feldman & Schellmann II.258
168
ANDY WARHOL
12,000-18,000 $21,000-30,000
16,000-23,000
LITERATURE:
Feldman & Schellmann II.378
113
169
ANDY WARHOL
8,000-12,000 $14,000-20,000
11,000-15,000
LITERATURE:
Feldman & Schellmann II.351
170
ANDY WARHOL
12,000-18,000 $21,000-30,000
16,000-23,000
LITERATURE:
Feldman & Schellmann II.263
171
ANDY WARHOL
Speed Skater
screenprint in colours, 1983, on Arches wove paper, signed in pencil and
numbered XCVII/CL (there were also ten artists proofs and a deluxe
edition of ffty), published for the Art and Sports portfolio by Visconti Art
Spectrum, Vienna, printed by Rupert Jasen Smith, with his blindstamp,
New York, the full sheet, in very good condition, framed
S. 853 x 620 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
LITERATURE:
Feldman & Schellmann II.303
114
172
ANDY WARHOL
Moonwalk
screenprint in colours, 1987, on Lenox Museum Board, with the artists printed signature, numbered AP 3/31,
an artists proof aside from the edition of 160, signed and numbered by the executor of the Andy Warhol
Estate, the publisher Ronald Feldman and the printer Rupert Jasen Smith, New York, on the authentication
certifcate on the reverse, with the printers blindstamp, the full sheet, the colours bright and fresh, generally in
very good condition, framed
I., S. 965 x 965 mm.
30,000-50,000 $51,000-84,000
38,000-63,000
LITERATURE:
Feldman & Schellmann II.404
115
173
ANDY WARHOL
120,000-180,000 $210,000-300,000
160,000-230,000
LITERATURE:
Feldman & Schellmann IIIA.62
Whenever Andy Warhol turned to art history for inspiration , he did so with the same obsession he
had for the icons of pop culture: images which defned a celebrity, a moment in history, a social
phenomenon. Piero della Francesca, Botticelli, Leonardo, Tischbein had all created images which
had entered the public consciousness. It is no accident therefore that Warhol also turned to Edvard
Munchs works in search of images to be appropriated, to be warholised. Munch himself was a
genius producer of iconic images, such as The Scream, which summed up a mood or sentiment and
which, in the course of time, had become popular emblems of modern art.
Based on Eduard Munchs two lithographs of 1895, Madonna and Self-Portrait (both of which are
including in the sale; see lots 38 and 39), this double-portrait is amongst the most complex and
inspired cases of such appropriation within Warhols printed oeuvre. Dominating the left side of this
print in glowing red, hot pink and gold, is Madonna, Munchs quintessential image of overwhelming
femininity. To her right is the illuminated face of Munch himself, staring sternly and defantly ahead,
seemingly ignoring the embodiment of seduction and ecstasy next to him. By placing both fgures
together on one picture plane, dramatically enlarging the images and changing Munchs sombre
palette into his own lurid screenprint inks, Warhol managed to visualise a multitude of questions
usually only raised by art historians: Munchs neurotic, fearful attitude towards women; the relation of
the artist and muse; the impact of colour and format on a subject; and the effect of juxtaposing one
work of art to another.
116
174
ANDY WARHOL
Camoufage
the complete set of eight screenprints in colours, 1987, on Lenox Museum Board, each
signed in pencil on the reverse by the executor of the artists estate (Frederick Hughes),
each numbered 19/80, published by the artist, New York, the full sheets, the colours
very fresh and vibrant, in very good condition, framed
I., S. 965 x 965 mm. (8)
100,000-150,000 $170,000-250,000
130,000-190,000
LITERATURE:
Feldman & Schellmann II.406-413
118
175
TOM WESSELMANN (1931-2004)
Smoker Banner
shaped vinyl multiple in colours, 1971, from the edition of thirty, lacking the justifcation
label on the reverse, published by Multiples Inc. New York, in good condition
1524 x 1524 mm. (overall)
20,000-30,000 $34,000-51,000
26,000-38,000
LITERATURE:
Institute of Contemporary Art, Boston, Tom Wesselmann: Graphics 1964-1977, 1978, p. 18-19
(exh.cat.)
120
176
TOM WESSELMANN
4,000-6,000 $6,800-10,000
5,100-7,500
177
TOM WESSELMANN
Helen nude
screenprint in colours, 1981, on wove paper,
signed and dated in pencil, numbered 38/150
(there were also 12 artists proofs), published
by Transworld Art, New York, with their
blindstamp, the full sheet, pale mount staining,
a few nicks at the upper sheet edge, generally in
good condition, framed
I. 789 x 812 mm., S. 914 x 939 mm.
5,000-7,000 $8,500-12,000
6,300-8,800
121
THE PROPERTY OF A PRIVATE COLLECTION
178
KEITH HARING (1958-1990)
6,000-8,000 $11,000-13,000
7,600-10,000
LITERATURE:
Littmann p. 90
VARIOUS PROPERTIES
*179
KEITH HARING
Untitled
screenprint in colours, 1989, on canvas,
signed in black ink on a label on the back,
not numbered, a proof aside from the edition
of sixty, in very good condition, framed
195 x 200 mm.
7,000-10,000 $12,000-17,000
8,800-13,000
LITERATURE:
Littmann p. 153
122
THE PETER BENDIXEN COLLECTION
180
KEITH HARING
5,000-7,000 $8,500-12,000
6,300-8,800
LITERATURE:
Littmann p. 20-21
123
181
PORTFOLIO
7,000-10,000 $12,000-17,000
8,800-13,000
The portfolio includes: Joseph Beuys, ich kenne kein weekend, Maggi bottle, book, suitcase (S. 51);
KP Brehmer, Testbild TV, fve blockprints; KH Hdicke, Original und Flschung, four screenprints;
Peter Hutchinson, Chess documentation no. 10, 1 screenprint; Arthur Kpke, Glashaus (innen),
Glashaus (aussen), two screenprints; Sigmar Polke, Weekend I, II, III (B. & O. 21), three offset
lithographs; Wolf Vostell, TV Ochsen, three screenprints.
124
182
l182 l183
GERHARD RICHTER (B. 1932) GERHARD RICHTER
183
125
VARIOUS PROPERTIES
184
JOSEPH BEUYS (1921-1986)
2,500-3,500 $4,300-5,900
3,200-4,400
LITERATURE:
Schellmann 344, 351, 354, 359
185
JOSEPH BEUYS
3,000-5,000 $5,100-8,400
3,800-6,300
LITERATURE:
Schellmann 345, 361, 363
186
JOSEPH BEUYS
2,000-3,000 $3,400-5,100
2,600-3,800
LITERATURE:
Schellmann 420, cf. 420, 422, 437
126
187
187 188
JOSEPH BEUYS JOSEPH BEUYS
Four prints from: Suite Circulation Time (Zirkulationszeit) Five prints from: Suite Tears (Suite TrJnen)
including: Sea Angel Seal 2, Sea Angel Seal 3, Sea Angel including: Sheeps Skeleton, Giant Goats, North Pole,
Sperm Whale and Sea Angel Sea Cucumber, four etchings Shamans Drum, and Virgin, fve etchings, one with aquatint in
and aquatints in colours, 1948, on Arches paper, one on grey Rives colours, 1985, on chine coll on grey Rives wove paper, all signed and
paper, two inscribed gut zum Druck, bon f tirer impressions, and two inscribed gut zum Druck in pencil, some titled and annotated with
working proofs annotated with instructions to the printer, all before instructions to the printer, all bon f tirer impressions before the edition
the edition of 75 published by Grafos-Verlag, Vaduz, 1982, printed of 75 published by Grafos Verlag, Vaduz, printed by Joan Barbar,
by Joan Barbar, Barcelona, the full sheets, in very good condition Barcelona, the full sheets, in very good condition
P. 170 x 263 mm., S. 570 x 455 mm. (and smaller) (4) P. 95 x 145 mm., S. 565 x 305 mm. (and smaller) (5)
188
127
l189
DAMIEN HIRST (B. 1965)
Tetrahydrocannabinol
etching in colours, 2004, on Hahnemhle etching paper, signed in pencil, numbered
30/115 on the reverse, published by The Paragon Press, London, the full sheet, in very good
condition, framed
P. 846 x 1778 mm., S. 1118 x 2007 mm.
12,000-18,000 $21,000-30,000
16,000-23,000
LITERATURE:
Paragon Catalogue Vol. III, p. 140-141
This lot has been authenticated by the Hirst Authentication Committee.
128
l190
GARY HUME (B. 1962)
Portraits
the complete set of ten screenprints in colours, 1998, on sturdy wove paper, each signed and
titled in pencil, from the edition of 36 (there were also ten artists proofs), published by The
Paragon Press, London, the full sheets, in very good condition, each framed
(lacking the title page, justifcation and portfolio case)
I. 908 x 608 mm. (and similar), S. 1084 x 780 mm. (and similar)
15,000-20,000 $26,000-34,000
19,000-25,000
LITERATURE:
Paragon catalogue, 1995-2000, p. 146-157
129
191
191 192
CHRISTOPHER WOOL (B. 1955) CHRISTOPHER WOOL
Untitled Untitled
the complete set of six heliogravures, 1997, on white wove paper, the complete set of fve digital inkjet prints, 2003, on wove paper,
each signed and dated in pencil verso, numbered 21/30, published by each signed and dated in pencil, numbered 3/15, published by Sabine
Portfolio Knust AG, Vienna, the full sheets, in very good condition Knust Maximilian Verlag, Munich, the full sheets, in very good
(lacking the original grey fabric-covered folder) condition
S. 647 x 502 mm. (6) I. 451 x 301 mm., S. 481 x 328 mm. (each) (5)
192
130
193
ELLEN GALLAGHER (B. 1965)
Ssblak!Ssblak!!Ssblakallblak! Wonder#9
the complete portfolio of ten mixed-media prints (etching,
screenprint, lithography and embossing), 1998-2000, on
various papers, all initialled, dated, numbered 1/27 and
inscribed with the plate number in pencil verso, plate VII
signed and dated in pencil recto, with the colophon sheet,
copy number 1/27 (there were also nine artist proof sets),
published by the LeRoy Neiman Center for Print Studies,
Columbia University, New York, 2000, the full sheets, in
excellent condition, all within the individual paper folders;
with an additional presentation proof of plate I, all
within the original beige cloth-covered portfolio box, in
very good condition (portfolio)
Various formats, 960 x 690 (overall)
10,000-15,000 $17,000-25,000
13,000-19,000
For images of all plates included in the portfolio please see the
online catalogue at christies.com.
END OF SALE
Index
B G P
Bacon, F., 118, 119, 120, 121, 122, Gallagher, E., 193 Pechstein, M., 52
123, 124, 125, 126, 127, 128, 129 Gauguin, P., 36 Picasso, P., 45, 84, 85, 86, 87, 88,
Beckmann, M., 41, 42, 43, 44 H 89, 90, 91, 92, 93, 94, 95, 96, 97,
Bernard, E., 35 Haring, K., 178, 179, 180 98, 99, 100, 101, 102, 103, 104
Beuys, J., 184, 185, 186, 187, 188 Heckel, E., 58 Picasso, P. (after), 105, 106, 107
Bonnard, P., 22, 25, 26, 27, 28, 29 Helleu, P. C., 20 Villon, J., 105
Bresdin, R., 1, 2 Hirst, D., 189 Pissarro, C., 13, 14, 15, 16
Burri, A., 134, 135, 136, 137 Hockney, D., 131, 132 Portfolio, 23, 24
C Hume, G., 190 R
Campigli, M., 115 J Ranson, P. E., 37
Chagall, M., 60, 61, 62, 63 Judd, D., 143, 144, 145 Redon, O., 4, 5
Chagall, M. (after) K Richter, G., 182, 183
Sorlier, C., 64 Kandinsky, W., 59 Rippl-Rnai, J., 34
Chillida, E., 141, 142 Kirchner, E. L., 53, 54, 55, 56, 57 Rouault, G., 108
D L T
Dal, S., 65, 66 Laurens, H., 80, 81, 82 Toulouse-Lautrec, H. de, 19
Delaunay, R., 46 Lichtenstein, R., 148, 149, 150, V
Denis, M., 32, 33 151, 152, 153, 154, 156 Vuillard, E., 30, 31
Dine, J., 133 W
Dix, O., 49 M
Marcoussis, L., 83 Warhol, A., 146, 157, 158, 159,
E Matisse, H., 109, 110, 111, 112, 160, 161, 162, 163, 164, 165, 166,
Ensor, J., 6, 7, 8, 9, 10, 11, 12 113, 114 167, 168, 169, 170, 171, 172, 173,
Escher, M. C., 67, 68 Mir, J., 69, 70, 71, 72, 73, 74, 75, 174
F 76, 77, 78, 79 Wesselmann, T., 175, 176, 177
Feininger, L., 47, 48 Moore, H., 117 Whistler, J. A. M., 17, 18
Felixmller, C., 50, 51 Morandi, G., 116 Wool, C., 191, 192
Freud, L., 130 Munch, E., 38, 39, 40
132
Important Notices and Explanation of
Cataloguing Practice
CHRISTIES INTEREST IN PROPERTY PROPERTY INCORPORATING MATERIALS EXPLANATION OF
CONSIGNED FOR AUCTION FROM ENDANGERED AND OTHER CATALOGUING PRACTICE
From time to time, Christies may offer a lot which PROTECTED SPECIES The following expressions with their accompany-
it owns in whole or in part. Such property is Property made of or incorporating (irrespective ing explanations are used by Christies as standard
identified in the catalogue with the symbol next of percentage) endangered and other protected cataloguing practice. Our use of these expressions
to its lot number. species of wildlife are marked with the symbol ~ does not take account of the condition of the lot or
On occasion, Christies has a direct financial in the catalogue. Such material includes, among of the extent of any restoration.
interest in lots consigned for sale, which may other things, ivory, tortoiseshell, crocodile skin, Buyers are recommended to inspect the property
include guaranteeing a minimum price or making rhinoceros horn, whale bone and certain species of themselves. Written condition reports are usually
an advance to the consignor that is secured solely coral, together with Brazilian rosewood. Prospective
by consigned property. Such property is identified available on request.
purchasers are advised that several countries prohibit
in the catalogue with the symbol next to the lot altogether the importation of property containing
number. This symbol will be used both in cases such materials, and that other countries require a Name(s) or Recognised Designation of an
where Christies holds the financial interest on its permit (e.g., a CITES permit) from the relevant Artist without any Qualification
own, and in cases where Christies has financed regulatory agencies in the countries of exportation In Christies opinion a work by the artist.
all or part of such interest through third parties. as well as importation. Accordingly, clients should *Attributed to
When a third party agrees to finance all or part familiarise themselves with the relevant customs laws
of Christies interest in a lot, it takes on all or In Christies qualified opinion probably a work by
and regulations prior to bidding on any property
part of the risk of the lot not being sold, and will the artist in whole or in part.
with wildlife material if they intend to import the
be remunerated in exchange for accepting this property into another country. Please note that it is *Studio of /Workshop of
risk. The third party may also bid for the lot. the clients responsibility to determine and satisfy the In Christies qualified opinion a work executed in
Where it does so, and is the successful bidder, requirements of any applicable laws or regulations the studio or workshop of the artist, possibly under
the remuneration may be netted against the final applying to the export or import of property his supervision.
purchase price. If the lot is not sold, the third containing endangered and other protected wildlife *Circle of
party may incur a loss. Where Christies has an material. The inability of a client to export or import In Christies qualified opinion a work of the period
ownership or financial interest in every lot in the property containing endangered and other protected
catalogue, Christies will not designate each lot of the artist and showing his influence.
wildlife material is not a basis for cancellation or
with a symbol, but will state its interest at the front rescission of the sale. Please note also that lots *Follower of
of the catalogue. containing potentially regulated wildlife material are In Christies qualified opinion a work executed in
In this catalogue, if property has a next to the lot marked as a convenience to our clients, but Christies the artists style but not necessarily by a pupil.
number, Christies guarantee of a minimum price has does not accept liability for errors or for failing to *Manner of
been financed through third parties. mark lots containing protected or regulated species. In Christies qualified opinion a work executed in
ALL DIMENSIONS ARE APPROXIMATE RECENT CHANGES TO IMPORTS OF the artists style but of a later date.
ELEPHANT IVORY AND OTHER WILDLIFE *After
CONDITION
Christies catalogues include references to condition MATERIAL INTO THE USA In Christies qualified opinion a copy (of any date) of
only in descriptions of multiple works (such as The USA has recently changed its policy on the a work of the artist.
prints, books and wine). For all other property, import of property made of or containing elephant Signed /Dated /
only alterations or replacement components are ivory. Only Asian Elephant ivory may be imported Inscribed
listed. Please contact the Specialist Department for into the USA, and imports must be accompanied by In Christies qualified opinion the work has been
a condition report on a particular lot. The nature DNA analysis and confirmation the object is more signed/dated/inscribed by the artist.
of the lots sold in our auctions is such that they will than 100 years old. We have not obtained a DNA With signature /With date /
rarely be in perfect condition, and are likely, due to analysis on any lot prior to sale and cannot indicate With inscription
their nature and age, to show signs of wear and tear, whether the elephant ivory in a particular lot is
African or Asian elephant. Buyers purchase these In Christies qualified opinion the signature/
damage, other imperfections, restoration or repair.
lots at their own risk and will be responsible for the date/inscription appears to be by a hand other than
Any reference to condition in a catalogue entry
costs of obtaining any DNA analysis or other report that of the artist.
will not amount to a full description of condition.
Condition reports are usually available on request, required in connection with their proposed import of The date given for Old Master, Modern and
and will supplement the catalogue description. In such property into the USA. Contemporary Prints is the date (or approximate
describing lots, our staff assess the condition in a The USA is also currently requiring all imports of date when prefixed with circa) on which the matrix
manner appropriate to the estimated value of the property made of or containing wildlife material to was worked and not necessarily the date when the
item and the nature of the auction in which it is be accompanied by a scientific confirmation of spe- impression was printed or published.
included. Any statement as to the physical nature or cies and in some cases an additional confirmation of Prints
condition of a lot, in a catalogue, condition report age. We have not obtained such confirmations prior The date given for Prints is the date (or approximate
or otherwise, is given honestly and with appropriate to sale (unless specifically indicated) and buyers will date when prefixed with ca) on which the matrix
care. However, Christies staff are not professional be responsible for the costs of any such additional was worked and not necessarily the date when the
restorers or trained conservators and accordingly confirmations or opinions required for their pro- impression was printed or published. Measurements
any such statement will not be exhaustive. We posed import into the USA. are taken where possible, from the platemark (P),
therefore recommend that you always view property A buyers inability to export or import any lot otherwise they record the size of the sheet (S) or the
personally, and, particularly in the case of any items containing elephant ivory or other wildlife material borderline of the subject (L).
of significant value, that you instruct your own is not a basis for cancelling the purchase.
restorer or other professional adviser to report to you
in advance of bidding. 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 11/03/10
provisions of the Regulations.
133
Buying at Christies
CONDITIONS OF SALE TELEPHONE BIDS (no symbol) Auctioneers Margin Scheme
Christies Conditions of Sale and Limited Warranty are set out Telephone bids cannot be accepted for lots estimated below In all other circumstances no VAT will be charged on the
later in this catalogue. Bidders are strongly encouraged to read /2,000. Arrangements must be confirmed with the Bid hammer price, but VAT payable at 20% will be added to the
these as they set out the terms on which property is bought Department at least 24 hours prior to the auction at +44 (0)20 buyers premium which is invoiced on a VAT inclusive basis.
at auction. 7389 2658 (London, King Street) or +44 (0)20 7752 3225 Wine Auctions
ESTIMATES (London, South Kensington). Arrangements to bid in languages Stock offered duty-paid, but available in bond.
Estimates are based upon prices recently paid at auction for other than English must be made well in advance of the sale VAT at 20% on hammer price and buyers premium
comparable property, condition, rarity, quality and provenance. date. Telephone bids may be recorded. By bidding on the (wine only).
Estimates are subject to revision. Buyers should not rely upon telephone, prospective purchasers consent to the recording of VAT Refunds
their conversation. Refunds cannot be made where lots have been purchased with
estimates as a representation or prediction of actual selling an inside EU address. Christies can only refund Import VAT
prices. Estimates do not include the buyers premium or VAT. SUCCESSFUL BIDS (Lots with * or symbol) if lots are exported within 30 days
Where Estimate on Request appears, please contact the While Invoices are sent out by mail after the auction we do not of collection. Valid export documents must be returned within
Specialist Department for further information. accept responsibility for notifying you of the result of your bid. the stipulated time frame. No refund will be paid out where
RESERVES Buyers are requested to contact us by telephone or in person as the total amount is less than /100. UK & EU private buyers
The reserve is the confidential minimum price the consignor soon as possible after the sale to obtain details of the outcome cannot reclaim VAT. Christies will charge /35 for each
will accept and will not exceed the low pre-sale estimate. Lots of their bids to avoid incurring unnecessary storage charges. refund processed. For detailed information please see the leaflets
that are not subject to a reserve are identified by the symbol z Successful bidders will pay the price of the final bid plus available, or email info@Christies.com
next to the lot number. premium plus any applicable VAT. Where non-EU buyers have failed to export their lots outside
PAYMENT of the EU within the required time, HM Revenue & Customs
BUYERS PREMIUM will not allow a VAT refund to be made. This is a requirement
Christies charges a premium to the buyer on the final bid Buyers are expected to make payment for purchases
immediately after the auction. To avoid delivery delays, of UK legislation and Christies do not have discretion to make
price of each lot sold at the following rates: 25% of the final exceptions to the rule. UK and EU private buyers cannot
bid price of each lot up to and including /50,000, 20% of prospective buyers are encouraged to supply bank or other reclaim any VAT charged.
the excess of the hammer price above /50,000 and up to and suitable references before the auction. Please note that Christies
will not accept payments for purchased Lots from any party ARTISTS RESALE RIGHT (DROIT DE SUITE)
including /1,000,000 and 12% of the excess of the hammer If a lot is affected by this right it will be identified with the
price above /1,000,000. Exceptions: Wine and Cigars: 17.5% other than the registered buyer.
Lots purchased in London may be paid for in the following symbol next to the lot number. The buyer agrees to pay to
of the final bid price of each lot. VAT is payable on the Christies an amount equal to the resale royalty. Resale royalty
premium at the applicable rate. ways: wire transfer, credit card: Visa and MasterCard & American
Express only (up to /25,000), and cash (up to /5,000 (subject applies where the Hammer Price is 1,000 Euro or more and
PRE-AUCTION VIEWING to conditions)), bankers draft (subject to conditions) or cheque the amount cannot be more than 12,500 Euro per lot. The
Pre-auction viewings are open to the public free of charge. (must be drawn in GBP on a UK bank; clearance will take 5 to amount is calculated as follows:
Christies specialists are available to give advice and condition 10 business days). Royalty For the portion of the Hammer Price (in Euro)
reports at viewings or by appointment. Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217 4.00% up to 50,000
BIDDER REGISTRATION 72 Lombard Street, London 3.00% between 50,000.01 and 200,000
Prospective buyers who have not previously bid or consigned EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for 1.00% between 200,000.01 and 350,000
with Christies should bring: international transfers, SWIFT LOYDGB2LCTY. For banks 0.50% between 350,000.01 and 500,000
z Individuals: government-issued photo identification (such as asking for an IBAN: GB81 LOYD 3000 0200 1727 10. 0.25% in excess of 500,000
a photo driving licence, national identity card, or passport) and, Credit Card: Visa and MasterCard & American Express only
A limit of /25,000 for credit card payments will apply. This Invoices will, as usual, be issued in Pounds Sterling. For the
if not shown on the ID document, proof of current address, for purposes of calculating the resale royalty the Pounds Sterling/
example a utility bill or bank statement. limit is inclusive of the buyers premium and any applicable
taxes. Credit card payments at London sale sites will only be Euro rate of exchange will be the European Central Bank
z Corporate clients: a certificate of incorporation. reference rate on the day of the sale.
z For other business structures such as trusts, offshore accepted for London sales. Christies will not accept credit card
companies or partnerships, please contact Christies Credit payments for purchases made in any other sale site. The fax SHIPPING
Department at + 44 (0)20 7839 2825 for advice on the number to send completed CNP (Card Member not Present) It is the buyers responsibility to pick up purchases or make
information you should supply. authorisation forms to is +44 (0) 20 7389 2821. The number all shipping arrangements. After payment has been made in
z A financial reference in the form of a recent bank statement to call to make a CNP payment over the phone is +44 (0) 20 full, Christies can arrange property packing and shipping at
or a reference from your bank in line with your expected 7752 3388. Alternatively, clients can mail the authorisation form the buyers request and expense. Buyers should request an
purchase level. Christies can supply a form of wording for the to the address below. estimate for any large items or property of high value that
bank reference if necessary. Cash is limited to /5,000 (subject to conditions). require professional packing. A shipping form is enclosed with
z Persons registering to bid on behalf of someone who has Bankers Draft should be made payable to Christies (subject to each invoice, alternatively buyers can visit www.christies.com/
not previously bid or consigned with Christies should bring conditions). shipping to request a shipping estimate.
identification documents not only for themselves but also for Cheques should be made payable to Christies (must be drawn For more information please contact the Shipping Department
the party on whose behalf they are bidding, together with a in GBP on a UK bank, clearance will take 5 to 10 business at + 44 (0)20 7389 2712 or via
signed letter of authorisation from that party. days). ArtTransport_London@christies.com for both London,
To allow sufficient time to process the information, new clients In order to process your payment efficiently, please quote King Street and London, South Kensington sales.
are encouraged to register at least 48 hours in advance of a sale. sale number, invoice number and client number with all
EXPORT OF GOODS FROM THE EU
Prospective buyers should register for a numbered bidding transactions.
If you are proposing to take purchased items outside the EU the
paddle at least 30 minutes before the auction. Clients who have All mailed payments should be sent to:
following applies:
not made a purchase from any Christies office within the last Christies, Cashiers Department, 8 King Street, St Jamess, Christies Art Transport:
one year, and those wishing to spend more than on previous London, SW1Y 6QT If you use Christies Art Transport you will not be required to
occasions, will be asked to supply a new bank reference. For Please direct all inquiries to King Street Tel: +44 (0) 20 7389 pay the VAT at the time of settlement.
assistance with references, please contact Christies Credit 2996 Fax: +44 (0) 20 7389 2863 or South Kensington Tel: Own Shipper:
Department at +44 (0)20 7389 2862 (London, King Street) +44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143 VAT will be charged on the invoice, refundable by the VAT
or at +44 (0)20 7752 3137 (London, South Kensington). We VAT Department upon receipt of the appropriate official documents
may at our option ask you for a financial reference or a sent to us by your shipper.
deposit as a condition of allowing you to bid. VAT payable at 20% on hammer price and buyers premium Hand-Carried:
* VAT will be charged on the invoice.This will be refunded by
REGISTERING TO BID ON SOMEONE ELSES BEHALF These lots have been imported from outside the EU for sale the VAT Department upon receipt of the appropriate official
Persons bidding on behalf of an existing client should bring using a Temporary Import regime. Import VAT is payable (at document.
a signed letter from the client authorising the bidder to act 5%) on the Hammer price. VAT is also payable (at 20%) on *, or
on the clients behalf. Please note that Christies does not the buyers Premium on a VAT inclusive basis. This VAT is Starred, Omega or Daggered lots A C88 can be obtained
accept payments from third parties. Christies can only accept not shown separately on the invoice. When a buyer of such a from Christies Shipping Department .This document must be
payment from the client, and not from the person bidding lot has registered an EU address but wishes to export the lot or stamped by UK Customs on leaving the UK.
on their behalf. complete the import into another EU country, he must advise (no symbol)
BIDDING Christies immediately after the auction. Margin Scheme Please obtain a GB Tax Free form from the
The auctioneer accepts bids from those present in the sale- Cashiers. This document must be stamped by UK Customs on
room, from telephone bidders, or by absentee written bids left These lots have been imported from outside the EU for sale leaving the UK.
with Christies in advance of the auction. The auctioneer may using a Temporary Import regime. Import VAT is payable Starred or Omega lots must be exported within 30 days of the
also execute bids on behalf of the seller up to the amount of (at 20%) on the Hammer price. VAT is also payable (at 20%) date of collection. All other lots not subject to import VAT
on the buyers Premium on a VAT inclusive basis. This VAT must be exported within three months of collection, and proof
the reserve. The auctioneer will not specifically identify bids is not shown separately on the invoice. Where applicable
placed on behalf of the seller. Under no circumstances will the of export provided in the appropriate form.
Customs duty will be charged (per rate specified by HMRC
auctioneer place any bid on behalf of the seller at or above the guidance) on the Hammer price and VAT will be payable at EXPORT/IMPORT PERMITS
reserve. Bid steps are shown on the Absentee Bid Form at the 20% on duty. When a buyer of such a lot has registered an EU Buyers should always check whether an export licence is required
back of this catalogue. address but wishes to export the lot or complete the import before exporting. It is the buyers sole responsibility to obtain any
ABSENTEE BIDS into another EU country, he must advise Christies immediately relevant export or import licence. The denial of any licence or
Absentee bids are written instructions from prospective buyers after the auction. any delay in obtaining licences shall neither justify the rescission of
directing Christies to bid on their behalf up to a maximum Buyers from within the EU: any sale nor any delay in making full payment for the lot.
amount specified for each lot. Christies staff will attempt to VAT payable at 20% on just the buyers premium (NOT the Christies can advise buyers on the detailed provisions of the
execute an absentee bid at the lowest possible price, taking hammer price). export licensing regulations and will submit any necessary
into account the reserve price. Absentee bids submitted on Buyers from outside the EU: export licence applications on request. However, Christies
no reserve lots will, in the absence of a higher bid, be VAT payable at 20% on hammer price and buyers premium. cannot ensure that a licence will be obtained. Local laws may
executed at approximately 50% of the low pre sale estimate If a buyer, having registered under a non-EU address, decides prohibit the import of some property and/or may prohibit
or at the amount of the bid if it is less than 50% of the low that the item is not to be exported from the EU, then he the resale of some property in the country of importation.
pre-sale estimate. The auctioneer may execute absentee bids should advise Christies to this effect immediately For more information, please contact Christies Shipping
directly from the rostrum, clearly identifying these as absentee q Z
ero rated Department at +44 (0)20 7389 2828 or the the Museums,
bids, book bids, order bids or commission bids. No VAT charged. Libraries and Archives Council: Acquisitions, Export and Loans
Absentee Bids Forms are available in this catalogue, at any Unit at +44 (0)20 7273 8269/8267.
Christies location, or online at christies.com. 20/11/13
134
Storage and Collection
STORAGE AND COLLECTION EXTENDED LIABILITY CHARGE POST-WAR & CONTEMPORARY ART
All furniture and carpet lots (sold and unsold) From the day of transfer of sold items to To avoid waiting times on collection, we
not collected from Christies by 9.00 am Cadogan Tate Fine Art Logistics Ltd, all such kindly advise you to contact our
on the day following the auction will be lots are automatically insured by Cadogan Post-War & Contemporary Art dept 24 hours
removed by Cadogan Tate Fine Art Logistics Tate Fine Art Logistics Ltd at the sum of the in advance on +44 (0)20 7389 2958
Ltd to their warehouse at: hammer price plus buyers premium. The
BOOKS
241 Acton Lane, Park Royal, Extended Liability Charge in this respect by
Cadogan Tate Fine Art Logistics Ltd is 0.6% Please note that all lots from book department
London NW10 7NP
of the sum of the hammer price plus buyers sales will be stored at Christies King Street for
Telephone: +44 (0)800 988 6100
premium or 100% of the handling and storage collection and not transferred to Cadogan Tate.
Email: collections@cadogantate.com.
While at King Street lots are available for charges, whichever is smaller.
collection on any working day, 9.00 am to
Christies Fine Art Storage Services
4.30 pm. Once transferred to Cadogan Tate
(CFASS) also offers storage solutions for fine
lots will be available for collection from the
art, antiques and collectibles in New York
first working day following the day of their
and Singapore FreePort. CFASS is a separate
removal from King Street,
subsidiary of Christies and clients enjoy
9.00 am to 5.00 pm Monday to Friday.
complete confidentiality. Visit www.cfass.com
To avoid waiting times on collection at
for charges and other details.
Cadogan Tate, we advise that you contact
Cadogan Tate directly, 24 hours in advance,
prior to collection on +44 (0)800 988 6100.
135
Conditions of Sale
These Conditions of Sale and the Important (e) Fitness for Purpose (g) Video or digital images
Notices and Explanation of Cataloguing Practice Lots sold are enormously varied in terms of age, At some auctions there may be a video or digital
set out the terms governing the legal relationship of category and condition, and may be purchased for screen. Errors may occur in its operation and in the
Christies and the seller with the buyer. You should a variety of purposes. Unless otherwise specifically quality of the image. We do not accept liability for
read them carefully before bidding. agreed, no promise is made that a lot is fit for any such errors where they arise for reasons beyond our
particular purpose. reasonable control.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent 3. AT THE SALE (h) Reserves
for the seller. The contract for the sale of the (a) Refusal of admission Unless otherwise indicated, all lots are offered
property is therefore made between the seller and Christies has the right, at our complete discretion, subject to a reserve, which is the confidential
the buyer. to refuse admission to the premises or participation minimum price below which the lot will not be
in any auction and to reject any bid. sold. The reserve will not exceed the low estimate
2. CATALOGUE DESCRIPTIONS AND (b) Registration before bidding printed in the catalogue. If any lots are not subject
CONDITION Prospective buyers who wish to bid in the to a reserve, they will be identified with the symbol
Lots are sold as described and otherwise in the saleroom can register online in advance of the sale, z next to the lot number. The auctioneer may open
condition they are in at the time of the sale, on the or can come to the saleroom on the day of the the bidding on any lot below the reserve by placing
following basis. sale approximately 30 minutes before the start of a bid on behalf of the seller. The auctioneer
(a) Condition the sale to register in person. Prospective buyers may continue to bid on behalf of the seller up
The nature of the lots sold in our auctions is such must complete and sign a registration form with his to the amount of the reserve, either by placing
that they will rarely be in perfect condition, and are or her name and permanent address, and provide consecutive bids or by placing bids in response to
likely, due to their nature and age, to show signs identification before bidding. We may require the other bidders.
of wear and tear, damage, other imperfections, production of bank details from which payment
restoration or repair. Any reference to condition (i) Auctioneers discretion
will be made or other financial references.
in a catalogue entry will not amount to a full The auctioneer has the right to exercise reasonable
(c) Bidding as principal
description of condition. Condition reports are discretion in refusing any bid, advancing the
When making a bid, a bidder is accepting personal
usually available on request, and will supplement bidding in such a manner as he may decide,
liability to pay the purchase price, including the
the catalogue description. In describing lots, our withdrawing or dividing any lot, combining
buyers premium and all applicable taxes, plus
staff assess the condition in a manner appropriate to any two or more lots and, in the case of error
all other applicable charges, unless it has been
the estimated value of the item and the nature of or dispute, and whether during or after the sale,
explicitly agreed in writing with Christies before
the auction in which it is included. Any statement determining the successful bidder, continuing
the commencement of the sale that the bidder is
as to the physical nature or condition of a lot, in a the bidding, cancelling the sale or reoffering and
acting as agent on behalf of an identified third
catalogue, condition report or otherwise, is given reselling the item in dispute. If any dispute arises
party acceptable to Christies, and that Christies
honestly and with appropriate care. However, after the sale, then, in the absence of any evidence
will only look to the principal for payment.
Christies staff are not professional restorers or to the contrary the sale record maintained by the
(d) Absentee bids
trained conservators and accordingly any such auctioneer will be conclusive.
We will use reasonable efforts to carry out written
statement will not be exhaustive. We therefore bids delivered to us prior to the sale for the (j) Successful bid and passing of risk
recommend that you always view property convenience of clients who are not present at the Subject to the auctioneers reasonable discretion,
personally, and, particularly in the case of any items auction in person, by an agent or by telephone. the highest bidder accepted by the auctioneer
of significant value, that you instruct your own Bids must be placed in the currency of the place will be the buyer and the striking of his hammer
restorer or other professional adviser to report to of the sale. Please refer to the catalogue for the marks the acceptance of the highest bid and the
you in advance of bidding. Absentee Bids Form. If we receive written bids conclusion of a contract for sale between the seller
(b) Cataloguing Practice on a particular lot for identical amounts, and at and the buyer. Risk and responsibility for the lot
Our cataloguing practice is explained in the the auction these are the highest bids on the lot, (including frames or glass where relevant) passes to
Important Notices and Explanation of Cataloguing it will be sold to the person whose written bid the buyer at the expiration of seven calendar days
Practice, which appear after the catalogue entries. was received and accepted first. Execution of from the date of the sale or on collection by the
(c) Attribution, etc written bids is a free service undertaken subject buyer if earlier.
Any statements made by Christies about any to other commitments at the time of the sale and
lot, whether orally or in writing, concerning provided that we have exercised reasonable care 4. AFTER THE SALE
attribution to, for example, an artist, school, or in the handling of written bids, the volume of (a) Buyers premium
country of origin, or history or provenance, or any goods is such that we cannot accept liability in any In addition to the hammer price, the buyer
date or period, are expressions of our opinion or individual instance for failing to execute a written agrees to pay to us the buyers premium together
belief. Our opinions and beliefs have been formed bid or for errors and omissions in connection with with any applicable value added tax. The buyers
honestly and in accordance with the standard it arising from circumstances beyond our reasonable premium is 25% of the final bid price of each lot
of care reasonably to be expected of an auction control. up to and including /50,000, 20% of the excess of
house of Christies standing, due regard having (e) Telephone bids the hammer price above /50,000 and up to and
been had to the estimated value of the item and If a prospective buyer makes arrangements with us including /1,000,000 and 12% of the excess of
the nature of the auction in which it is included. prior to the commencement of the sale we will use the hammer price above /1,000,000. Exceptions:
It must be clearly understood, however, that, reasonable efforts to contact them to enable them Wine and Cigars: 17.5% of the final bid price of
due to the nature of the auction process, we are to participate in the bidding by telephone but we each lot, VAT is payable at the applicable rate.
unable to carry out exhaustive research of the kind do not accept liability for failure to do so or for (b) Artists Resale Right (Droit de Suite)
undertaken by professional historians and scholars, errors and omissions in connection with telephone If the Artists Resale Right Regulations 2006 apply
and also that, as research develops and scholarship bidding arising from circumstances beyond our to the lot the buyer also agrees to pay to us an
and expertise evolve, opinions on these matters reasonable control. amount equal to the resale royalty provided for in
may change. We therefore recommend that, (f) Currency converter those Regulations. Lots affected are identified with
particularly in the case of any item of significant At some auctions a currency converter may be the symbol next to the lot number.
value, you seek advice on such matters from your operated. Errors may occur in the operation of (c) Payment and ownership
own professional advisers. the currency converter. Where these arise from The buyer must pay the full amount due
(d) Estimates circumstances beyond our reasonable control we (comprising the hammer price, buyers premium
Estimates of the selling price should not be relied do not accept liability to bidders who follow the and any applicable taxes or resale royalty)
on as a statement that this is the price at which the currency converter rather than the actual bidding immediately after the sale. This applies even if
item will sell or its value for any other purpose. in the saleroom. the buyer wishes to export the lot and an export
licence is, or may be, required. The buyer will not
acquire title to the lot until all amounts due to us
from the buyer have been received by us in good
cleared funds even in circumstances where we have
released the lot to the buyer.
136 09/08/13
(d) Collection of purchases (viii) to reject at any future auction any bids made (i) It does not apply where (a) the catalogue
We shall be entitled to retain items sold until all by or on behalf of the buyer or to obtain a description or saleroom notice corresponded
amounts due to us, or to Christies International deposit from the buyer before accepting any to the generally accepted opinion of scholars
plc, or to any of its affiliates, subsidiaries or parent bids; or experts at the date of the sale or fairly
companies worldwide, have been received in full in (ix) to exercise all the rights and remedies of a indicated that there was a conflict of opinions;
good cleared funds or until the buyer has performed person holding security over any property in or (b) correct identification of a lot can be
any other outstanding obligations as we, in our sole our possession owned by the buyer, whether demonstrated only by means of either a
discretion, shall require, including, for the avoidance by way of pledge, security interest or in any scientific process not generally accepted for
of doubt, completing any anti-money laundering or other way, to the fullest extent permitted by use until after publication of the catalogue or
anti-terrorism financing checks we may require to our the law of the place where such property is a process which at the date of publication of
satisfaction. In the event a buyer fails to complete any located. The buyer will be deemed to have the catalogue was unreasonably expensive or
anti-money laundering or anti-terrorism financing granted such security to us and we may retain impractical or likely to have caused damage to
checks to our satisfaction, Christies shall be entitled to such property as collateral security for such the property.
cancel the sale and to take any other actions that are buyers obligations to us; (ii) The benefits of the warranty are not assignable
required or permitted under applicable law. Subject (x) to take such other action as we deem necessary and shall apply only to the original buyer of
to this, the buyer shall collect purchased lots within or appropriate. the lot as shown on the invoice originally
two calendar days from the date of the sale unless If we resell the property under paragraph (iv) issued by Christies when the lot was sold at
otherwise agreed between us and the buyer. above, the defaulting buyer shall be liable for auction.
payment of any deficiency between the total (iii) The original buyer must have remained the
(e) Packing, handling and shipping amount originally due to us and the price obtained owner of the lot without disposing of any
Although we shall use reasonable efforts to take care upon resale as well as for all reasonable costs, interest in it to any third party.
when handling, packing and shipping a purchased expenses, damages, legal fees and commissions and (iv) The buyers sole and exclusive remedy against
lot and in selecting third parties for these purposes, premiums of whatever kind associated with both Christies and the seller, in place of any
we are not responsible for the acts or omissions of sales or otherwise arising from the default. If we other remedy which might be available, is
any such third parties. Similarly, where we suggest pay any amount to the seller under paragraph (v) the cancellation of the sale and the refund of
other handlers, packers or carriers if so requested, above, the buyer acknowledges that Christies shall the original purchase price paid for the lot.
our suggestions are made on the basis of our general have all of the rights of the seller, however arising, Neither Christies nor the seller will be liable
experience of such parties in the past and we are not to pursue the buyer for such amount. for any special, incidental or consequential
responsible to any person to whom we have made damages including, without limitation, loss of
a recommendation for the acts or omissions of the (h) Failure to collect purchases profits nor for interest.
third party concerned. Where purchases are not collected within two (v) The buyer must give written notice of claim
calendar days from the date of the sale, whether or to us within five years from the date of the
(f) Export licence not payment has been made, we shall be permitted
Unless otherwise agreed by us in writing, the auction. It is Christies general policy, and
to remove the property to a third party warehouse Christies shall have the right, to require the
fact that the buyer wishes to apply for an export at the buyers expense, and only release the items
licence does not affect his or her obligation to make buyer to obtain the written opinions of two
after payment in full has been made of removal, recognised experts in the field, mutually
payment immediately after the sale nor our right to storage, handling, and any other costs reasonably
charge interest or storage charges on late payment. If acceptable to Christies and the buyer, before
incurred, together with payment of all other Christies decides whether or not to cancel the
the buyer requests us to apply for an export licence amounts due to us.
on his or her behalf, we shall be entitled to make sale under the warranty.
a charge for this service. We shall not be obliged (i) Selling Property at Christies (vi) The buyer must return the lot to the Christies
to rescind a sale nor to refund any interest or other In addition to expenses such as transport, all saleroom at which it was purchased in the
expenses incurred by the buyer where payment is consignors pay a commission according to a same condition as at the time of the sale.
made by the buyer in circumstances where an export fixed scale of charges based upon the value of the
6. COPYRIGHT
licence is required. property sold by the consignor at Christies in a
The copyright in all images, illustrations and
calendar year. Commissions are charged on a sale
(g) Remedies for non payment written material produced by or for Christies
by sale basis.
If the buyer fails to make payment in full in good relating to a lot including the contents of this
cleared funds within 7 days after the sale, we shall 5. LIMITED WARRANTY catalogue, is and shall remain at all times the
have the right to exercise a number of legal rights In addition to Christies liability to buyers set out property of Christies and shall not be used by
and remedies. These include, but are not limited to, in clause 2 of these Conditions, but subject to the the buyer, nor by anyone else, without our prior
the following: terms and conditions of this paragraph, Christies written consent. Christies and the seller make
(i) to charge interest at an annual rate equal to 5% warrants for a period of five years from the date no representation or warranty that the buyer of
above the base rate of Lloyds TSB Bank Plc; of the sale that any property described in headings a property will acquire any copyright or other
(ii) to hold the defaulting buyer liable for the printed in UPPER CASE TYPE (i.e. headings reproduction rights in it.
total amount due and to commence legal having all capital-letter type) in this catalogue (as
proceedings for its recovery together with 7. SEVERABILITY
such description may be amended by any saleroom
interest, legal fees and costs to the fullest extent If any part of these Conditions of Sale is found by
notice or announcement) which is stated without
permitted under applicable law; any court to be invalid, illegal or unenforceable,
qualification to be the work of a named author
(iii) to cancel the sale; that part shall be discounted and the rest of the
or authorship, is authentic and not a forgery.
(iv) to resell the property publicly or privately on conditions shall continue to be valid to the fullest
The term author or authorship refers to the
such terms as we shall think fit; extent permitted by law.
creator of the property or to the period, culture,
(v) to pay the seller an amount up to the net source or origin, as the case may be, with which 8. LAW AND JURISDICTION
proceeds payable in respect of the amount bid the creation of such property is identified in the The rights and obligations of the parties with
by the defaulting buyer; UPPER CASE description of the property in this respect to these Conditions of Sale, the conduct of
(vi) to set off against any amounts which we, catalogue. Only UPPER CASE TYPE headings the auction and any matters connected with any
or Christies International plc, or any of its of lots in this catalogue indicate what is being of the foregoing shall be governed and interpreted
affiliates, subsidiaries or parent companies warranted by Christies. Christies warranty does by the laws of England. By bidding at auction,
worldwide, may owe the buyer in any other not apply to supplemental material which appears whether present in person or by agent, by written
transactions, the outstanding amount remaining below the UPPER CASE TYPE headings of each bid, telephone or other means, the buyer shall
unpaid by the buyer; lot and Christies is not responsible for any errors be deemed to have submitted, for the benefit of
(vii) where several amounts are owed by the buyer or omissions in such material. The terms used in Christies, to the exclusive jurisdiction of the courts
to us, or to Christies International plc, or the headings are further explained in Important of the United Kingdom.
to any of its affiliates, subsidiaries or parent Notices and Explanation of Cataloguing Practice.
companies worldwide, in respect of different The warranty does not apply to any heading which
transactions, to apply any amount paid to is stated to represent a qualified opinion. The
discharge any amount owed in respect of any warranty is subject to the following:
particular transaction, whether or not the buyer
so directs;
05/01/10 137
WORLDWIDE SALEROOMS AND OFFICES
SYDNEY SANTIAGO
+33 (0)5 56 81 65 47 +91 (98) 1032 2399 +377 97 97 11 00
Marie-Ccile Sanjay Sharma Nancy Dotta
+61 (0)2 9326 1422 +56 2 2 2631642
Moueix
Ronan Sulich Denise Ratinoff INDONESIA THE NETHERLANDS
AUSTRIA
de Lira PROVENCE - ALPES
JAKARTA AMSTERDAM
CTE DAZUR
VIENNA
COLOMBIA +62 (0)21 7278 6268 +31 (0)20 57 55 255
+33 (0)6 71 99 97 67
+43 (0)1 533 8812 BOGOTA Fabienne Albertini- Charmie Hamami PEOPLES REPUBLIC
Angela Baillou +57 312 421 1509 Cohen Priscilla Tiara OF CHINA
Juanita Madrinan Masagung
BELGIUM RHNE ALPES BEIJING
ISRAEL +86 (0)10 8572 7900
DENMARK +33 (0)6 61 81 82 53
BRUSSELS
Dominique Pierron TEL AVIV HONG KONG
+32 (0)2 512 88 30 COPENHAGEN
Roland de Lathuy +45 3962 2377 (Consultant) +972 (0)3 695 0695 +852 2760 1766
Birgitta Hillingso GERMANY
Roni Gilat-Baharaff
BERMUDA SHANGHAI
(Consultant) DSSELDORF
ITALY +86 (0)21 6279 8773
BERMUDA + 45 2612 0092
+49 (0)21 14 91 59 30 MILAN Jinqing Cai
+1 401 849 9222 Rikke Juel Brandt
Betsy Ray Arno Verkade +39 02 303 2831 PORTUGAL
(Consultant)
FRANKFURT ROME LISBON
BRAZIL FINLAND AND THE
BALTIC STATES
+49 (0)61 74 20 94 85 +39 06 686 3333 +351 919 317 233
RIO DE JANEIRO
Anja Schaller Marina Cicogna Mafalda Pereira
+5521 2225 6553 HELSINKI Business Development
HAMBURG Coutinho
Candida Sodre +358 (0)9 608 212 Director
+49 (0)40 27 94 073 (Independent
SO PAULO Barbro Schauman Consultant)
Christiane Grfin JAPAN
+5511 3061 2576 (Consultant)
zu Rantzau TOKYO
Nathalie Lenci FRANCE
MUNICH +81 (0)3 6267 1766
BRITTANY AND THE Ryutaro Katayama
+49 (0)89 24 20 96 80
LOIRE VALLEY
Marie Christine MALAYSIA
+33 (0)6 09 44 90 78
Grfin Huyn
Virginie Greggory KUALA LUMPUR
(Consultant) STUTTGART +60 3 6207 9230
+49 (0)71 12 26 96 99 Lim Meng Hong
GREATER EASTERN
FRANCE Eva Susanne
+33 (0)6 07 16 34 25 Schweizer
Jean-Louis Janin
Daviet (Consultant)
NORD-PAS DE CALAIS
+33 (0)6 09 63 21 02
Jean-Louis Brmilts
(Consultant)
DENOTES SALEROOM
12/02/14
ENQUIRIES? Call the Saleroom or Office EMAIL info@christies.com
138
RUSSIA SWEDEN UNITED KINGDOM UNITED STATES
139
Christies Specialist Departments and Services
27/05/14
140
PABLO PICASSO (18811973)
Torse de Femme (LEgyptienne) (B. 746; Ba 906)
aquatint, 1953, on Arches paper, a superb impression of the second fnal, state
$120,000 180,000
DAVID OSTROWSKI, COURTESY OF THE ARTIST AND SIMON LEE GALLERY, LONDON
Now in Technicolour
A celebration of the riot of colour that emerged in the 1960s
and continues to the present day in print, including works by
Andy Warhol, Eduardo Paolozzi, Keith Haring, Allen Jones,
Gerald Laing, and others.
Online Auction 16-28 October 2014
Supported by
Christies Sou
South
th Kensington
85 Old Brompto
Brompton
on Road
London SW7 3L3LD
LD
facebook.com/MultipliedArtFair
k com
k.c
c multipliedartfair.com
om
@Multiplied_Fair
@Multiplie
ed_Fair
Absentee Bids Form
Christies London
Absentee bids must be received at least 24 hours before the auction begins.
Prints & Multiples Christies will confirm all bids received by fax by return fax. If you have not received
WEDNESDAY 17 SEPTEMBER 2014 AT 2.00 PM confirmation within one business day, please contact the Bid Department.
8 King Street, St. Jamess, London SW1Y 6QT Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870 on-line www.christies.com
CODE NAME: REAPER
SALE NUMBER: 1553 1553
(Dealers billing name and address must agree with tax Client Number (if applicable) Sale Number
exemption certificate. Invoices cannot be changed after
they have been printed.)
Billing Name (please print)
BID ONLINE FOR THIS SALE AT CHRISTIES.COM
Address
BIDDING INCREMENTS
Bidding generally opens below the low estimate
Post Code
and advances in increments of up to 10%, subject
to the auctioneers discretion. Absentee bids that
do not conform to the increments set below may Daytime Telephone Evening Telephone
UK1,000 to UK2,000 by UK100s Please tick if you prefer not to receive information about our upcoming sales by e-mail
09/08/13 145
PHOTOGRAPHS, POSTERS & PRINTS
Vintage works from the 19th and early 20th centuries, modern and
expert knowledge beautifully presented contemporary photographs and photographically illustrated books.
Original works from the great masters of all periods of western
printmaking from Drer through Rembrandt and Goya to Toulouse-
Lautrec, Picasso and Contemporary artists.
www.christies.com/shop
Photographs, Posters and Prints Impressionist and Modern Art
Jewellery, Watches and Wine Antiquities and Tribal Art
Asian and Islamic Art Russian Art
Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings
Christies
CHRISTIES INTERNATIONAL PLC CHRISTIES UK Sarah Mansfield, Nicolas Martineau, Roger Massey,
Patricia Barbizet, Chairman Joy McCall, Neil McCutcheon, Daniel McPherson,
Steven P. Murphy, Chief Executive Officer CHAIRMANS OFFICE Neil Millen, Edward Monagle, Jeremy Morgan,
Stephen Brooks, Chief Operating Officer Viscount Linley, Chairman Leonie Moschner, Giles Mountain,
Loc Brivezac, Gilles Erulin, Gilles Pagniez, Nol Annesley, Honorary Chairman; Chris Munro, Rupert Neelands, Mark Newstead,
Franois-Henri Pinault Richard Roundell, Vice Chairman; Liberte Nuti, Beatriz Ordovs, Rosalind Patient,
Robert Copley, Deputy Chairman; Keith Penton, Romain Pingannaud,
Sophie Carter, Company Secretary
The Earl of Halifax, Deputy Chairman; Sara Plumbly, Caroline Porter, Michael Prevezer,
CHRISTIES EXECUTIVE Francis Russell, Deputy Chairman; Anne Qaimmaqami, Marcus Rdecke,
Julia Delves Broughton, James Hervey-Bathurst, Pedram Rasti, Amjad Rauf, Sandra Romito,
Steven P. Murphy,
Amin Jaffer, Orlando Rock, Tom Rooth, Alice de Roquemaurel,
Stephen Brooks, Kerry Chandler, Franois Curiel,
Nicholas White, Mark Wrey Francois Rothlisberger, Tim Schmelcher,
Marc Porter, Jussi Pylkknen, Doug Woodham
Rosemary Scott, Tom Scott, Nigel Shorthouse,
SENIOR DIRECTORS Dominic Simpson, Nick Sims, Katie Siveyer,
Charles Cator, Deputy Chairman, Dina Amin, Daniel Baade, Philip Belcher, Nicola Steel, Robin Stephenson, Kay Sutton,
Christies International Jeremy Bentley, Ellen Berkeley, Jill Berry, Rakhi Talwar, Nicolette Tomkinson, Jane Turner,
Giovanna Bertazzoni, Prof. Dr. Dirk Boll, Thomas Venning, Sophie Wiles, Mark Wilkinson,
Peter Brown, James Bruce-Gardyne, Bernard Williams, Georgina Wilsenach,
CHRISTIES EUROPE Olivier Camu, Sophie Carter, Benjamin Clark, Toby Woolley, Geoff Young
CHAIRMANS OFFICE Christopher Clayton-Jones, Karen Cole,
Jussi Pylkknen, President Isabelle de La Bruyere, Leila de Vos, ASSOCIATE DIRECTORS
Orlando Rock, Deputy Chairman Nicole Dembinska, Paul Dickinson, Guy Agazarian, Cristian Albu, Jennie Amos,
Harriet Drummond, Julie Edelson, Ksenia Apukhtina, Katharine Arnold,
SENIOR DIRECTORS Hugh Edmeades, David Elswood, Alexis Ashot, Alexandra Baker, Fiona Baker,
Mariolina Bassetti, Giovanna Bertazzoni, David Findlay, Margaret Ford, Daniel Gallen, Virginie Barocas-Hagelauer, Carin Baur,
Olivier Camu, Philippe Garner, Richard Knight, Philippe Garner, Jane Griffiths, Karen Harkness, Sarah Boswell, Nina Bowden, Mark Bowis,
Francis Outred, Andreas Rumbler, Philip Harley, James Hastie, Paul Hewitt, Clare Bramwell, John Caudle, Dana Chahine,
Franois de Ricqles Rachel Hidderley, Mark Hinton, Nick Hough, Marie-Louise Chaldecott, Sophie Churcher,
Michael Jeha, Hugues Joffre, Donald Johnston, Marion Clermont, Helen Culver Smith,
DIRECTORS Erem Kassim-Lakha, William Lorimer, Laetitia Delaloye, Charlotte Delaney,
Prof. Dr. Dirk Boll, Roland de Lathuy, Catherine Manson, John McDonald, Cristiano De Lorenzo, Freddie De Rougemont,
Eveline de Proyart, Roni Gilat-Baharaff, Nic McElhatton (Chairman, South Kensington), Grant Deudney, Claudia Dilley,
Paul Hewitt, Clarice Pecori Giraldi, Alexandra McMorrow, Jeremy Morrison, Eva-Maria Dimitriadis, Howard Dixon,
Christiane Rantzau, Jop Ubbens, Juan Varez Nicholas Orchard, Francis Outred, Clarice Pecori- Virginie Dulucq, Joe Dunning, Antonia Essex,
Giraldi, Benjamin Peronnet, Henry Pettifer, Kate Flitcroft, Eva French, Pat Galligan,
CHRISTIES EUROPEAN Steve Phipps, Will Porter, Paul Raison, Keith Gill, Andrew Grainger, Leonie Grainger,
ADVISORY BOARD Tara Rastrick, William Robinson, John Stainton, Julia Grant, Pippa Green, Angus Granlund,
Pedro Girao, Chairman, Alexis de Tiesenhausen, Lynne Turner, Jay Vincze, Ciaran Grealish, Christine Haines, Coral Hall,
Christopher Balfour, Patricia Barbizet, Andrew Ward, David Warren, Andrew Waters, Charlotte Hart, Evelyn Heathcoat Amory,
Arpad Busson, Loula Chandris, Harry Williams-Bulkeley, Martin Wilson, Anke Held, Valerie Hess, Carolyn Holmes,
Kemal Has Cingillioglu, Ginevra Elkann, Andr Zlattinger Amy Huitson, Adrian Hume-Sayer, James Hyslop,
I. D. Frstin zu Frstenberg, Helena Ingham, Pippa Jacomb, Mark Jordan,
H.R.H. Prince Pavlos of Greece, Alicia Koplowitz, DIRECTORS Guady Kelly, Clementine Kerr, Hala Khayat,
Viscount Linley, Robert Manoukian, Richard Addington, Zoe Ainscough, Alexandra Kindermann, Mark Henry Lamp,
Rosita, Duchess of Marlborough, Georgiana Aitken, Marco Almeida, Maddie Amos, Tom Legh, Timothy Lloyd, Scott Macdonald,
Dimitri Mavrommatis, Simon Andrews, Helen Baker, Karl Barry, Graeme Maddison, Stephanie Manstein,
Countess Daniela Memmo dAmelio, Usha Mittal, Rachel Beattie, Sven Becker, Jane Blood, Astrid Mascher, Michelle McMullan,
Leopoldo Rods, igdem Simavi Piers Boothman, David Bowes-Lyon, Kateryna Merkalenko, Susanne Meyer-Abich,
Anthony Brown, Lucy Brown, Robert Brown, Toby Monk, Sarah OBrien, William Paton,
Grace Campbell, Lucy Campbell, Jason Carey, Samuel Pedder-Smith, Suzanne Pennings,
Romilly Collins, Ruth Cornett, Sigrun Danielsson, Louise Phelps, Sarah Rancans, Lisa Redpath,
Armelle de Laubier-Rhally, Adrian Denton, David Rees, Alexandra Reid, Simon Reynolds,
Sophie DuCret, Anna Evans, Arne Everwijn, Sumiko Roberts, Sangeeta Sachidanantham,
Adele Falconer, Nick Finch, Peter Flory, Pat Savage, Catherine Scantlebury, Julie Schutz,
Elizabeth Floyd, Christopher Forrest, Giles Forster, Hannah Schweiger, Mark Silver, James Smith,
Patricia Frost, Sarah Ghinn, Zita Gibson, Graham Smithson, David Stead, Mark Stephen,
Alexandra Gill, Sebastian Goetz, John Green, Annelies Stevens, Charlotte Stewart,
Simon Green, David Gregory, Mathilde Heaton, Dean Stimpson, Gemma Sudlow,
Annabel Hesketh, Sydney Hornsby, Dominque Suiveng, Cornelia Svedman,
Peter Horwood, Simon James, Robert Jenrick, Nicola Swain, Iain Tarling, Sarah Tennant,
Sabine Kegel, Hans-Peter Keller, Jeffrey Kerr, Timothy Triptree, Flora Turnbull, Lisa Varsani,
Tjabel Klok, Quincy Kresler, Robert Lagneau, Julie Vial, Anastasia von Seibold, Amelia Walker,
Nicholas Lambourn, Joanna Langston, Tina Law, Tony Walshe, Chris White, Rosanna Widen,
Darren Leak, Adriana Leese, Brandon Lindberg, Ben Wiggins, Annette Wilson, Julian Wilson,
Laura Lindsay, David Llewellyn, Murray Macaulay, Elissa Wood, Neal Young
147
8 King Street, St. Jamess, London SW1Y 6QT +44 (0)20 7839 9060 telephone +44 (0)20 7389 2869 facsimile