22010-01 Visionary: The Paul G. Allen Collection Gallery Guide

VISIONARY

THE PAUL G. ALLEN

PARTS I AND II

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AUCTION

VISIONARY: THE PAUL G. ALLEN COLLECTION PART I

9 November 2022 at 7:00pm

VISIONARY: THE PAUL G. ALLEN COLLECTION PART II

10 November 2022 at 10:00am

Christie’s Rockefeller Plaza 20 Rockefeller Plaza New York, NY 10020

VIEWING: 29 OCTOBER – 8 NOVEMBER 2022 11:00am-4:00pm

HEADS OF SALE

Max Carter +1 212 636 2091 mcarter@christies.com

Johanna Flaum +1 212 468 7174 jflaum@christies.com

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as Part I: VISIONARY-22010; Part II: VISIONARY-22011

ABSENTEE AND TELEPHONE BIDS

Tel: +1 212 636 2437

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PABLO

PICASSO

(1881-1973)

Quatre baigneuses

signed and dated ‘Picasso 21’ (lower right) oil on panel

4 x 6 in. (10 x 15.1 cm.)

Painted in 1921 $600,000-800,000

PROVENANCE:

John Quinn, New York (by July 1922).

Paul Rosenberg, New York (1926, then by descent); sale, Sotheby Parke Bernet & Co., London, 3 July 1979, lot 23.

Heinz Berggruen, Paris.

Mike Nichols, New York (acquired from the above). Acquired by the late owner, 1998.

Picasso’s Quatre baigneuses exemplifies the artist’s Neo-Classical style in the 1920s. This painting was formerly in the collections of John Quinn, the organizer of the 1913 Armory Show, and director Mike Nichols, and has an extensive exhibition history, including the landmark retrospective of the artist, Picasso: Forty Years of His Art (1939), which traveled from the Museum of Modern Art in New York to many major museums across the United States.

CALDER

(1898-1976)

Untitled

standing mobile—sheet metal, wire and paint

22Ω x 34 x 5 in. (57.2 x 86.4 x 12.7 cm.)

Executed circa 1942

$2,500,000-3,500,000

PROVENANCE:

George H. Hamilton, New Haven (acquired directly from the artist, 1949).

Private collection, Vermont.

Private collection, New York (acquired from the above, 1999).

Acquired from the above by the late owner, 2000.

This work is registered in the archives of the Calder Foundation, New York, under application number A18552.

Untitled is an early example of Calder’s free-standing mobiles, a form with which he revolutionized the genre of sculpture. By adding movement to the formally static medium, Calder challenged thousands of years of art history. The stable elements of the sculpture support dynamic, kinetic elements, which react to external movements. Inspired by the daring colors and forms of European Modernism, the sculpture was acquired from the artist in 1949 by Yale University Art History Professor and future Director of the Clark Art Institute, George Hamilton.

MAGRITTE

(1898-1967)

Leçon par observation: Ecrits et dessins par René Magritte

signed and titled ‘Lessons by Observation: writings and drawings by René Magritte’ (upper left) gouache, watercolor and brush and pen and India ink on paper 13º x 17√ in. (33.7 x 45.5 cm.)

Executed in 1953

$700,000-1,000,000

PROVENANCE:

André Breton, Paris (commissioned from the artist).

Private collection (gift from the above); sale, Sotheby’s, London, 7 December 1999, lot 51.

Acquired at the above sale by the late owner.

Leçon par observation: Ecrits et dessins par René Magritte possesses all of the formal playfulness and semiotic humor typical of this Belgian Surrealist artist. The multimedia work of gouache, watercolor and ink on paper was commissioned in 1952 by André Breton, the author of the infamous Manifeste du surréalisme (1924). In vignettes, Magritte probed the relationship between object, image and word—forcing viewers to question their understanding of reality and the language they use to describe it. The artist’s illustrations and accompanying captions are alternately philosophical and absurd; unusually for the artist, they are written in English and have several spelling errors.

EDWARD STEICHEN

(1879-1973)

The Flatiron

signed and dated ‘Steichen MDCCCCV’ (lower right) gum-bichromate over platinum print Sheet: 19 x 14 3/4 in. (48.3 x 37.5 cm.) 1904, printed 1905

$2,000,000-3,000,000

PROVENANCE:

John (grandnephew of the artist) and Liz Steichen (by descent from the artist).

Keith de Lellis, New York (acquired from the above, January 1992). Acquired from the above by the late owner, 2001.

Steichen’s moody photographic portrait of the Flatiron building, one of New York City’s greatest architectural landmarks, is undoubtedly his most iconic image. This print from 1905 is the result of the labor-intensive platinum-gum combination technique; only four examples are known, three of which belong to The Metropolitan Museum of Art. The present work, the only remaining in private hands, passed by descent through the artist’s family until 1992.

5

HOCKNEY

(b. 1937)

Four Different Kinds of Water

signed ‘Hockney’ (on the reverse of the left canvas); signed again ‘Hockney’ (on the reverse of the second canvas from left) acrylic on canvas, in four parts

Each: 14 x 10 in. (35.6 x 25.4 cm.)

Painted in 1967

$3,000,000-5,000,000

PROVENANCE: Kasmin, Ltd., London.

Tony Richardson, London (acquired from the above, by 1969).

Private collection, Los Angeles (acquired from the above). Acquired from the above by the late owner, 1999.

Hockney’s Four Different Kinds of Water depicts a quartet of the artist’s iconic swimming pool paintings. For this British artist, the swimming pool represents the quintessential symbol of the American way of life—particularly in Los Angeles, where he visited for the first time in 1964. Hockney’s sophisticated technique captures both the brilliant Californian color, the alternately rippling and placid surface, as well as the challenge of depicting the colorless and formless water that fills the pool.

SIGNAC

(1863-1935)

Concarneau, calme du matin (Opus no. 219, larghetto)

signed and dated ‘P. Signac. 91’ (lower left); inscribed with Opus number ‘Op 219’ (lower right) oil on canvas 25√ x 32 in. (65.7 x 81.3 cm.)

Painted in 1891

$28,000,000-35,000,000

PROVENANCE:

Henri-Nicolas Lejeune, France (acquired from the artist, 1891).

Henri Lejeune, Saint-Cloud (by descent from the above); sale, Sotheby Parke Bernet & Co., London, 27 June 1977, lot 13. Bluestone Corporation, New York. Private collection (until 1993).

Private collection; sale, Christie’s, New York, 18 November 1998, lot 28 (world auction record for the artist at the time of sale).

Acquired at the above sale by the late owner.

Signac’s exquisite landscape painting, comprised of brilliantly-colored, painted tesserae, embodies the artist’s mature pointillist technique. The work depicts a recurring maritime theme in the artist’s work: a magnificent fleet of sailboats off the coast of Concarneau, a fishing village near Pont-Aven. This painting was acquired from the artist by Henri-Nicolas Lejeune a few weeks after it was completed and passed by descent through the Lejeune family until it was sold at auction for the first time in 1977. In 2001, the late owner lent the work to the Signac monographic exhibition that traveled from The Metropolitan Museum of Art, New York to the Grand Palais in Paris.

GEORGES

SEURAT

(1859-1891)

Femme debout, en toilette de ville

black Conté crayon on paper

12¡ x 7¡ in. (31.5 x 18.7 cm.)

Drawn in 1884-1885

$1,000,000-1,500,000

PROVENANCE:

André Teissier, Mâcon (1927).

Maurice Renou, Paris.

André Derain, Paris; Estate sale, Galerie Charpentier, Paris, 22 March 1955, lot 11.

Baronne Alix de Rothschild, Paris (by 1959, then by descent).

Galerie Schmit, Paris.

Sarec, S.A., Geneva (acquired from the above, 20 March 1985).

Parana Development Company, Lugano (acquired from the above, 1988).

Galerie Schmit, Paris.

Acquired from the above by the late owner, 2001.

This silhouetted woman, drawn in profile, is a study for the most recognizable figure in Seurat’s pointillist masterpiece, Un dimanche d’été à l’Ile de La Grande Jatte (1885-1886, The Art Institute of Chicago). The central figure in that painting is a bourgeois Parisienne sporting a trendy faux-cul (“fake bottom”) pleated bustle—the exaggerated volume of which contrasts with the simple, elegant tailoring of her jacket. As with most of his studies for this monumental painting, Seurat employed his preferred medium of black Conté crayon. This work belonged to the Fauvist painter André Derain until his death in 1954.

SEURAT

(1859-1891)

Les Poseuses, Ensemble (Petite version)

oil on canvas

15Ω x 19æ in. (39.3 x 50 cm.)

Painted in 1888

Estimate on Request

PROVENANCE:

Jules F. Christophe, Paris (by 1892, then by descent).

B.A. Edynski and Max Hochschiller, Paris (by 1908).

Galerie Bernheim-Jeune et Cie., Paris.

Alphonse Kann, Paris (by 1910, until at least 1917).

Marius de Zayas, New York (by 1921).

John Quinn, New York (by 1922).

Julia Quinn Anderson, New York (by descent from the above, 1924).

Mary Anderson Conroy, New York (by descent from the above).

Henry P. McIlhenny, Esq., Philadelphia (acquired from the above, 1936); sale, Christie’s, London, 30 June 1970, lot 16 (world auction record for the artist at the time of sale).

Artemis, Luxembourg (acquired at the above sale).

Heinz Berggruen, Paris (acquired from the above, 1973).

Private collection (1997).

Acquired by the late owner, 3 December 1999.

In this polychromatic, pointillist view of his own studio, Seurat depicted three female models in varying states of dress. The trio of nude and semi-nude figures are viewed from the back, front and side, like modern mythological muses. Hung on the wall behind the models is the artist’s magnum opus, Un dimanche d’été à l’Ile de La Grande Jatte. This rare work, associated with a larger canvas in the collection of the Barnes Foundation, Philadelphia, has an extensive publication and exhibition history—beginning with the 8th exhibition of the Société des artistes indépendants in Paris in 1892 and the Armory Show in 1913. Most recently, this work was on extended loan to the National Gallery in London.

O’KEEFFE

(1887-1986)

White Rose with Larkspur No. I

signed with initials ‘OK’ in the artist’s star device (on a piece of the original backing) oil on canvas

36 x 30 in. (91.4 x 76.2 cm.)

Painted in 1927

$6,000,000-8,000,000

PROVENANCE:

Dr. Constance Friess, New York (gift from the artist, 1946).

Private collection (by descent from the above, 1975).

Menconi & Schoelkopf Fine Art, LLC, New York (acquired from the above, 2006).

Private collection, Las Vegas (2006).

Acquired from the above by the late owner, 2013.

The American Modernist icon O’Keeffe is best known for her monumental paintings of flowers, radically cropped and magnified nearly to the point of abstraction. The present work evinces an undeniable sensuality which is underscored by the rich coloration and plush textures of the depicted blossoms. White Rose with Larkspur No. is the first in a series of five 1927 canvases devoted to the interior of a blooming white rose, the second version of which hung in the artist’s bedroom as a personal favorite before being acquired by the Museum of Fine Arts, Boston. The artist gifted the present work to her friend, Dr. Constance Friess, in 1946.

PICASSO

(1881-1973)

Tête classique

signed ‘Picasso’ (lower left); dated ‘12-2-23- (on the reverse) black Conté crayon, charcoal and estompe on rose tinted paper 24√ x 18æ in. (63 x 47.8 cm.)

Executed on 12 February 1923 $3,000,000-5,000,000

PROVENANCE:

The Zwemmer Gallery, London (acquired from the artist).

Rae H. Eckman, New York; Estate sale, Christie’s, New York, 7 November 1979, lot 33.

Anon. sale, Sotheby’s, London, 27 June 1995, lot 28.

Acquired at the above sale by the late owner.

Claude Picasso has confirmed the authenticity of this work.

The inventor of Cubism and perhaps the most iconic modern artist in the history of art, Picasso was not immune from the influence of the Old Masters, ranging from Leonardo da Vinci and Raphael to Jean-Auguste-Dominique Ingres. This Neoclassical tête classique from 1923 demonstrates Picasso’s own masterful draftsmanship, specifically his ability to convey the volume of flesh and bone. The artist employed traditional media and techniques, rich black Conté crayon, smoky charcoal and stumping, in order to create the sfumato shadows of his subject’s face. This idealized female head wears a floral garland, like a modern GrecoRoman goddess.

GAUGUIN

(1848-1903)

Maternité II

signed and dated ‘Paul Gauguin 1899’ (lower right) oil on burlap

37º x 24 in. (94.7 x 61 cm.)

Painted in Tahiti in 1899

Estimate on Request

PROVENANCE:

The artist; Estate sale, Papeete, 2 September 1903, lot 104.

Jean Cochin, Paris (acquired at the above sale).

Denys Cochin, Paris (1906).

Galerie Bernheim-Jeune et Cie., Paris (acquired from the above, 28 February 1910).

Alphonse Kann, Paris (acquired from the above, 28 February 1910). (possibly) Michel Manzi, Paris (circa 1915).

Dikran Khan Kélékian, Paris and New York (by 1920); sale, American Art Association, New York, 30-31 January 1922, lot 152.

Bourgeois Gallery, Paris (acquired at the above sale).

Adolph Lewisohn, New York (by 1926).

Sam Lewisohn, New York (by descent from the above, circa 1942).

Wildenstein & Co. Inc., New York (acquired from the above, 1942).

Mrs. Henry Huttleston Rogers Jr. (acquired from the above, 1943, until at least 1948).

Wildenstein & Co. Inc., New York (acquired from the above).

Edwin C. and Florence Vogel, New York (acquired from the above, 1952).

David Rockefeller, New York (acquired from the above, 1956).

John Seward Sr. and Barbara Piasecka Johnson, Princeton (acquired from the above, circa 1975, until at least 1990).

Nevill Keating Pictures, Ltd., London.

Private collection (acquired from the above, circa 1997); sale, Sotheby’s, New York, 4 November 2004, lot 15 (world auction record for the artist at the time of sale).

Acquired at the above sale by the late owner.

In this iconic homage to fertile femininity, Gauguin depicted three seminude Polynesian women in a fantastical, abstracted landscape that is lush with color. The present work remained in the artist’s estate until his death and was later in the collections of Alphonse Kann and David Rockefeller. This oil on burlap painting has a remarkable exhibition and bibliographic history, suggesting its centrality to the artist’s oeuvre A related composition, Maternité I now belongs to the State Hermitage Museum in Saint Petersburg.

SARGENT

(1856-1925)

The Façade of La Salute, Venice

signed ‘John S. Sargent’ (lower right) watercolor, gouache and pencil on paperboard 14Ω x 21º in. (36.8 x 54 cm.)

Executed circa 1903

$800,000-1,200,000

PROVENANCE:

Ferdinand Joseph Conway Wertheimer (by 1925).

Mrs. Joan Young Conway (wife of the above, by descent, 1953).

David Mathias (nephew of the above, gift from the above).

Kay Mathias (wife of the above, 1992).

Katherine Mathias (Mrs. Edward Holden), Kent (daughter of the above). Private collection, New York (2001).

Acquired from the above by the late owner, 2012.

The American expatriate painter Sargent’s love affair with Venice lasted over three decades, during which time he visited La Serenissima nearly every year. The present watercolor and gouache work depicts a bevy of gondoliers navigating the intersection of the Grand and Giudecca Canals, in front of the Baroque facade of Santa Maria della Salute. This sheet, which belonged to the same family for much of the twentieth century, is exceptional for its complex, detailed composition, oblique perspective, and vivid coloration—exemplifying Sargent’s unrivaled skill as a watercolorist. A related composition is now in the collection of the Brooklyn Museum.

BONNARD

(1867-1947)

Deux corbeilles de fruits

signed ‘Bonnard’ (lower right) oil on canvas

23√ × 32 in. (60.4 × 81.2 cm.) Painted circa 1935 $3,000,000-5,000,000

PROVENANCE:

Galerie Bernheim-Jeune et Cie., Paris (acquired from the artist, 1935). Paul Ebstein, Paris (gift from the above, 1935).

Léon Delaroche, Paris (circa 1935).

Private collection, Paris (by descent from the above, 1998).

Private collection, Europe; sale, Christie’s, New York, 8 November 2006, lot 73 (world auction record for the artist at the time of sale).

Acquired at the above sale by the late owner.

Bonnard’s sunny still-life painting depicting two woven baskets of fruit is a riot of luminous color, bold patterns, and varying texture, all the formal qualities for which he is best known. Bonnard’s exploration of the still-life genre was clearly influenced by that of Paul Cezanne— although the latter’s rigorous, cerebral approach to form and space was of less interest to Bonnard, who was a more expressive colorist at heart. This little-known canvas has passed through private collections since its completion, including that of Léon Delaroche, a major Parisian collector of Bonnard’s work who was active in the 1930s.

CEZANNE

(1839-1906)

La Montagne Sainte-Victoire

oil on canvas

25¬ x 31√ in. (65.2 x 81.2 cm.)

Painted in 1888-1890

Estimate on Request

PROVENANCE:

Ambroise Vollard, Paris.

Auguste Pellerin, Paris (acquired from the above).

Jean-Victor Pellerin, Paris (by descent from the above, 1929).

Georges A. Embiricos, Lausanne.

Heinz Berggruen, Paris (acquired from the above, 1982, then by descent); sale, Phillips, de Pury & Luxembourg, New York, 7 May 2001, lot 5.

Acquired at the above sale by the late owner.

Mont Sainte-Victoire, an icon of the Provençal landscape, is perhaps the most important recurring subject in Cezanne’s oeuvre This painting is one of only two examples remaining in private collections from this group of works from the 1880s and early 1890s that share a similar viewpoint; others reside at The Metropolitan Museum of Art, New York; The Barnes Foundation, Philadelphia; The Courtauld Gallery, London and the Musée d’Orsay, Paris. This later canvas, dated between 1888 and 1890, represents the radical climax of the theme; the overlapping shards of shimmering color, as well as the extreme flattening and close framing of the mountain, all distinguish the present work from its predecessors.

KLEE (1879-1940)

Bunte Landschaft

signed, dated and inscribed ‘Klee 1928 E 2’ (upper right); signed and dated again, titled and inscribed ‘1928. E 2. bunte Landschaft Klee Notiz! Tempera! unter Glas zu halten!!’ (on the stretcher) oil and tempera on incised plaster on board mounted by the artist to the stretcher

8 ¡ x 14º in. (21.4 x 36 cm.)

Executed in 1928

$1,200,000-1,800,000

PROVENANCE:

Galerie Alfred Flechtheim, Berlin and Dusseldorf (on consignment from the artist, 1928).

Alex Vömel, Dusseldorf (on consignment from the artist, until sold November 1934).

(possibly) Hermann Lange, Krefeld.

Moderne Galerie Otto Stangl, Munich.

Private collection, Germany (acquired from the above, 1982); sale, Christie’s, London, 8 December 1999, lot 64.

Acquired at the above sale by the late owner.

Klee’s abstracted cityscape is a charming tapestry of color executed in oil and tempera on incised plaster on board, subsequently mounted by the artist onto a stretcher. The highly individual and inventive Swiss-born German artist produced this multi-media work while teaching in the stimulating environment of the Bauhaus, the famed art school in Dessau that housed nearly every major Eastern European and Russian designer of the twentieth century. This work was first acquired by one of Klee’s major supporters, the art dealer Alfred Flechtheim, who actively promoted the artist’s work in Germany and abroad.

VAN GOGH

(1853-1890)

Parc à Arles avec un coin de la Maison Jaune

reed pen and brown ink over pencil on paper

13æ x 10¿ in. (35 x 25.9 cm.)

Drawn in 1888

$3,000,000-5,000,000

PROVENANCE:

Theo van Gogh, Paris (acquired from the artist, 7 May 1888).

Johanna van Gogh-Bonger, Paris (by descent from the above).

Vincent W. van Gogh, Amsterdam (by descent from the above).

Egbert Jan and L.F. Kuipers, The Netherlands (gift from the above, May 1942).

Dr. Johannes Egbert Kuipers, The Netherlands (by descent from the above, December 1979).

Nancy Whyte Fine Arts, Inc., New York (September 2000).

Acquired from the above by the late owner.

Van Gogh executed this drawing soon after moving to Arles in the spring of 1888, one of the happiest and most productive phases of the artist’s brief life and career. This traditional composition depicting a winding garden path is animated by Van Gogh’s singular style of draftsmanship, characterized by dynamic strokes, swoops and squiggles of fluid brown ink applied with a reed pen. The Dutch Post-Impressionist gave this drawing to his brother, art dealer Theo van Gogh, in May 1888. The sheet then passed to Theo’s descendants until it was gifted to the Kuipers family in 1942.

KLIMT

Birch Forest signed ‘GUSTAV KLIMT’ (lower left) oil on canvas 43 ¡ x 43º in. (110.1 x 109.8 cm.)

Painted in 1903

Estimate on Request

PROVENANCE:

Adele and Ferdinand Bloch-Bauer, Vienna (acquired from the artist).

Seized by the Viennese Magistrate, May 1938 (following the Nazi Anschluss of March 1938).

With Dr. Erich Führer, Vienna (the state-appointed administrator for Ferdinand Bloch-Bauer).

Städtische Sammlung, Vienna (acquired from the above, November 1942). Österreichische Galerie, Vienna (transferred from the above, 1948).

Restituted to the heirs of Adele and Ferdinand Bloch-Bauer by the Republic of Austria, March 2006; sale, Christie’s, New York, 8 November 2006, lot 51 (world auction record for the artist at the time of sale).

Acquired at the above sale by the late owner.

Though Klimt’s figurative works are well known, landscape paintings comprise nearly half of his oeuvre—underscoring the importance of this genre to the artist. Klimt’s intuitive gift for brilliant color and rhythmic, decorative patterns are on full display in Birch Forest This canvas, which depicts the lakeside woods in Salzkammergut, where Klimt summered in 1903, was featured in the artist’s first solo show at the Viennese Secession later that year. The canvas was then acquired from the artist by Adele and Ferdinand Bloch-Bauer, whose collection was seized by Nazi authorities in 1938 and restituted to their heirs by the Republic of Austria in 2006.

MARTIN

(1912-2004)

Untitled

acrylic and graphite on canvas 60 x 60 in. (152.4 x 152.4 cm.)

Executed circa 1999-2000

$4,000,000-6,000,000

PROVENANCE:

David and Renze Nesbit, New Mexico (acquired from the artist, 2000).

Dominique Lévy Gallery, New York.

Anon. sale, Sotheby’s, London, 15 October 2015, lot 7.

Acquired at the above sale by the late owner.

The work of American abstract painter Agnes Martin represents a lifelong pursuit of beauty and perfection. As in the present untitled painting, Martin often employed spare graphite lines to create an infrastructure, over which she applied subtle gradations of muted color. Despite critical comparisons to landscape painting, Martin insisted that her work was strictly non-objective. She also allied herself more closely with the profoundly emotive paintings of the Abstract Expressionists, rather than the colder formal experiments of Minimalist painters. Martin’s own meticulous, yet highly sensitive and poetic approach towards the canvas influenced artists of her own and subsequent generations.

HEPWORTH

(1903-1975)

Elegy III

signed, dated and numbered ‘Barbara Hepworth 1966 3/6’ (on the top of the base); inscribed with foundry mark ‘Morris Singer Founders London’ (on the back of the base) bronze with brown and green patina Height: 55 in. (139.5 cm.)

Conceived in 1966 and cast in 1967

$3,000,000-5,000,000

PROVENANCE:

Marlborough Fine Art, Ltd., London (acquired from the artist, June 1968).

Marlborough-Godard Gallery, Toronto (acquired from the above).

Private collection, Canada (acquired from the above, 1976, until at least 1995). Haunch of Venison, London.

Acquired from the above by the late owner, 2003.

Elegy III is included as BH 429 in the Hepworth catalogue raisonné of sculptures being revised by Dr. Sophie Bowness.

During the Second World War, Hepworth began a series of monumental hollow ovals carved out of wood. These somewhat melancholic, abstract totems, which balance volume and void, were inspired in part by the rocky costal landscape of Cornwall, where Hepworth and her family—and a number of other modern British artists—resided throughout the war. The present work, Elegy III represents the culmination of that wartime series, completed after nearly 20 years. This bronze cast of 1967 was based on a wood carving executed in 1966. Of the seven casts of the present sculpture, three are now in museums, including the KröllerMüller Museum, Otterlo; The Maxine and Stuart Frankel Foundation of Art, Michigan and the Franklin D. Murphy Sculpture Garden, University of California, Los Angeles. The plaster is at The Hepworth Wakefield.

MAGRITTE

(1898-1967)

La voix du sang

signed ‘Magritte’ (lower right) oil on canvas

31¿ x 23¿ in. (79.1 x 58.6 cm.)

Painted in 1948

$12,000,000-18,000,000

PROVENANCE:

Alexander Iolas Gallery, New York (acquired from the artist, 8 August 1949).

Adelaide de Menil, Houston (acquired from the above, 1 January 1955); sale, Christie’s, New York, 11 November 1997, lot 167.

Acquired at the above sale by the late owner.

Magritte explained the provocative title of his nocturnal landscape, La voix du sang, as follows: “The words dictated by our blood sometimes seem mysterious to us. Here it seems we are ordered to open up magic niches in the trees.” In the present canvas, one of three of the same title, those niches contain symbolic objects, including a pyramid and a lit candle. Adelaide de Menil, the daughter of the founders of the eponymous Houston museum, purchased this mysterious work in 1955 at the age of twenty. Throughout her childhood, Adelaide’s parents collected and formed friendships with many modern artists, including Magritte.

LE SIDANER (1862-1939)

La Sérénade, Venise

signed ‘Le Sidaner’ (lower left) oil on canvas 53√ x 72º in. (137 x 183.5 cm.) Painted in 1907 $1,500,000-2,500,000

PROVENANCE:

Galerie Georges Petit, Paris and M. Knoedler & Co., Inc., New York (14 February 1927, until January 1931).

André Beauguitte, France; Estate sale, Hôtel Drouot, Paris, 19 November 1986.

Anon. sale, Sotheby’s, London, 1 July 1987, lot 158. Private collection (acquired at the above sale); sale, Sotheby’s, New York, 14 May 1998, lot 164.

Acquired at the above sale by the late owner.

La Sérénade, Venise was painted on Le Sidaner’s second trip to Venice in 1905—three years before the Impressionist painter Claude Monet made his own paintings of the same view. Le Sidaner’s monumental canvas depicts the Gothic Palazzo Ducale, or Doge’s Palace, from the opposite side of the Grand Canal. This primary waterway is thick with tourists aboard gondolas; the female figure in the foreground was modeled by the artist’s wife, Camille, who accompanied him on the trip. The entire nighttime scene is illuminated by glowing lamps and the reflection of light on the surface of the canal.

VAN GOGH

Verger avec cyprès

oil on canvas

25æ x 31√ in. (65.2 x 80.2 cm.)

Painted in Arles in April 1888

Estimate on Request

PROVENANCE:

Theo van Gogh, Paris (acquired from the artist, 7 May 1888).

Johanna van Gogh-Bonger, Paris (by descent from the above).

Andries Bonger, Amsterdam (by 1905, until at least 1912).

D’Audretsch Art Gallery, The Hague.

Jack Niekerk Art Gallery, The Hague.

Howard Young Art Gallery, New York (1928).

N.H. Holston, New York.

J.K. Newman, New York; sale, American Art Association, New York, 6 December 1935, lot 39.

Carroll Carstairs Art Gallery, New York (acquired at the above sale).

Charles Shipman and Joan Whitney Payson, New York (by 1938, until at least 1960).

Acquired by the late owner, 22 June 1998.

Verger avec cyprès represents the edge of a Provençal orchard that is alive with spring. Van Gogh employed a flurry of brushstrokes to convey shoots of green grass, white flowers, and the movement of the breeze, rustling the blooming branches of the fruit trees. Cypress trees, soon to become the artist’s signature motif, are visible beyond the rickety fence. Verger avec cyprès is part of a group of fourteen canvases devoted to the same orchard, representing Van Gogh’s first major series in Arles. The majority of these are now in museum collections, including the Van Gogh Museum, Amsterdam and The Metropolitan Museum of Art, New York.

DALI

(1904-1989)

Le spectre de Vermeer

signed and indistinctly dated ‘Salvador Dalí’ (on the stretcher) oil on canvas

8√ x 6¡ in. (22.3 x 16.1 cm.)

Painted circa 1934

$4,000,000-6,000,000

PROVENANCE:

Julien Levy Gallery, New York (1934).

Josephine Boardman Crane, New York.

Louise Crane, New York (by descent from the above); Estate sale, Christie’s, New York, 13 May 1998, lot 306.

Private collection (acquired at the above sale); sale, Sotheby’s, New York, 7 November 2007, lot 53.

Acquired at the above sale by the late owner.

In Le spectre de Vermeer, Salvador Dalí imagined the ghost of Dutch Golden Age painter

Johannes Vermeer surveying an apocalyptic landscape that is utterly barren, but aglow with brilliant sunlight. Dalí’s homage to his seventeenth-century art historical hero—widely regarded for his own exquisite evocation of the Netherlandish light—coincided with Dalí’s meteoric rise to stardom in 1930s New York. This intimately scaled painting was executed as part of a series of four around 1934 and featured in a solo show at the Julien Levy Gallery in New York that year.

(VENICE 1697-1768)

The Piazza San Marco, Venice, looking east towards the basilica

oil on canvas

24Ω x 37Ω in. (62.2 x 95.3 cm.)

$5,000,000-7,000,000

PROVENANCE:

(Probably) Marshall Johann Matthias von der Schulenberg, Palazzo Loredan, Venice; sale, Christie’s, London, 13 April 1775, lot 49 or 50. John Christopher Cankrien, Hull; sale, Christie’s, London, 4 June 1853, lot 67 (as ‘an important work of high quality’).

Henry Farrer, London (acquired at the above sale).

The Reverend Frederick Leicester; sale, Christie’s, London, 19 May 1860, lot 155 (as ‘A work of the most brilliant quality’). Henry Farrer, London (acquired at the above sale).

Col. the Hon. Edward Douglas Pennant, later 1st Baron Penrhyn of Llandygai, Penrhyn Castle, Gwynedd, North Wales (by 1860). Hugh Napier Douglas-Pennant, 4th Baron Penrhyn (by descent from the above).

Lady Janet Douglas Pennant (by descent from the above).

Private collection, Europe (acquired from the above, August 2009); sale, Sotheby’s, London, 3 December 2014, lot 11.

Acquired at the above sale by the late owner.

Giovanni Antonio Canal, better known as Canaletto, was an eighteenth-century painter best known for his sweeping, meticulously detailed views of his native Venice, known as vedute The present work represents the legendary Piazza San Marco on a clear, sunny afternoon. The city square is bordered to the east by the Byzantine-style basilica of the same name with its monumental Campanile bell tower, as well as the Palazzo Ducale. This palazzo is populated by dozens of distinct staffage figures, ranging from working-class locals to elite foreign participants in the “Grand Tour” of Europe, who were also Canaletto’s primary patrons.

Madonna of the Magnificat

tempera, oil and gold on panel, tondo Diameter: 24æ in. (62.9 cm.)

Estimate on Request

PROVENANCE:

Rev. J.M. Rhodes, Florence (acquired in Florence in the late 19th century).

Ayerst Hooker Buttery, London.

Julius Böhler, Munich (1926).

Thomas Agnew & Sons, London (acquired from the above, 16 November 1951).

Mount Trust Collection (Captain and Mrs. Vivian F. Bulkeley-Johnson) (acquired from the above, 31 December 1951); sale, Christie’s, London, 1 December 1978, lot 113 (as Botticelli and Workshop).

The Matthiesen Gallery, London; P. & D. Colnaghi & Co., London and Rosenberg & Stiebel, New York (by 1978).

Barbara Piasecka Johnson Collection (acquired from the above, 1980). Acquired through Matthiesen Fine Art from the above by the late owner, 1999.

The Italian Renaissance master Sandro Botticelli was commissioned to paint a smaller version of his celebrated painting, Madonna of the Magnificat, by a wealthy patron for his own private devotion. Like the larger sister picture, now in the Galleria degli Uffizi in Florence, the present tempera, oil and gold painting was executed on a circular wooden panel known as a tondo—Botticelli’s preferred format, particularly for religious subjects. This exquisite, intimate version, likely dating to the late 1480s, depicts the Virgin and Christ child flanked by a trio of winged angels, who hold a biblical tome open to a page from the Gospel of Luke.

CROSS

(1856-1910)

Rio San Trovaso, Venise

signed ‘Henri Edmond Cross’ (lower left); titled ‘Rio san Trovaso’ (on the stretcher) oil on canvas

28æ x 36º in. (73 x 92 cm.)

Painted between September 1903-January 1904 $2,000,000-3,000,000

PROVENANCE:

Théo van Rysselberghe, Brussels (acquired from the artist, 1904). Victor Freiherr von Mutzenbecher, Berlin (1912). Marie Lange, Germany.

Private collection, Germany (by descent from the above); sale, Christie’s, London, 3 December 1990, lot 18.

Private collection, Belgium; sale, Sotheby’s, London, 21 June 2004, lot 38. Private collection, United States (acquired at the above sale); sale, Christie’s, New York, 6 May 2009, lot 21. Acquired at the above sale by the late owner.

This work will be included in the forthcoming catalogue raisonné of Henri Edmond Cross being prepared by Patrick Offenstadt.

Rio San Trovaso, Venise depicts a quiet canal in the watery labyrinth of Venice, rendered in Henri-Edmond Cross’s signature pointillist style: a confetti of polychromatic, dots and dashes. The painting was based on studies that Cross executed while visiting the city with his wife in 1903. The jewel-toned palette was informed by Cross’s interest in divisionist color theory, which advocated for the isolation and juxtaposition of primary and secondary hues to stimulate the viewer’s optical experience. Cross submitted the work to the 1904 Libre Esthétique exhibition in Brussels, and it was soon thereafter acquired by his fellow NeoImpressionist, Théo van Ryssleberghe.

MANET

(1832-1883)

Le Grand Canal à Venise

signed ‘Manet’ (lower left) oil on canvas

22¬ x 18√ in. (57.5 x 47.9 cm.)

Painted in fall 1874

$45,000,000-65,000,000

PROVENANCE:

Jean-Baptiste Faure, Paris (acquired from the artist, January 1875).

Galerie Durand-Ruel et Cie., Paris (acquired from the above, 10 August 1906).

Mr. and Mrs. William H. and Ethel Crocker, Hillsborough, California (acquired from the above, 10 August 1906, then by descent until at least 1953).

Provident Security Co., San Francisco (by 1966, until at least 1977). Private collection (by 1990).

Marc de Montebello, New York (acquired from the above, July 1993). Private collection (1993).

Acquired by the late owner, 15 February 2000.

Manet spent around a month in Venice in the fall of 1874, during which time he painted two works, both titled Le Grand Canal à Venise The present painting is one of this rare and iconic pair—the other is now held in the Shelburne Museum, Vermont. In the present work, Manet studied the ephemeral effect of light upon the surface of the Venetian lagoon. The loose, painterly brushwork of this canvas, painted the same year as the first Impressionist exhibition in Paris, clearly betrays the influence of that group of painters upon the “Father of Modernism” himself. Jean-Baptiste Faure, a baritone singer at the Opéra and an avid collector of Manet’s work, acquired Le Grand Canal à Venise from the artist upon his return to Paris.

O’KEEFFE

(1887-1986)

Red Hills with Pedernal, White Clouds

oil on canvas

20 x 30 in. (50.8 x 76.2 cm.)

Painted in 1936

$4,000,000-6,000,000

PROVENANCE:

Doris Bry, New York.

Private collection, New York (1968).

Doris Bry, New York.

Private collection, Alpine (acquired from the above, circa 1985); sale, Sotheby’s, New York, 21 May 2003, lot 119.

Kippy Stroud, Philadelphia (acquired at the above sale); Estate sale, Christie’s, New York, 19 May 2016, lot 10.

Acquired at the above sale by the late owner.

In 1934, American landscape painter Georgia O’Keeffe first encountered Ghost Ranch, an extensive property located outside of Santa Fe; six years later, she was able to buy her own home on that land, where her ashes would be scattered upon her death in 1986. O’Keeffe was entranced by the otherworldly desert landscape of New Mexico, including the elevated plateau of the Cerro Pedernal visible from her home on the Ranch. Over the course of two decades, O’Keeffe devoted at least twenty-seven canvases to this view, twenty examples of which can be found in public collections, including the Brooklyn Museum and Whitney Museum of American Art, New York.

JASPER

JOHNS

(B. 1930)

Map

encaustic on printed paper mounted on Masonite 8Ω x 11 in. (21.6 x 27.9 cm.)

Executed in 1960

$3,000,000-5,000,000

PROVENANCE:

Robert Rauschenberg, New York (gift from the artist, 1960).

Robert Rauschenberg Foundation, New York (acquired from the above, 1999).

Acquired from the above by the late owner, 2013.

Map is the first of Jasper Johns’s iconic abstracted maps of the United States, which followed on from his historic series of American flag paintings of the 1950s. Johns employed his characteristic mixed-media approach: layering semi-translucent encaustic (pigmented wax) over a printed map, partially obscuring its legibility. The present work is also a rare example of a monochromatic grayscale version; a primary-colored map belongs to the Museum of Modern Art in New York, for example. Johns gifted this work to his close friend and fellow artist Robert Rauschenberg in 1960 who kept it in his personal collection until he died in 2008.

JOHNS

(B. 1930)

Small False Start

signed, dated and partially titled ‘J. Johns 1960 FALSE START’ (on the reverse)

encaustic, acrylic and paper collage on fiberboard

21√ x 18º in. (55.6 x 46.4 cm.)

Executed in 1960

$45,000,000-65,000,000

PROVENANCE:

Leo Castelli Gallery, New York.

Mr. and Mrs. Charles M. Clark, Seattle (acquired from the above, 1960).

Joseph H. Hazen and Lita Annenberg Hazen, New York (acquired from the above, November 1961).

Anon. sale, Christie’s, New York, 7 November 1989, lot 76.

Stephen and Nan Swid, New York (acquired at the above sale).

Acquired from the above by the late owner, 2000.

Jasper Johns’s Small False Start ranks among the most important works in his oeuvre. Here, the artist employs a collage technique inspired by early twentieth-century Dadaists, assembling torn pieces of paper then covering them the with an expressionistic layer of red, blue, yellow and orange acrylic paint. Over this, Johns stenciled the names of these colors; however, these labels do not neatly correspond to the depicted pigments. This disconnect between the visual perception and the language of color is at the heart of Johns’s conceptual project.

GERHARD

RICHTER

(B. 1932)

Apfelbäume

signed, dated and inscribed ‘650-2 Richter 1987’ (on the reverse) oil on canvas

28 ¡ x 40º in. (72 x 102.2 cm.)

Painted in 1987

$5,000,000-7,000,000

PROVENANCE:

Private collection, Cologne (acquired from the artist).

Anon. sale, Phillips, New York, 18 May 2000, lot 28.

Acquired at the above sale by the late owner.

Apfelbäume is a prime example of German artist Gerhard Richter’s painting style of the late 1980s. This large-scale canvas depicts a humble cluster of apple trees in an otherwise unpopulated hilly landscape, enveloped by mist. Invoking the nineteenth-century European tradition of Romantic landscape painting, Richter endows the scene with a strong sense of atmospheric drama. The scene, rendered in cool silvers and greens, is simultaneously simple and familiar, while also moody and foreboding. Apfelbäume was included in the Sprengel Museum Hannover’s special exhibition, Gerhard Richter Landscapes from 1998-1999.

GIACOMETTI

(1901-1966)

Femme de Venise III

signed and numbered ‘5/6 Alberto Giacometti’ (on the left side of the base) and inscribed with foundry mark ‘Susse F Paris’ (on the back of the base) bronze with brown and green patina Height: 46¬ in. (118.4 cm.)

Conceived in 1956 and cast in 1958 $15,000,000-20,000,000

PROVENANCE:

Pierre Matisse Gallery, New York.

Private collection, New York.

Galerie de l’Elysée (Alex Maguy), Paris.

Gilbert H. Kinney, Washington, D.C. (1973).

Arnold Herstand & Company, New York (February 1984). Private collection, Switzerland (acquired from the above, 15 February 1984).

Galleria Pieter Coray, Lugano (acquired from the above, May 2000). Kent Gallery, Inc. New York (acquired from the above).

Acquired from the above by the late owner, May 2000.

The Alberto Giacometti Database, no. 4456.

Giacometti’s Femme de Venise III, conceived in 1956 and cast in 1958, belongs to an important series of standing, elongated nude female figures. The series was inspired by the French government’s invitation to the Swiss sculptor to represent France at the Venice Biennale in June 1956. In response to this prestigious commission, Giacometti modeled fifteen plaster figures in his characteristically tactile, composite style. The following year, Giacometti chose nine of these plasters to be cast in bronze. The entire group of nine, including the present work, were shown together for the first time at the Pierre Matisse Gallery in New York. Of the eleven casts of the present sculpture, six are now in museums, including the Fondation Alberto et Annette Giacometti, Paris; the Fondation Maeght, Saint-Paul de Vence; the Musée Granet, Aix-en-Provence; the Fondation Louis Vuitton, Paris; the Nasher Sculpture Center, Dallas and the Louisiana Museum for Moderne Kunst, Humlebæk. The plaster is in the Alberto Giacometti-Stiftung, Zurich.

ANDREW

WYETH

(1917-2009)

Day Dream

signed ‘A. Wyeth’ (lower left) tempera on panel 19 x 27º in. (48.3 x 69.2 cm.)

Painted in 1980

$2,000,000-3,000,000

PROVENANCE:

The Armand Hammer collection (1981). Armand Hammer Museum, Los Angeles.

Acquired from the above by the late owner, 2011.

This work will be included in Betsy James Wyeth’s forthcoming catalogue raisonné of the artist’s work.

In Day Dream of 1980, the American realist painter Andrew Wyeth observes his model and muse, Helga Testorf, reclining on a bed of fresh white sheets. The woman appears lost in the reverie of a midday nap, soothed by the warmth of the sun and the gentle breeze emitted by the open windows. The dreamy atmosphere is further amplified by the translucent veil of the billowing window drape. Day Dream is one of the very few paintings of Helga that Wyeth exhibited and sold during this period; he kept the remainder of these intimate works, and the true extent of his relationship with Helga, hidden from public view.

FREUD

(1922-2011)

Large Interior, W11 (after Watteau)

oil on canvas

72º x 78 in. (185.4 x 198.1 cm.)

Painted in 1981-1983

Estimate on Request

PROVENANCE:

James Kirkman, London (acquired from the artist, 1983); sale; Sotheby’s, New York, 14 May 1998, lot 33 (world auction record for the artist at the time of sale).

Acquired at the above sale by the late owner.

One of Lucian Freud’s undisputed masterpieces, Large Interior, W11 (after Watteau) invokes the work of Jean-Antoine Watteau, the eighteenth-century painter of melancholy characters. In contrast, Freud’s protagonists are contemporary portraits of people from the artist’s own personal life. Demonstrating the intensity of the artist’s painting technique, this work has been shown widely in galleries and museums across the world— notably, the 2012 exhibition of Freud portraits at the National Portrait Gallery in London.

YVES

TANGUY

(1900-1955)

Un grand tableau qui représente un paysage

signed and dated ‘YVES TANGUY 27’ (lower right) oil and grattage on canvas 45æ x 35¿ in. (116.1 x 89.3 cm.)

Painted in 1927

$2,500,000-3,500,000

PROVENANCE:

Galerie Surréaliste, Paris (acquired from the artist, 1927).

Ambassador and Mrs. Henri Hoppenot, Saïgon (by 1927, until 1957).

Mr. and Mrs. William P. Mazer, New York (by 1963).

Private collection, Tokyo (by 1982); sale, Christie’s, New York, 7 November 1995, lot 41.

Anon. sale, Christie’s, London, 8 December 1999, lot 61 (world auction record for the artist at the time of sale).

Acquired at the above sale by the late owner.

Yves Tanguy’s Un grand tableau qui représente un paysage was painted at the height of the Surrealist movement in late 1920s Paris. This hallucinatory seascape, loosely inspired by the artist’s native Brittany coast, depicts various protean and alien sea-creatures—a recurring theme in the artist’s early work. The same year of its execution, the canvas was acquired from the artist by the Galerie Surréaliste, which supported the work of Tanguy, Jean (Hans) Arp, Man Ray, Max Ernst and others within their circle. The artist’s first solo show at the gallery, Yves Tanguy et objets d’Amérique, also included the present work.

BRUEGHEL THE YOUNGER

(ANTWERP 1601-1678)

The Five Senses: Sight, Touch, Hearing, Taste and Smell

oil on panel, Touch with the coat of arms of the city of Antwerp and the stamp of the panel maker Guilliam Aertssens (active 1612/13-1638?)

Sight and Smell, 27¬ x 44¬ in. (70.2 x 113.3 cm.); Hearing, 27 x 43 in. (68.6 x 109.2 cm.);

Taste, 27 x 43 ¡ in. (68.6 x 110.1 cm.) and Touch, 27¡ x 44¬ in. (69.5 x 113.3 cm.)

four with two sets of inventory numbers: the first with ‘N75’ and ‘No:138.’; the second with ‘N73’ and ‘No:153.’; the third with ‘N7*’ and ‘No: 140’ and the fourth with ‘N..’ and ‘N 151’ (all lower right) a set of five (5) $4,000,000-6,000,000

PROVENANCE:

Charles VI, Holy Roman Emperor, Vienna (by 1720, then by descent in the Imperial Collection, deaccessioned by 1796).

Josef Karl Ritter von Klinkosch, Vienna (by 1873); Estate sale, Miethke, Vienna, 2 April 1889, lots 27-32 (as Jan Brueghel the Elder and Hendrick van Balen; with incorrect provenance from Archduke Leopold Wilhelm).

Isidore Ritter von Klinkosch (acquired at the above sale).

Baron Wodianer, Vienna (by 1906-1907).

Anon. sale, Hôtel Drouot, Paris, 20 April 1907, lots 3-7 (as Jan Breughel the Elder and Hendrick van Balen).

Marino Vagliano (acquired at the above sale, then by descent).

Private collection; sale, Christie’s, New York, 3 October 2001, lot 98 (world auction record for the artist at the time of sale).

Acquired at the above sale by the late owner.

The Flemish Baroque painter Jan Brueghel the Younger allegorized the five human senses (sight, touch, hearing, taste, and smell) in a series of five paintings that merge the genres of mythology, landscape and still life painting. This is an exceptionally rare example of a thematic grouping of paintings—often representing the senses, the seasons of the year, or the four elements of fire, water, earth, and air—that have remained intact since their execution in the early seventeenth century. Likely the result of a private commission by an unknown patron, these paintings first appear in the historical record as belonging to the Holy Roman Emperor Charles VI in Vienna.

RIVERA

(1886-1957)

The Rivals

signed and dated ‘Diego Rivera 1931’ (lower right) oil on canvas 60 x 50 in. (152.4 x 127 cm.)

Painted in 1931

$7,000,000-10,000,000

PROVENANCE:

Abby Aldrich Rockefeller and John D. Rockefeller, Jr., New York (acquired from the artist, 1931).

Peggy and David Rockefeller, New York (gift from the above, 1941); Estate sale, Christie’s, New York, 9 May 2018, lot 424 (world auction record for the artist at the time of sale).

Acquired at the above sale by the late owner.

In 1931, the Mexican muralist Diego Rivera was granted a solo exhibition at The Museum of Modern Art in New York—only the second living artist, after Henri Matisse, to earn this privilege. Rivera was at the height of his career, then, when he painted The Rivals while en route to New York with his wife, painter Frida Kahlo. Inspired by the Oaxacan fiesta de Las Velas, this painting was commissioned by cultural matriarch Abby Rockefeller, one of Rivera’s most steadfast patrons. Abby later gifted the work to her son David and his bride Peggy on the occasion of their marriage in the early 1940s.

PAUL

KLEE

(1879-1940)

Schicksalstunde um dreiviertel zwölf

signed, dated and numbered ‘Klee 1922 184.’ (upper left) oil on chalk-primed muslin mounted on panel 16¿ x 19 in. (41 x 48.2 cm.)

Executed in 1922

$1,800,000-2,500,000

PROVENANCE:

Daniel-Henry Kahnweiler, Paris.

Karl Nierendorf, New York (acquired from the above, by 1938).

Duncan and Marjorie Phillips, Washington, D.C. (acquired from the above, circa 1939).

Reichenbach collection.

Berggruen et Cie, Paris (acquired from the above, 1955).

Private collection, Europe (acquired from the above, 1956, then by descent); sale, Christie’s, New York, November 2011, lot 5. Acquired at the above sale by the late owner.

In his Bauhaus-era work of the early 1920s, Klee constructed entire fantasy worlds in a distinct abstract visual language—revealing the creative force of his singular imagination.

Schicksalstunde um dreiviertel zwölf, for example, depicts a whimsical town just before the fateful hour of midnight; the scene is comprised of fluid fields of color and jagged, childlike lines. This work passed through from the artist’s primary dealer, Daniel-Henry Kahnweiler, to Karl Nierendorf, who represented the artist exclusively in New York. Nierendorf published this painting in an illustrated monograph in 1941, bolstering the artist’s reputation in the United States.

MARDEN

(B. 1938)

The Attended

signed and dated ‘1996-9 B. Marden’ (on the reverse) oil on linen

82 x 57 in. (208.3 x 144.8 cm.)

Painted in 1996-1999

$15,000,000-20,000,000

PROVENANCE:

The artist.

Matthew Marks Gallery, New York.

Private collection, Connecticut (acquired from the above, 2007).

Anon. sale, Sotheby’s, New York, 13 November 2013, lot 12 (world auction record for the artist at the time of sale).

Acquired at the above sale by the late owner.

This work will be included the artist’s forthcoming catalogue raisonné

The meandering ribbons of color in The Attended by Abstract Expressionist painter Brice Marden were inspired in part by the ancient art of Chinese calligraphy. The artist’s brightlycolored lines, however, are much more exuberant than the sober Chinese manuscripts that motivated the work. This monumentally-sized canvas is part of a series of six paintings that Marden completed upon his return from a trip throughout Asia in the 1980s. The title of the series comes from a different Chinese art form: the Han Dynasty funerary earthenware sculptures known as attendant figures, who are believed to accompany the entombed body in the afterlife.

MAX

ERNST (1891-1976)

Le roi jouant avec la reine

signed ‘Max Ernst’ (on the front) bronze with brown patina Height: 39Ω in. (100.5 cm.)

Conceived in 1944 and cast in 1953-1961 $8,000,000-12,000,000

PROVENANCE:

Alexander Iolas Gallery, New York (probably acquired from the artist).

Mr. and Mrs. Joseph Randall Shapiro, Chicago (acquired from the above); sale, Sotheby’s, New York, 10 November 1992, lot 50.

Acquired at the above sale by the late owner.

Surrealist artist Max Ernst began to experiment with wooden and plaster sculpture in the mid-1930s. In the summer of 1944, while renting a beach house on Long Island with his partner, the painter Dorothea Tanning, Ernst resumed his exploration of three-dimensional figures. The title of this sculpture, Le roi jouant avec la reine, refers to critical pieces in the strategic game of chess, to which Ernst was also passionately devoted during this time. This sculpture debuted in the December 1944 exhibition entitled The Imagery of Chess staged at the gallery of the artist’s dealer and friend, Julien Levy. Of the thirteen casts of the present sculpture, seven are now in museums, including The Menil Collection, Houston; the Nasher Sculpture Center, Dallas; The Museum of Modern Art, New York; the Toyota Municipal Museum of Art; the Max Ernst Museum des LVR, Bruehl; the Tel Aviv Mseum and the Musée national d’art moderne, Centre Georges Pompidou, Paris. The plaster is at the Beyeler Foundation, Basel.

MONET

(1840-1926)

Waterloo Bridge, soleil voilé

signed and dated ‘Claude Monet 1903’ (lower left) oil on canvas

25æ x 39Ω in. (65.4 x 100 cm.)

Painted in 1899-1903

Estimate on Request

PROVENANCE:

Galerie Durand-Ruel et Cie., Paris (acquired from the artist, June 1904).

Paul Cassirer, Berlin (acquired from the above, 7 November 1904).

Anton Mayer, Berlin and Weimar (acquired from the above, 7 November 1904, until at least 1916).

Paul and Gabrielle Oppenheim-Errera, Brussels and Princeton (1916); Estate sale, Christie’s, New York, 11 November 1997, lot 107.

Acquired at the above sale by the late owner.

Monet began painting scenes of London during a six-week visit in 1899. He returned to the English capital in 1900 and 1901 to resume the series he began there. In total, Monet painted over a hundred views of the city, but it was to the undulating structure of Waterloo Bridge that he devoted the largest number of canvases: 41 in total, more than half of which now belong to major museums across the world. Waterloo Bridge soleil voilé represents the bridge in the brilliant glow of the afternoon sun, which works to penetrate the lilac haze of the rainy city.

THOMAS HART

BENTON

(1889-1975)

Nashaquitsa

signed and dated ‘Benton 53’ (lower left) oil on canvas 22º x 27º in. (56.5 x 69.2 cm.) Painted in 1953

$1,500,000-2,500,000

PROVENANCE:

Jules Worthington, Martha’s Vineyard (acquired from the artist, 1956). Private collection, Brooklyn (acquired from the above, 2003). Andrew Thompson Fine Art, New York (acquired from the above, 2011). Acquired from the above by the late owner, 2011.

This work will be included in the forthcoming Thomas Hart Benton catalogue raisonné being prepared by the Thomas Hart Benton Catalogue Raisonné Foundation. Committee Members: Dr. Henry Adams, Jessie Benton, Anthony Benton Gude, Andrew Thompson and Michael Owen.

The seaside town of Martha’s Vineyard in Massachusetts was the preferred summer retreat of the American Regionalist painter Thomas Hart Benton. Here, the painter was liberated from the urban grit and rural poverty that informed the majority of his figurative work; he was free instead to engage with the natural beauty of the American coast. The present work depicts the nearby Nashaquitsa Pond, where Benton purchased a cottage in the 1950s: a pair of men and a young boy, all clad in swim trunks, are about to set sail towards the rising sun. The first owner of this work, Jules Worthington, was Benton’s neighbor on the Vineyard and acquired it from the artist in 1956.

DAVID

HOCKNEY

(B. 1937)

Winter Timber

signed, dated and titled ‘Winter Timber David Hockney 2009’ (on the reverse of the upper left canvas) oil on canvas, in 15 parts

Overall: 108 x 240 in. (274.3 x 609.6 cm.) Painted in 2009

$10,000,000-15,000,000

PROVENANCE: PaceWildenstein, New York.

Acquired from the above by the late owner, 2009.

This monumental panoramic landscape, measuring nearly twenty feet across, is one of the largest paintings ever completed by David Hockney, one of the world’s greatest living painters. Perhaps best known for his Californian poolscapes of the 1960s, Hockney eventually returned to England to paint the countryside of his native Yorkshire. Hockney painted the same woods in both winter and spring, dazzled by the changing light, and rendered his scenes in a bright Fauvist color palette. Winter Timber was exhibited at the seminal 2012 exhibition David Hockney RA: A Bigger Picture, at the Royal Academy of Arts, London, Guggenheim Bilbao, and the Museum Ludwig, Cologne.

RICHTER

(B. 1932)

Ohne Titel

signed, dated and inscribed ‘687-4 Richter 1989’ (on the reverse) oil on canvas

44¿ x 40º in. (112.1 x 102.2 cm.)

Painted in 1989

$6,000,000-8,000,000

PROVENANCE:

Anthony d’Offay Gallery, London.

Paolo Vedovi, Paris/Brussels (acquired from the above).

Private collection, Europe (acquired from the above, 1995).

Anon. sale, Sotheby’s, London, 26 June 2012, lot 11.

Private collection

Anon. sale, Christie’s, New York, 12 November 2014, lot 5.

Acquired at the above sale by the late owner.

After a brief period of painting photorealist landscapes, German painter Gerhard Richter returned to abstraction with total conviction. Ohne Titel, a dazzling gray-scale abstract, is punctuated with energetic drips and sparks of primary colors. The present untitled work demonstrates the artist’s variable painting technique of applying, scraping and squeegeeing paint onto the canvas, creating a surface rich with texture. This canvas was executed the same year as the artist’s first major retrospective at the Museum Boijmans Van Beuningen in Rotterdam.

O’KEEFFE

(1887-1986)

Autumn Leaf II

signed with initials ‘OK’ in the artist’s star device (on the original backing) oil on canvas

32 x 21 in. (81.3 x 53.3 cm.)

Painted in 1927

$4,000,000-6,000,000

PROVENANCE:

The Downtown Gallery, New York.

Mrs. Albert D. Lasker, New York (acquired from the above, 1961); sale, Sotheby Parke-Bernet, New York, 25 April 1980, lot 246.

Kennedy Galleries, Inc. and Robert Miller Gallery, Inc., New York (acquired at the above sale).

Thea Westreich Art Advisory Services, Inc., New York. Private collection (acquired from the above, 1984); sale, Sotheby’s, New York, 29 November 2012, lot 10.

Acquired at the above sale by the late owner.

Georgia O’Keeffe’s intimate magnifications of organic materials are perhaps the defining motif of her career. In the present work, dated to 1927, the artist forces the viewer to confront the interior of an autumnal leaf, deprived of its chlorophyll pigmentation and rendered a deep bronze color. The central veins and curled edges of the leaf are accented with a stunning range of reds, from burgundy to crimson to blood-orange. Other O’Keeffe leaf pictures, ranging from small oil studies to large-scale paintings, are now preserved in museums across the country, including the Art Institute of Chicago, the Milwaukee Art Museum, and the Phillips Collection in Washington, D.C.

TURNER, R.A.

(LONDON 1775-1851)

Depositing of John Bellini’s Three Pictures in La Chiesa Redentore, Venice

oil on canvas

29 x 45Ω in. (73.7 x 115.6 cm.)

Painted in 1841

$28,000,000-35,000,000

PROVENANCE:

Charles Birch, Westfield House, Edgbaston and Metchley Abbey, Harbourne near Birmingham.

Joseph Gillott, Birmingham (acquired from the above, December 1847).

Thomas Rought, London (acquired from the above, January 1849).

Lloyd Brothers and Co., London; sale, Foster, London, 13 June 1855, lot 60 (unsold).

Thomas Agnew & Sons, London (acquired from the above, 1857).

Richard Hemming, Bentley Manor, Bromsgrove (acquired from the above).

Mrs. Maude Cheape (née Hemming), Bentley Manor, Bromsgrove (by descent from the above).

Thomas Agnew & Sons, London (acquired from the above, 1892).

Sir John Pender, Middleton Hall, County Linlithgow, Foots Cray Place, Sidcup, Kent and Arlington House, London (acquired from the above); sale, Christie’s, London, 29-31 May 1897, lot 84.

J.P. Morgan, New York (acquired at the above sale, through Agnew, then by descent).

Myron Charles Taylor, U.S. Ambassador to the Vatican, New York (acquired from the above, circa 1947).

Wildenstein & Co. and Thomas Agnew & Sons, London (acquired from the above, 1961).

Colin Tennant, 3rd Baron Glenconner (acquired from the above, 1961).

Private collection (acquired from the above, 1969).

Marlborough International Fine Art Establishment.

Acquired from the above by the late owner, 16 June 1999.

Inspired by the work of the eighteenth-century Italian painter Canaletto, the British Academician J.M.W. Turner painted a series of romantic Venetian views following three trips to the north Italian city; the present work is the largest of these works painted after 1840. Unlike Canaletto, who was obsessed with perspectival clarity and architectural specificity, Turner was more interested in conjuring an atmospheric mood. When this painting was exhibited at the Royal Academy in London in 1841, it was praised by the Art Union journal as “a gorgeous picture; full of the highest and richest poetry.” It was quickly acquired by Charles Birch, one of the artist’s greatest patrons, and later in the twentieth century by the American financier J.P. Morgan.

PARRISH

(1870-1966)

Hilltop

signed and dated ‘Copyright 1926/Maxfield Parrish’ (lower left) oil on panel 35æ x 22º in. (91 x 56.5 cm.)

Painted in 1926

$2,000,000-3,000,000

PROVENANCE:

Private collection, Massachusetts; Estate sale, Christie’s, New York, 2 December 1988, lot 178.

American Illustrators Gallery, New York (acquired at the above sale).

Acquired from the above by the late owner, 1997.

The American illustrator Maxfield Parrish wrote to a friend his clear vision for the present work: two beautiful young girls clad in simple togas sit atop a hill and contemplate the surrounding landscape, suffused with the golden glow of the setting sun. The finished work invokes Arcadian landscapes, such as the French Classicism of Claude Lorrain or Nicolas Poussin; Parrish famously employed multiple layers of primer, paint and glaze to achieve the luminosity of an Old Master painting. Yet Parrish’s hilltop landscape is grounded in inspiration from the landscape surrounding his New England home, located near the border of New Hampshire and Vermont.

KANDINSKY

(1866-1944)

Tiefes Braun

signed with monogram and dated ‘24’ (lower left) oil on canvas

32æ x 28¬ in. (83.3 x 72.7 cm.)

Painted between April-June 1924

$10,000,000-15,000,000

PROVENANCE:

Karl Nierendorf, New York (by 1937).

The Solomon R. Guggenheim Museum, New York (acquired from the estate of the above, 1948).

Acquired from the above by the late owner, 7 March 2000.

Wassily Kandinsky began teaching at the Bauhaus art school in 1922. His interactions with the painters, photographers, architects, and designers there inspired the Russian painter to explore new frontiers of abstraction, as evidenced by his 1924 painting, Tiefes Braun. This exceptionally dynamic canvas is animated by overlapping lines and geometric shapes in a wide range of colors, contradicting the “dark brown” implied by the title. This work formerly belonged to the German art dealer Karl Nierendorf, whose entire estate— including the present work—was accessioned by The Solomon R. Guggenheim Museum in New York in 1948.

JOHNS

(B. 1930)

Numbers signed and misdated ‘J. Johns 1963-78’ (on the reverse) aluminum

57¡ x 43¬ in. (145.7 x 110.8 cm.)

Conceived in 1963 and cast in 1968

$15,000,000-20,000,000

PROVENANCE:

Acquired from the artist by the late owner, 2001.

Jasper Johns’s Numbers is a grid containing a sequence of digits from 0 through 9. This highly conceptual work, conceived in 1963 and cast in aluminum in 1968, exemplifies the artist’s interest in the formal qualities of everyday, often overlooked, forms and their inherent meaning. This work remained in Johns’s personal collection for over three decades before Paul G. Allen acquired it directly from the artist in 2001. Numbers was included in the 20212022 retrospective organized by the Philadelphia Museum of Art and the Whitney Museum of American Art, Jasper Johns: Mind/Mirror

DAVID

HOCKNEY

(B. 1937)

Queen Anne’s Lace Near Kilham

signed, dated and titled ‘David Hockney 2010/2011 Queen Ann’s [sic] lace near Kilham’ (on the reverse) oil on canvas

67 x 102º in. (170.2 x 259.7 cm.)

Painted in 2010-2011

$8,000,000-12,000,000

PROVENANCE:

LA Louver Gallery, Los Angeles.

Acquired from the above by the late owner, 2011.

David Hockney’s energetic return to depicting the English countryside in the early 2000s represented a pivotal point in the artist’s career. Rendered on an epic scale and in a joyous riot of color, Hockney’s landscapes are totally devoid of human figures—highly unusual for an artist who had built his reputation in part upon his incisive portraiture practice. Hockney’s ambitious canvases, including Queen Anne’s Lace Near Kilham challenge and contribute to the grand British tradition of landscape painting, which links Hockney to nineteenth-century painters like John Constable and J.M.W. Turner.

MAX

ERNST

(1891-1976)

Paysage avec lac et chimères

signed ‘Max Ernst’ (lower right) oil on canvas

20 x 26 in. (50.8 x 66 cm.)

Painted circa 1940

$2,000,000-3,000,000

PROVENANCE:

Peggy Guggenheim, New York.

Dwight Ripley, New York.

E.V. Thaw & Co., New York.

Leonard C. Yaseen, New York.

Serge Sabarsky Gallery, New York.

Acquavella Galleries, Inc., New York.

Gerrit Lansing, Connecticut.

Anon. sale, Christie’s, New York, 19 May 1981, lot 355.

Private collection, United States (acquired at the above sale); sale, Sotheby’s, London, 25 June 1991, lot 35.

Anon. sale, Christie’s, New York, 9 May 2000, lot 509.

Acquired at the above sale by the late owner.

Painted in 1940, Paysage avec lac et chimères was undoubtedly informed by the current events unfolding around Max Ernst, as well as his own internment in a French prison at the beginning of the Second World War. This bizarre, otherworldly landscape is filled with fantastical flora and fauna of both Ernst’s imagination and Greek mythology, including the titular Chimera—a hybrid lion, goat, and snake monster capable of breathing fire. The first documented owner of this Surrealist painting is the American collector Peggy Guggenheim, who helped Ernst flee war-torn Europe for New York in 1941.

BACON

(1909-1992)

Three Studies for Self-Portrait

signed, dated and titled ‘Study for Self-Portrait 1979 Francis Bacon’ (on the reverse of each canvas) triptych—oil on canvas

Each: 14 x 12 in. (35.6 x 30.5 cm.)

Painted in 1979

$25,000,000-35,000,000

PROVENANCE:

Marlborough Fine Art, Ltd., London.

Private collection, Europe (acquired from the above, 1979, then by descent).

Anon. sale, Christie’s, London, 8 December 1999, lot 72.

Acquired at the above sale by the late owner.

Francis Bacon produced just seven triptych self-portraits of this size in the 1970s; a similar work from 1979 resides in the collection of The Metropolitan Museum of Art in New York.

These haunting, highly expressive studies of the artist’s own face, viewed from three different angles, are in fact portraits of mourning: they were produced in the wake of the premature death of his love and muse, George Dyer. Painted in hues of cadmium orange, one of the artist’s favorite colors, this work sees Bacon deconstruct his own likeness, his features distorted by grief. In this sense, Bacon inserts himself into a grand lineage of artistic selfportraiture, which includes Rembrandt and Picasso.

BOURGEOIS

(1911-2010)

Black Flames

stamped with initials, numbered and stamped with foundry mark ‘3/6 L.B.’ (lower edge) bronze, paint and stainless steel Height: 69Ω in. (176.5 cm.)

Conceived in 1947-1949 and cast in 1989. This work is number three from an edition of six plus an artist’s proof. $1,500,000-2,500,000

PROVENANCE: The artist.

Cheim & Read, New York.

Acquired from the above by the late owner, 1999.

Around 1947, the French-American sculptor Louise Bourgeois conceived a nearly six-foottall totemic sculpture entitled Black Flames, the original painted wood version of which is preserved in the collection of the Philadelphia Museum of Art. The present work is a painted bronze cast, the third in an edition of six, as well as an artist’s proof, from 1989. This sleek bronze cast, comprised of various twisted forms fused together, was exhibited in the Musée d’Art Contemporain de Montréal, Louise Bourgeois: The Locus of Memory in 1996.

TANSEY

(B. 1949)

Bridge Over the Cartesian Gap

signed, dated and titled ‘Tansey 1990 ‘Bridge over the Cartesian Gap’ (on the reverse) oil on canvas

87 x 108 in. (221 x 274.3 cm.)

Painted in 1990

$3,000,000-5,000,000

PROVENANCE:

Curt Marcus Gallery, New York.

Diane Keaton, Los Angeles.

Curt Marcus Gallery, New York.

Private collection, United States.

Anon. sale, Christie’s, New York, 12 November 2013, lot 55.

Acquired at the above sale by the late owner.

The early work of the American painter Mark Tansey was heavily influenced by the example of René Magritte. His 1990 monochromatic painting, Bridge Over the Cartesian Gap, for example, depicts a stone bridge that appears to float over a sky filled with clouds. A few intrepid figures traverse the bridge, which is inscribed with snippets of illegible text. Like his Belgian Surrealist predecessor, Tansey is interested in the imaginative possibilities of figurative and landscape paintings, as well as the combination image and text. This work was featured in Tansey’s solo exhibition, which traveled to several major museums, from the Los Angeles County Museum of Art to the Museum of Fine Arts, Boston, from 1993 to 1994.

CANALETTO

(VENICE 1697-1768)

The Grand Canal, Venice, Looking South-East from San Stae to the Fabbriche Nuove di Rialto

oil on canvas

18Ω x 30 ¬ in. (47 x 77.8 cm.)

$2,500,000-3,500,000

PROVENANCE:

(Probably) Joseph Smith, later British Consul, Venice.

(Probably) Daniel H. Farr, Philadelphia.

Alfred Pillsbury, Minneapolis.

Minneapolis Institute of Arts, Minneapolis.

Rosenberg and Stiebel, New York (by 1957).

Acquired in 1959 for the Thyssen-Bornemisza Collection, Castagnola, Switzerland.

Private collection, United Kingdom (acquired from the above, circa 1980); sale, Christie’s, London, 4 July 1997, lot 120.

Acquired at the above sale by the late owner.

Canaletto built his career on painting urban views of Venice; the resulting canvases, as well as cheaper print reproductions, were often purchased as souvenirs by foreigners. The first owner of the present painting was likely the amateur Joseph Smith, who published a series of prints after Canaletto’s paintings that served to popularize the artist’s work among British tourists. This canvas, which was executed in the late 1730s and engraved in print, depicts the Grand Canal in Venice, facing south-east; the facades of the Baroque church of San Stae and the Renaissance commercial center of the Fabbriche Nuove di Rialto are both visible in this picture.

TURNER, R.A.

(LONDON 1775-1851)

The Lungernsee by Moonlight, Switzerland

pencil and watercolor with some pen dipped in color, on wove paper watermarked ‘JWhatman/ 1846’ 15º x 22º in. (38.4 x 56.2 cm). Executed circa 1848

$2,500,000-3,500,000

PROVENANCE:

Sophia Caroline Booth.

Lewin Barned Mozley; sale, Christie’s, London, 27 May 1865, lot 183 (titled A Mountain Lake in Switzerland; evening effect; to Vokins). with Thomas Agnew and Sons, London.

John Heugh; sale, Christie’s, London, 24 April 1874, lot 83 (titled Lake Nemi, to Agnew). with Thomas Agnew & Sons, London.

John Knowles (acquired from the above); sale, Christie’s, London, 19 May 1877, lot 92 (to Agnew). with Thomas Agnew & Sons, London.

William Carver (acquired from the above). Mrs. Williams.

C.W. Dyson Perrins.

Anon. sale, Sotheby’s, London, 26 April 1959, lot 68. Leggatt and Agnew (acquired at the above sale). Mrs. C. W. Garnett (by 1967).

with Richard Green, London.

Guy and Myriam Ullens; sale, Sotheby’s, London, 4 July 2007, lot 4.

Acquired at the above sale by the late owner.

J.M.W. Turner painted this majestic watercolor aged seventy-three, based upon his sketches and memories of Switzerland, which he had visited as a younger man. The setting depicted in this sheet has only recently been identified as the Lungernsee, a picturesque lake in the midst of the Swiss Alps. This exceptionally romantic vision of the lake, illuminated by the glow of the moonlight, is suffused with nostalgia. This sheet, which demonstrates Turner’s exceptional skill in painting with watercolor, was included in a 2000 exhibition at the Royal Academy of Arts in London exclusively devoted to Turner’s work in this medium.

JASPER

JOHNS

(B. 1930)

Usuyuki

signed and dated ‘Jasper Johns 1979-’81’ (on the reverse of the left canvas) triptych—oil and charcoal on canvas, in artist-appointed frame

Each canvas: 27¡ x 15º in. (69.5 x 38.7 cm.)

Framed: 29 ¡ x 49º in. (74.6 x 125.1 cm.)

Executed in 1979-1981

$10,000,000-15,000,000

PROVENANCE:

Leo Castelli Gallery, New York.

Douglas S. Cramer, Miami (acquired from the above, by May 1983).

Samuel and Ronnie Heyman, New York (acquired from the above, 1998).

Acquired from the above by the late owner, 2015.

Usuyuki, Japanese for light snow, is a triptych painting of oil and charcoal on canvas. The composition is comprised of densely arranged, linear strokes of paint in pale, kaleidoscopic colors. This repetitive, non-objective painting technique marks an important shift in the artist’s work, away from the highly conceptual and gestural paintings of the 1960s and 1970s.

An earlier encaustic and collage iteration of Usuyuki belongs to the Cleveland Museum of Art, and a number of related prints belong to other public collections.

FRANCIS

(1923-1994)

Composition in Blue and Black

oil on canvas

77 x 51º in. (195.6 x 130.2 cm.)

Painted in 1955

$4,000,000-6,000,000

PROVENANCE:

Arthur Tooth & Sons Gallery, London.

E.J. Power, London.

Ronald O. Perelman, New York (1994).

Gagosian Gallery, New York.

Acquired from the above by the late owner.

The American painter Sam Francis spent much of the 1950s living in Paris, and it was there that he painted Composition in Blue and Black This painting is composed for a mosaic of interlocking, gestural brushstrokes as well as incidental drips—the combination of which creates the illusion of both chance and control. The deep blues applied in fluid swoops invoke the movement of water; in this sense, Francis was certainly seduced by the vivid color and increasing abstraction of the French Impressionist painter Claude Monet’s late work.

Composition in Blue and Black was included in the seminal exhibition, The New American Painting at The Museum of Modern Art in New York in 1958.

DAVID

HOCKNEY

(B. 1937)

The Conversation

signed, titled and dated ‘The Conversation 1980 David Hockney’ (on the reverse)

acrylic on canvas

60 x 60 in. (152.4 x 152.4 cm.)

Painted in 1980

$5,000,000-7,000,000

PROVENANCE:

Gilbert de Botton, London.

Private collection, Chicago (by 2002).

Private collection, Chicago (acquired from the above, 2012).

Richard Gray Gallery, Chicago

Acquired from the above by the late owner, 2016.

David Hockney is undoubtedly one of the greatest figurative painters of the twentieth century. His 1980 painting, The Conversation, is a brilliantly-colored example of his famous double portraits, depicting pairs of close friends and members of his broader social network. This duo is the first curator of twentieth-century art at The Metropolitan Museum of Art, Henry Geldzahler and the writer and editor Raymond Foye. Their close proximity and casual body language suggests they are engaged in an intense, yet intimate discourse—the exact tenor of which remains obscure.

MIRO (1893-1983)

Oiseau

signed and numbered ‘Miró 4/6’ (on the left leg); inscribed with foundry mark ‘FONDERIA BONVICINI VERONA ITALIA’ (on the right leg) bronze with dark brown patina

Height: 78æ in. (200 cm.)

Conceived in 1981 and cast in 1986

$4,000,000-6,000,000

PROVENANCE:

Galerie Maeght-Lelong, Paris.

Danese Gallery, New York.

Acquired by the late owner, 1999.

For Miró, sculpture offered the opportunity to create what he called “a truly phantasmagoric world of living monsters”—and the present work is no exception. His Oiseau is an over-sixfoot-tall bronze sculpture representing an abstract, reptilian-avian hybrid creature, with flamboyant comb of a rooster and the sharp spikes of a dinosaur. The artist only began to create bronze works on this monumental scale in the 1960s, but these “living monsters” soon came to dominate his artistic production. The present sculpture was conceived in 1981 and cast in 1986. Of the seven casts of the present sculpture, three are now in museums, including The Iris & B. Gerald Cantor Center for Visual Arts at Stanford University; The Houston Museum of Fine Arts, and the Jeddah Sculpture Museum.

THIEBAUD

(1920-2021)

Café Cart

signed and dated ‘♡ Thiebaud 2012’ (lower left); signed and dated again ‘♡ Thiebaud 2012’ (on the reverse) oil on canvas

30 x 40 in. (76.2 x 101.6 cm.)

Painted in 2012

$3,000,000-5,000,000

PROVENANCE:

Acquavella Galleries, Inc., New York.

Acquired from the above by the late owner, 2012.

Inspired by the idea of memory and nostalgia, American artist Wayne Thiebaud painted delicious still-lifes of baked goods beginning in the 1960s. The present work depicts eight different plated desserts—cakes, pies, candies etc.—on a café cart, covered by a crisp white linen tablecloth. Thiebaud applied oil paint like a rich buttercream, generously frosting his forms with thick, rich facture of dazzling color.

PART II

CALDER

102 PABLO PICASSO

(1881-1973)

Femme

$60,000-80,000

MCARTHUR BINION

105 YAYOI KUSAMA (B. 1929)

Infinity Nets (T.W.A)

signed, titled and dated 'Yayoi Kusama 2000 Infinity Nets (T.W.A)' (on the reverse) acrylic on canvas

76º x 102 in. (193.7 x 259.1 cm.)

Painted in 2000

$1,800,000-2,500,000

106 PABLO PICASSO

(1881-1973)

La belle et la Bête

signed, dated and inscribed ‘Picasso Cannes 27 Juillet XXXIII-’ (lower left) gouache, watercolor and pen and brush and India ink on paper 15√ x 20 in. (40.2 x 50.8 cm.)

Executed in Cannes on 27 July 1933

$1,200,000-1,800,000

Claude Picasso has confirmed the authenticity of this work.

GIACOMETTI

ALEXANDER CALDER

(1898-1976)

Disques Verticales

hanging mobile—sheet metal, wire and paint 40 x 43 in. (101.6 x 109.2 cm.)

Executed circa 1948

$2,000,000-3,000,000

This work is registered in the archives of the Calder Foundation, New York, under application number A13646.

MAN RAY

(1890-1976)

Swedish Landscape, 1925

unique gelatin silver print signed and dated 'Man Ray 1925' in ink (lower right image); signed and dated 'Man Ray 25' in pencil (lower right mount, recto); signed, dated and titled 'Swedish Landscape / Man Ray / Paris 1925' in ink, stamped photographer's credit 'MAN RAY / 31 Bis Rue / Campagne / Première studio / Paris' in red ink and 'ORIGINAL' in black ink (lower right on the reverse); annotated 'Top' in pencil by the artist (top center on the reverse); signed, dated, titled and annotated 'Swedish Landscape / Man Ray 1925 / ORIGINAL' in pencil (on the reverse of the mount); credited, titled, and dated on affixed gallery labels (frame backing board) image/sheet: 9¼ x 11⅝ in. (23.4 x 29.5 cm.) mount: 19 x 15⅞ in. (48.2 x 40.3 cm.)

$300,000-500,000

MARK TANSEY

(B. 1949)

Literalists Discarding

signed

Image:

Sheet:

$35,000-45,000

MARK TANSEY

(B. 1949)

Intermission

signed

toner

Image:

Sheet:

$40,000-60,000

JASPER JOHNS

(B. 1930)

Untitled

114 PABLO PICASSO

(1881-1973)

Tripode (A.R. 125)

stamped ‘Madoura Plein Feu/Edition Picasso’ (underneath); numbered ‘66/75’ (on the left leg) white earthenware ceramic vase, partially engraved, with colored engobe and glaze

Height: 29æ in. (75.6 cm.)

Conceived in

and executed in a numbered

of

MAGRITTE

Stimulation objective

$1,500,000-2,500,000

116 GERHARD RICHTER

(B. 1932)

Abstraktes Bild

signed, inscribed and dated

Painted

$3,000,000-5,000,000

KLEE

Kunststücke der Tiere (Für Florina)

signed with initial 'K'(lower right); dated, titled and numbered ‘1921/7 Kunststücke der Tiere (für Florina)’ (on the artist's mount) oil transfer and watercolor on paper mounted by the artist on card Sheet size: 6 x 10Ω in. (15.4 x 26.6 cm.)

Mount size: 7Ω x 12 in. (19.2 x 30.3 cm.)

Executed in 1921

ED RUSCHA (B. 1937)

Fiber-Optic Suburbs

signed and dated 'Ed Ruscha 1989' (lower right) acrylic, spray acrylic and graphite on card Sheet: 30¿ x 40¿ in. (76.5 x 101.9 cm.)

Image: 26 x 36 in. (66 x 91.4 cm.)

Executed in 1989

$180,000-250,000

Cans

THIEBAUD

the

120 ALBERTO GIACOMETTI

(1901-1966)

Diego (Tête sur socle cubique)

signed and numbered 'Alberto Giacometti 6/6' (on the right of the base);

with foundry mark ‘Susse Fondeur Paris’ (on the back of the base)

with brown and green patina

in. (30.3

Conceived

The

Giacometti

Mitosis

NOGUCHI

ANDRÉ KERTÉSZ

(1894-1985)

Cello Study, 1926

gelatin silver print, mounted on board signed 'A. Kertész' in pencil (lower center mount, recto); signed 'Andre Kertész', annotated and dated '5 rue de Vanves / Paris 14c / 1927' in ink and pencil (top center on the reverse of the mount); credited and titled on affixed label (frame backing board)

image/sheet: 8⅛ x 1⅝ in. (20.6 x 4.1 cm.)

12º x 7 in. (31.1 x 17.7 cm.)

CLAES OLDENBURG

JOHNS

ANTONI TÁPIES

PAUL KLEE

Die Schlange auf der Leiter

128 GEORGIA O'KEEFFE

(1887-1986)

Sand Hill, Alcalde

129

WAYNE THIEBAUD

(1920-2021)

Cigar in Ashtray

signed and dated 'Ɔ Thiebaud 1973' (lower center)

on canvas

17 x 13¿ in. (43.2 x 33.3 cm.)

Painted in 1973

$1,200,000-1,800,000

130 THOMAS HART BENTON

(1889-1975)

Spring Ploughing

signed 'Benton' (lower right)

on canvas

22¡ x 30º in. (56.8 x 76.8 cm.)

Painted circa 1940

$1,500,000-2,500,000

This work will be included in the forthcoming Thomas Hart Benton catalogue raisonné being prepared by the Thomas Hart Benton Catalogue Raisonné Foundation. Committee Members: Dr. Henry Adams, Jessie Benton, Anthony Benton Gude, Andrew Thompson and Michael Owen.

ERIC FISCHL

YAYOI KUSAMA (B. 1929)

Infinity-Nets (KMNG)

134 BRIDGET RILEY

(B. 1931)

Arcane

and dated 'Riley

and dated again 'Arcane

the lower left turning edge); signed again,

Riley' (on the reverse); signed again

titled again 'Arcane Riley' (on the stretcher)

on

JOSEPH KOSUTH

1945)

‘Titled (A.A.I.A.I.)’ [text-context]

Each:

136 AGNES MARTIN (1912-2004)

Untitled

and dated

and

martin

(on the reverse)

in.

$50,000-70,000

SAUL STEINBERG

EDWARD HOPPER

JEAN DUBUFFET

141 LAWREN STEWART HARRIS (1885-1970)

Mountain Sketch LXIII

signed 'Lawren/ Harris' (lower left) oil on board

12 x 15 in. (30.5 x 38.1 cm.)

Painted circa 1928

$400,000-600,000

This work will be included in the forthcoming Lawren S. Harris Inventory Project being compiled by Alec Blair.

142 LAWREN STEWART HARRIS

(1885-1970)

From Berg Lake, Morning

signed and inscribed twice ‘Lawren Harris Sketches of Mount Robson

From Berg Lake, Morning’ (on the reverse) oil on board

12 x 15 in. (30.5 x 38.1 cm.)

Painted in 1929

$400,000-600,000

This work will be included in the forthcoming Lawren S. Harris Inventory Project being compiled by Alec Blair.

HENRI DE TOULOUSE-LAUTREC

Monsieur Emile Davoust

signed 'HTLautrec' (lower left)

over pencil on board laid down on board

x 10Ω in. (38 x 26.7 cm.)

in

$700,000-1,000,000

144 FRANK AUERBACH

(B. 1931)

Head of Jake II

signed and dated 'Auerbach 97' (lower left) graphite on paper

¿ x 22Ω in. (76.5 x 57.2 cm.)

in 1997

$60,000-80,000

JACKSON POLLOCK

147

MAX ERNST

(1891-1976)

Deux et

Height:

Conceived

148

ALEXANDER CALDER

(1898-1976)

Two-Toned Moon

signed with artist's monogram twice and dated

(on the red element and the black base)

mobile—sheet metal, wire and paint

Executed

This work is registered in the archives of the Calder Foundation, New York, under application number A04801.

WAYNE THIEBAUD

Untitled (Sardines)

LIPCHITZ

153 EDWARD HOPPER

(1882-1967)

The Lily Apartments

signed 'Edward Hopper/New York' (lower right)

and

x 20 in. (35.6

on

$1,200,000-1,800,000

154 PAUL SIGNAC

(1863-1935)

Paris, Le Pont-Neuf

stamped with signature ‘P. Signac’ (lower right)

over pencil on paper

¬ x 17¡ in. (29.5 x

Executed

$6,000-8,000

cm.)

Marina Ferretti has confirmed the authenticity of this work.

SISLEY

JULES BASTIEN-LEPAGE

Marchande

JOHN MEYER

Waterberg Wanderings

158 ANDREAS GURSKY (B. 1955)

Bibliothek

DAMIEN HIRST

1965)

Barium

MARK GROTJAHN

(B. 1968)

Untitled (Crimson Red and Canary Yellow Butterfly 45.93)

ED RUSCHA

(B. 1937)

Spinning of Z's

signed and dated 'Ed Ruscha

pigment and acrylic on paper

40º x 60 in. (102.2 x 152.4 cm.)

Image: 36æ x 56 in. (93.3 x 142.2 cm.)

in

(lower right)

162 GARY HILL

(B. 1951)

Untitled (Fat Man & Little Boy)

glass, in two parts

Larger element: 20º x 20º x 33 in. (51.4 x 51.4 x 83.8 cm.)

Smaller element: 13º x 13º x 36 in. (33.7 x 33.7 x 91.4 cm.)

Executed in 2014. This work is number one from an edition of three plus

artist's proof.

$20,000-30,000

IRVING PENN

Hands of Miles Davis and His Trumpet, New York, July 1,1986

selenium toned gelatin silver print, printed 1998 signed 'Irving Penn' and annotated 'PRINT MADE NOV. 4, 1998,' in pencil

right on the reverse); dated 'July 18, 1986' and titled '12 HANDS OF MILES DAVIS AND HIS TRUMPET / [NEW YORK, JULY 1, 1986] in pencil (upper center on the reverse); numbered '18383' in pencil (upper left on the reverse); credited, titled and dated on affixed label (frame backing board)

23Ω x 18 º in. (59.6 x 46.3 cm.)

This work is from an edition of seventeen.

DAMIEN HIRST

Beautiful,

LIPCHITZ

NANCY RUBINS

RUSCHA

ANISH KAPOOR

(B. 1954)

PAUL STRAND

Mullein

$300,000-500,000

173

JACOB HENDRIK PIERNEEF

(1886-1957)

Kransberg, Rustenburg,

174 JACOB HENDRIK PIERNEEF

(1886-1957)

Acacias with Kranskop Beyond, Limpopo Province

signed and dated

$50,000-70,000

JACOB HENDRIK PIERNEEF

(1886-1957)

176 MILTON AVERY

(1885-1965)

Cactus

JOAN MIRO

Statue

$500,000-700,000

178 SAM FRANCIS

(1923-1994)

Untitled

THOMAS STRUTH

180 LI HUAYI

(B.

MASON

HENRI MARTIN

JOHN LAVERY, R.A.,

R.H.A.

A Villa on the

Lavery'

the

184 ODILON REDON

(1840-1916)

Saint Jean

signed

185 Y. Z. KAMI

(B. 1956)

Untitled (Maryam)

186

GUILLERMO KUITCA

(B. 1961)

19 Works (from Diarios)

Each

FRED TOMASELLI

Gravity in Four Directions

signed and dated 'Fred Tomaselli 2001' (on the reverse) leaves, pills, printed paper, acrylic and resin on wood 72 x 72 in. (182.9 x 182.9 cm.)

Executed in 2001

$100,000-150,000

BAISHI

Crabs by Taro Leaves

inscribed and signed, with one seal of the artist scroll, mounted and framed, ink on paper 39 x 13 ¡ in. (99 x 34 cm.)

three collector's seals, including two of He Guanwu (20th century) and one of Alice Boney (1901-1998)

$80,000-120,000

REDON

MAXFIELD PARRISH

Reveries

PAOLO PANINI

192

JOHN SINGER SARGENT

An

MILTON AVERY

(1885-1965)

Dancing Trees

and

194 BRUCE NAUMAN

(B. 1941)

Partial Truth

signed and dated ‘B Nauman

99’ (lower right); embossed stamped ‘© II’ (lower left)

on German etching paper

19 x 24 in. (48.3 x 61 cm.)

Executed in 1999. This work is number fifty-one from an edition of sixty (there were also ten artist’s proofs). Published by Gemini G.E.L., Los Angeles, with their blindstamps and ink stamp on the reverse.

$3,000-5,000

INDEX

A

Auerbach 144

Avery 176, 193

B Bacon 52

Bastien-Lepage 156

Benton 42, 130

Binion 104

Bonnard 13

Botticelli 25

Bourgeois 53

Brueghel 36

C

J

P

Johns 29, 30, 49, 57, 113, 125

K

Kami 185

Kapoor 170

Kertész 122

Klee 15, 38, 117, 123, 127

Klimt 17 Kosuth 135

Kuitca 186

Kusama 105, 133

L

Panini 191 Parrish 47, 190 Penn 164

Picasso 1, 10, 102, 106, 114 Pierneef 173, 174, 175 Pollock 146

Q Qi 188 R

Redon 184, 189

Calder 2, 101, 109, 148

Canaletto 24, 55

Cezanne 14

Cross 26

D Dalí 23

Dubuffet 140

E

Lavery 183

Le Sidaner 21 Li 180 Lichtenstein 151 Lipchitz 152, 167

M

Magritte 3, 20, 115 Man Ray 110

Manet 27

Ernst 40, 51, 147

F

Fischl 132

Francis 58, 103, 178

Freud 34 G

Gauguin 11

Giacometti 32, 108, 120

Grotjahn 160

Gursky 158

H Harris 141, 142

Hepworth 19

Hill 162

Hirst 159, 166

Hockney 5, 43, 50, 59

Hopper 138, 153

Marden 39 Martin 18, 136, 182

Mason 181 Meyer 157

Miró 60, 177

Monet 41 Moran 107

N

Richter 31, 44, 116 Riley 134 Rivera 37 Rubins 168 Ruscha 118, 161, 169 S

Sargent 12, 192

Seurat 7, 8, 139

Signac 6, 154

Sisley 155

Steichen 4 Steinberg 137, 165 Stella 149 Strand 172 Struth 179

T

Tanguy 35

Tansey 54, 111, 112

Nauman 163, 194 Noguchi 121

O

Thiebaud 61, 119, 129, 150 Thompson 171 Tomaselli 187

O’Keeffe 9, 28, 45, 128 Oldenburg and van Bruggen 124

Opalka 145

Toulouse-Lautrec 143 Tápies 126 Turner 46, 56

V Van Gogh 16, 22 W

Wyeth 33

ILLUSTRATIONS

FRONT COVER

Lot 8

Georges Seurat, Les Poseuses, Ensemble (Petite version) 1888.

FRONTISPIECE ONE

Lot 22

Vincent van Gogh, Verger avec cyprès 1888.

FRONTISPIECE TWO

Lot 25

Alessandro Filipepi, called Sandro Botticelli, Madonna of the Magnificent 1444/5-1510.

FRONTISPIECE THREE

Lot 11 Paul Gauguin, Maternité II 1899.

FRONTISPIECE FOUR

Lot 17 Gustav Klimt, Birch Forest 1903.

FRONTISPIECE FIVE

Lot 41 Claude Monet, Waterloo Bridge, soleil voilé, 1899-1903.

FRONTISPIECE SIX

Lot 48

Wassily Kandinsky, Tiefes Braun 1924. © 2022 Artists Rights Society (ARS), New York.

FRONTISPIECE SEVEN

Lot 4 Edward Steichen, The Flatiron 1904, printed 1905.

FRONTISPIECE EIGHT

Lot 37 Diego Rivera, The Rivals 1931. © 2022 Banco de México Diego Rivera & Frida Kahlo Museums Trust, México, D.F./Artists Rights Society (ARS), New York.

FRONTISPIECE NINE

Lot 32

Alberto Giacometti, Femme de Venise III 1956, cast in 1958. © 2022 Alberto Giacometti Estate / Licensed by VAGA and ARS, New York.

OPPOSITE SUSTAINABILITY PAGE

Lot 27

Edouard Manet, Le Grand Canal à Venise 1874.

OPPOSITE SALE INFO PAGE

Lot 30 Jasper Johns, Small False Start 1960. © 2022 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY.

PAGES 16-17

Lot 34

Lucian Freud, Large Interior, W11 (After Watteau) 19811983. © The Lucian Freud Archive. All Rights Reserved 2022 / Bridgeman Images.

PAGE 18 Lot 6

Paul Signac, Concarneau, calme du matin (Opus no. 219, larghetto) 1891.

PAGES 34-35

Lot 8

Georges Seurat, Les Poseuses, Ensemble (Petite version) 1888.

PAGES 42-43

Lot 11

Paul Gauguin, Maternité II 1899.

PAGES 50-51

Lot 14

Paul Cezanne, La Montagne Sainte-Victoire 1888-1890.

PAGES 58-59

Lot 17

Gustav Klimt, Birch Forest 1903.

PAGES 70-71

Lot 22

Vincent van Gogh, Verger avec cyprès, 1888.

PAGES 96-97

Lot 34 Lucian Freud, Large Interior, W11 (After Watteau) 19811983. © The Lucian Freud Archive. All Rights Reserved 2022 / Bridgeman Images.

PAGES 114-115 Lot 41 Claude Monet, Waterloo Bridge, soleil voilé 1899-1903.

PAGE 158 Lot 107 Thomas Moran, Glorious Venice 1888.

PAGE 159 Lot 143 Henri De Toulouse Lautrec, Monsieur Emile Davoust 1889.

PAGE 160 Lot 115

René Magritte, Stimulation Objective, 1938-1939.

© 2022 C. Herscovici Artists Rights Society (ARS), New York.

PAGE 161 Lot 138 Edward Hopper, Gloucester Roofs 1928. © 2022 Heirs of Josephine Hopper / Licensed by VAGA at Artists Rights Society (ARS), NY.

PAGES 162-163 Lot 149 Frank Stella, Hermosa Beach 1966. © 2022 Frank Stella / Artists Rights Society (ARS), New York.

PAGE 164 Lot 130

Thomas Hart Benton, Spring Ploughing circa 1940. © 2022 Thomas Hart Benton Trust/Licensed by VAGA, New York, NY.

PAGE 165 Lot 139 Georges Seurat, En marche, circa 1882.

PAGE 166 Lot 119 Wayne Thiebaud, Paint Cans 1988. © 2022 Wayne Thiebaud / Licensed by VAGA at Artists Rights Society (ARS), NY.

PAGE 167 Lot 124

Claes Oldenburg and Coosje van Bruggen, Typewriter Eraser, Scale X 1998-1999. © 1998-1999 Claes Oldenburg and Coosje van Bruggen. Photo: Spike Mafford © 3.31.2019.

PAGE 168 Lot 140

Jean Dubuffet, L’homme au papillon, 1954. © 2022 Artists Rights Society (ARS), New York / ADAGP, Paris.

PAGE 169 Lot 120

Alberto Giacometti, Diego, (tête sur socle cubique), conceived in 1958, cast in 1960. © 2022 Alberto Giacometti Estate / Licensed by VAGA and ARS, New York.

PAGES 170-171 Lot 105 Yayoi Kusama, Infinity Nets (T.W.A) 2000. © Yayoi Kusama. Courtesy of David Zwirner, New York; Ota Fine Arts, Tokyo / Singapore / Shanghai; Victoria Miro, London / Venice; YAYOI KUSAMA Inc.

PAGE 172 Lot 116 Gerhard Richter, Abstraktes Bild 1997. © Gerhard Richter 2022 (0213).

PAGE 197 Lot 124

Claes Oldenburg and Coosje van Bruggen, Typewriter Eraser, Scale X 1998-1999. © 1998-1999 Claes Oldenburg and Coosje van Bruggen. Photo: Spike Mafford © 3.31.2019.

PAGE 271 Lot 4

Edward Steichen, The Flatiron 1904, printed 1905.

INSIDE BACK COVER Lot 48

Wassily Kandinsky, Tiefes Braun 1924. © 2022 Artists Rights Society (ARS), New York.

BACK COVER Lot 14

Paul Cezanne, La Montagne Sainte-Victoire 1888-1890.