London 20-21 Century: March 2023

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EVENING SALE

Tuesday, 28 February 2023, 2.00pm GMT 8 King Street, St. James’s London SW1Y 6QT

VIEWING

Wednesday 22 February 9.00am - 5.00pm

Thursday 23 February 9.00am - 8.00pm

Friday 24 February 9.00am - 5.00pm

Saturday 25 February 12.00pm - 5.00pm

Sunday 26 February 12.00pm - 5.00pm

Monday 27 February 9.00am - 5.00pm

AUCTIONEERS

Jussi Pylkkänen and Veronica Scarpati

IMPRESSIONIST AND MODERN ART

Michelle McMullan Co-Head of Sale + 44 (0)20 7389 2137 mmcmullan@christies.com

Veronica Scarpati Specialist

+44 (0)20 7389 2365 vscarpati@christies.com

Olivia Vonberg Junior Specialist +44 (0)20 7389 2745 ovonberg@christies.com

COPYRIGHT NOTICE

No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Christie’s. © COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2023)

TICKETS

Admission to this sale is by ticket only. To reserve tickets, please email ticketinglondon@christies.com. Alternatively, please call Christie’s Client Service on +44(0)20 7839 9060

POST-WAR AND CONTEMPORARY ART

Claudia Schürch Co-Head of Sale +44 (0)20 7389 2889 cschurch@christies.com

Isabel Millar Specialist +44 (0)20 7389 2866 imillar@christies.com

Martha Meshoulam Cataloguer

+44 (0)20 7389 2017 mmeshoulam@christies.com

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as: TWINS -21609

SALE COORDINATORS

Liam Redmond + 44(0)20 7752 3072 lredmond@christies.com

Benedetta Fusco +44 (0)20 7752 3218 bfusco@christies.com

POST SALE SERVICES

Payment, Shipping and Collection

Tel: +44 (0)20 7752 3200 Fax: +44 (0)20 7752 3300

PostSaleUK@christies.com

CONDITIONS OF SALE

Opposite: Lot 18, Gerhard Richter, Abstraktes Bild (704-2), 1989 (detail)

In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.

The sale for each lot is subject to the Conditions of Sale, Important Notices and Explanation of Cataloguing Practice, which are set out in this catalogue and on christies. com. Please note that the symbols and cataloguing for some lots may change before the auction.  For the most up to date sale information for a lot, please see the full lot description, which can be accessed through the sale landing page on christies.com

With special thanks to Lorenzo Brunetti, Sarah Willis and Charles Capstick-Dale for their assistance researching the sale.

MICHAELA YEARWOOD-DAN (B. 1994)

Love me nots

signed, titled and dated ‘”Love me nots” Michaela Yearwood-Dan 2021’ (on the reverse); signed and dated ‘MICHAELA YEARWOOD-DAN ‘21’ (on the stretcher) oil, acrylic, ink, embroidery and gold leaf on canvas 78æ x 59¿in. (200 x 150cm.)

Executed in 2021

£40,000-60,000

US$50,000-74,000

€45,000-67,000

PROVENANCE:

Tiwani Contemporary, London. Acquired from the above by the present owner.

CRISTINA BANBAN (B. 1987)

La Fatiga Que Me Das (You Exhaust Me)

signed with the artist’s initials ‘CB’ (lower right); signed, titled and dated ‘CRISTINA BANBAN 2019 ‘LA FATIGA QUE ME DAS’’ (on the reverse)

acrylic on canvas 59¿ x 71in. (150.1 x 180.4cm.) Painted in 2019

£50,000-70,000

US$62,000-86,000

€57,000-79,000

PROVENANCE:

WOAW Gallery, Hong Kong. Private Collection, Asia. Acquired from the above by the present owner.

EXHIBITED: Hong Kong, WOAW Gallery, Cristina BanBan, 2020.

λ*3

CAROLINE WALKER (B. 1982)

The Puppeteer signed, titled and dated ‘‘THE PUPPETEER’ Caroline Walker 2013’ (on the reverse) oil on linen

71 x 94¡in. (180.2 x 239.8cm.)

Painted in 2013

£150,000-200,000

US$190,000-250,000

€170,000-220,000

PROVENANCE: ProjectB Gallery, Milan. Acquired from the above by the present owner in 2013.

EXHIBITED:

Milan, ProjectB Gallery, Glass to the Wall, 2013.

LITERATURE:

M. Livingstone, J. Neal and M. Price, Caroline Walker: In Every Dream Home, Wakefield 2013, pp. 13 and 69 (illustrated in colour, p. 68; installation view illustrated in colour, p. 78).

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

EWA JUSZKIEWICZ (B. 1984) Sisters

signed, titled and dated ‘Ewa Juszkiewicz 2014 "Sisters"’ (on the reverse) oil on canvas

56 x 45æin. (142.3 x 116.1cm.)

Painted in 2014

£300,000-500,000

US$380,000-620,000

€340,000-560,000

PROVENANCE:

lokal_30, Warsaw.

Acquired from the above by the present owner in 2015.

EXHIBITED:

Beijing, National Art Museum of China, State of Life: Polish Contemporary Art within a Global Circumstance, 2015.

Bielsko-Biala, Galeria Bielska BWA, Ewa Juszkiewicz, The Descent Beckons, 2015, p. 106 (illustrated in colour, p. 7; installation views illustrated in colour, pp. 88 and 105).

LITERATURE:

K. Beers, 100 Painters of Tomorrow, London 2014. L. Qi, 'Polish modern art shows social changes over time', in China Daily, 16 June 2015 (illustrated in colour).

Z. Krawiec, ''Upadek kusi' Ewy Juszkiewicz w Galerii Bielskiej BWA', in SZUM, 17 September 2015 (installation view illustrated in colour).

W. Rozdzenski, 'Faceless Women and Fungi - The Art of Ewa Juszkiewicz', in DailyArt Magazine, 17 April 2018 (illustrated in colour).

K. Zboralska, 101 Polish Contemporary Artists, Warsaw 2019, p. 82 (illustrated in colour, p. 83).

E. Troncy, 'Ewa Juszkiewicz reappropriates old-master canvases', in Numéro, 5 May 2020, no. 23 (detail illustrated in colour; illustrated in colour).

LOOKING AT ME – WORKS FROM A DISTINGUISHED CONTEMPORARY COLLECTION

*5

LOUISE BONNET (B. 1970)

The Tear oil on canvas

52 x 50¿in. (132.2 x 127.2cm.) Painted in 2016

£150,000-250,000

US$190,000-310,000

€170,000-280,000

PROVENANCE:

Nino Mier Gallery, Los Angeles. Acquired from the above by the present owner in 2019.

LITERATURE:

‘Three Paintings by Louise Bonnet’, in Racquet Magazine, issue 12, Winter 2019/2020, p. 118 (illustrated in colour, p. 119).

ROBERT NAVA (B. 1985)

Medusas Lightning

signed, inscribed and dated '"Medusa Le Tough" Nava 18' (on the reverse)

oil and spray paint on canvas 67 x 67√in. (170.2 x 172.5cm.)

Executed in 2018

£100,000-150,000

US$130,000-190,000

€120,000-170,000

PROVENANCE:

Sorry We're Closed, Brussels. Acquired from the above by the present owner in 2018.

EXHIBITED:

Brussels, Sorry We're Closed, Robert Nava, 2018.

ADRIAN GHENIE (B. 1977)

Pie Fight Study

signed and dated 'Ghenie 2012' (on the reverse) oil on canvas

22º x 28√in. (56.4 x 73.2cm.)

Painted in 2012

£300,000-500,000

US$380,000-620,000

€340,000-560,000

PROVENANCE: Pace Gallery, New York. Acquired from the above by the present owner in 2013.

EXHIBITED:

New York, Pace Gallery, Adrian Ghenie New Paintings, 2013, pp. 26 and 41, no. 23 (illustrated in colour, p. 27).

LITERATURE:

J. Judin (ed.), Adrian Ghenie, Ostfildern 2014 (illustrated in colour, p. 127).

PROPERTY FROM A PRESTIGIOUS PRIVATE COLLECTION

CLAIRE TABOURET (B. 1981)

Les débutantes (blanc lunaire) (The debutantes (moon white))

signed, titled, inscribed and dated ‘C. TABOURET LES DÉBUTANTES 1 BLANC LUNAiRE 2014’ (on the reverse) acrylic on canvas 90Ω x 129√in. (230 x 330cm.) Painted in 2014

£250,000-350,000

US$310,000-430,000

€290,000-390,000

PROVENANCE:

Galerie Bugada & Cargnel, Paris. Acquired from the above by the present owner in 2014.

EXHIBITED:

Paris, Galerie Bugada & Cargnel, Claire Tabouret, ‘Les Débutantes’, 2014-2015 (illustrated in colour, p. 7).

LITERATURE:

H. Celdrán, 'Enigmáticas pinturas de chicas jóvenes en bailes de debutantes', in 20 minutos, 20 December 2014 (detail illustrated in colour).

C. Tabouret, ‘Claire Tabouret in Her Own (English) Words’, in The Excellent People, December 2014 (studio view illustrated in colour, p. 71).

A. Diatkine, 'Claire Tabouret, reine des "Débutantes"', in Libération, 21 January 2015 (illustrated in colour, p. 23).

M. Ouvrard, ‘Claire Tabouret – Artiste Peintre’, in Encore, 26 January 2015 (installation view illustrated in colour).

THE CURATOR’S EYE: PROPERTY FROM A PRIVATE GERMAN COLLECTION

LIU YE (B. 1964)

The Goddess signed, titled and dated 'The Goddess 2018 YE'; signed and titled in Chinese 'The Goddess Ye' (on the reverse)

acrylic on canvas 23¬ x 17æin. (60.1 x 45cm.) Painted in 2018

£800,000-1,200,000

US$990,000-1,500,000

€900,000-1,300,000

PROVENANCE:

Acquired directly from the artist by the present owner in 2018.

EXHIBITED:

Shanghai, Prada Rong Zhai, Storytelling: Liu Ye, 2018-2020, p. 28 (illustrated in colour, p. 29). This exhibition later travelled to Milan, Fondazione Prada.

LITERATURE:

F. Tenaglia, 'Quiet Life: Liu Ye', in Mousse Magazine, issue 67, Spring 2019, p. 165 (illustrated in colour, p. 164).

A. Premoli, 'Fiori, libri e femmine d’acciaio. Liu Ye in mostra a Milano', in Artribune, 1 February 2020 (illustrated in colour).

TRACEY EMIN (B. 1963)

I told you don’t try to find me

titled 'I told you don't try to find me' (upper centre)

acrylic on canvas

80 x 110in. (203.2 x 279.5cm.)

Painted in 2007

£500,000-700,000

US$620,000-860,000

€570,000-790,000

PROVENANCE:

Gagosian Gallery, London. Acquired from the above by the present owner in 2007.

EXHIBITED:

Beverly Hills, Gagosian Gallery, Tracey Emin: You Left Me

Breathing, 2007, no. 16 (illustrated in colour, unpaged; titled 'I told you not to try and find me').

Edinburgh, Scottish National Gallery of Modern Art, Tracey Emin 20 Years, 2008-2009, p. 149, no. 61 (illustrated in colour, p. 129; titled 'I Told You Not to Try and Find Me'). This exhibition later travelled to Malaga, Centro de Arte Contemporáneo de Málaga and Bern, Kunstmuseum Bern.

LITERATURE:

T. Emin, 'My Life In A Column', in The Independent, 9 Nov 2007 (installation view illustrated in colour, pp. 8-9).

J. Jones, Tracey Emin: Works 2007-2017, New York 2017, p. 376 (illustrated in colour, p. 59; installation view illustrated in colour, p. 66; titled 'I told you not to try and find me').

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

11

LUCIAN FREUD (1922-2011)

Scillonian Beachscape oil on canvas

20º x 30¿in. (51.5 x 76.5cm.)

Painted in 1945-1946

£3,500,000-5,500,000

US$4,400,000-6,800,000

€4,000,000-6,200,000

PROVENANCE:

Lefevre Gallery, London. Collection of Fritz Hess, London. Anon. sale, Sotheby’s London, 20 November 1974, lot 186.

Private Collection, London. James Kirkman, London.

Collection of Simon Sainsbury, London. Thence by descent to the present owner.

EXHIBITED:

London, Lefevre Gallery, Recent Paintings by Ben Nicholson, Graham Sutherland and Francis Bacon, Robert Colquhoun, John Craxton, Lucian Freud, Robert MacBryde, Julian Trevelyan, 1946, p. 3, no. 31.

London, St George's Gallery, The New Generation: British Artists, 1947, no. 11.

Venice, XXVII Biennale Internazionale dell'Arte - British Pavilion, Exhibition of works by Nicholson, Bacon, Freud, 1954, no. 69.

London, Hayward Gallery, Lucian Freud, 1974, no. 33 (illustrated, p. 44). This exhibition later travelled to Bristol, Bristol City Art Gallery; Birmingham, Birmingham City Museum and Art Gallery and Leeds, Leeds City Museum and Art Gallery.

LITERATURE:

M. Collis, 'The New Men', in The Observer, 11 May 1947, p. 2.

B. Bernard and D. Birdsall (eds.), Lucian Freud, London 1996, p. 352, no. 53 (illustrated in colour, p. 81).

C. Gibbs, 'A Search for Beauty', in Simon Sainsbury Bequest to Tate and the National Gallery, London 2008, p. 16.

M. Gayford, Lucian Freud, vol. 1, London 2018, p. 323 (illustrated in colour, p. 124).

G. Aloi, Lucian Freud: Herbarium, London 2019 (illustrated in colour, pp. 80-81).

W. Feaver, The Lives of Lucian Freud: Youth 1922-68, London 2019, pp. 215, 216 and 261.

M. Gayford, Lucian Freud, London 2022, p. 608 (illustrated in colour, p. 124).

D. Dawson and M. Gayford, Love Lucian: The Letters of Lucian Freud 1939-1954, London 2022, pp. 225 and 269.

R. Lindsay, ‘Lucian Freud Herbarium by Giovanni Aloi’, in Hortus, Summer 2022, no. 142.

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ12

LUCIAN FREUD (1922-2011)

Garden from the Window oil on canvas

28¿ x 24¿in. (71.4 x 61.4cm.)

Painted in 2002

£2,500,000-3,500,000

US$3,100,000-4,300,000

€2,900,000-3,900,000

PROVENANCE:

Acquavella Galleries, New York. Private Collection.

Collection of Simon Sainsbury, London. Thence by descent to the present owner.

EXHIBITED:

London, Tate Britain, Art of the Garden, 2004, pp. 94 and 245, no. 58 (illustrated in colour, p. 129).

LITERATURE:

K. Bradley-Hole, Lost Gardens of England: From the Archives of Country Life, London 2004, p. 110.

R. Lane Fox, 'Gardens in a bigger picture', in Financial Times, 3 July 2004.

P. Campbell, 'At Tate Britain: gardens', in London Review of Books, vol. 26, no. 13, 8 July 2004, p. 13.

M. Holborn (ed.), Lucian Freud 1996-2005, London 2005, pp. 130 and 179, no. 75 (illustrated in colour, p. 131).

S. Smee, Lucian Freud, Cologne 2007, p. 91.

C. Gibbs, 'A Search for Beauty', in Simon Sainsbury Bequest to Tate and the National Gallery, London 2008, p. 17.

M. Gayford, Man with a Blue Scarf, London 2010, p. 38 (illustrated in colour, p. 39).

S. Smee, Lucian Freud, 1922-2011. Beholding the Animal, Cologne 2012, p. 91.

M. Gayford, Lucian Freud, vol. 2, London 2018, pp. 221 and 298 (illustrated in colour with incorrect dimensions, p. 258).

G. Aloi, Lucian Freud: Herbarium, London 2019, p. 164 (illustrated in colour with incorrect dimensions, p. 165).

W. Feaver, The Lives of Lucian Freud: Fame 1968-2011, London 2020, p. 448 (incorrectly titled ‘Buddleia’).

M. Gayford, Lucian Freud, London 2022, p. 616 (illustrated in colour with incorrect dimensions, p. 570).

Lucian Freud: Plant Portraits, exh. cat., London, Garden Museum, 2022-2023, p. 13.

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

FRANK AUERBACH (B. 1931)

Catherine Lampert Seated II oil on canvas

22 x 20¿in. (56 x 51cm.)

Painted in 1991

£500,000-700,000

US$620,000-860,000

€570,000-790,000

PROVENANCE:

Private Collection, London (acquired directly from the artist).

Anon. sale, Christie's London, 23 June 2005, lot 23. Richard Green Gallery, London.

Acquired from the above by the present owner in 2015.

EXHIBITED:

Jerusalem, The Israel Museum, British Figurative Painting of the 20th Century, 1992-1993, p. 28, no. 18 (illustrated in colour, p. 27; incorrectly titled 'Portrait of Catherine Lampert II').

Mexico City, Museo de Arte Moderno, La Mirada Fuerte: Pintura figurativa de Londres, 2000, no. 64 (illustrated, p. 85). This exhibition later travelled to Monterrey, Museo de Monterrey.

LITERATURE:

W. Feaver, Frank Auerbach, New York 2009, no. 668 (illustrated in colour, p. 315; titled 'Catherine Lampert Seated').

W. Feaver, Frank Auerbach, New York 2022, no. 668 (illustrated in colour, p. 357; titled 'Catherine Lampert Seated').

14

ALBERTO GIACOMETTI (1901-1966)

Chandelier for Peter Watson

bronze with golden brown patina

Height: 52æ in. (134 cm.)

Width: 60¡ in. (153.5 cm.)

Conceived in 1946-1947; cast circa 1947-1949; this work is unique

£1,500,000-2,500,000

US$1,900,000-3,100,000

€1,700,000-2,800,000

PROVENANCE:

Peter Watson, Paris & London, by whom commissioned directly from the artist for the Horizon magazine office, London.

(Probably) Cyril Connolly, London.

Elizabeth Denton, London, circa 1965.

John Craxton, R.A., London, by whom acquired from the above in the late 1960s, and thence by descent.

EXHIBITED:

Holt, Holt Festival: Craxton-Picasso Exhibition, July 2022.

The Alberto Giacometti Database, no. 4333.

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

*15

ALBERTO GIACOMETTI (1901-1966) Femme debout

bronze with brown patina Height: 16º in. (41.1 cm.)

Conceived in 1956; cast circa 1961 in an edition of six

£1,500,000-2,500,000

US$1,900,000-3,100,000

€1,700,000-2,800,000

PROVENANCE:

Private collection, Chiavenna, a gift from the artist, and thence by descent to the present owner.

EXHIBITED:

Rovereto, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, on loan from 2007 until July 2021.

LITERATURE:

F. Monteforte, 'Alberto Giacometti: un uomo di confine e il legame con la sua terra d’origine,' in M. Facchinetti, ed., Alberto Giacometti: Il genio che si manifesta attraverso l’arte, Zurich, 2011, pp. XXV-XXVI.

The Alberto Giacometti Database, no. 4327.

CECILY BROWN (B. 1969)

Make it Rain

signed and dated 'Cecily Brown 2014' (on the reverse) oil on linen

96¿ x 103in. (246.7 x 261.7cm.)

Painted in 2014

£3,500,000-5,500,000

US$4,400,000-6,800,000

€4,000,000-6,200,000

PROVENANCE:

Gagosian Gallery, Paris. Acquired from the above by the present owner in 2014.

EXHIBITED:

Paris, Gagosian Gallery, Cecily Brown, 2014 (detail illustrated in colour, unpaged; illustrated in colour, unpaged).

PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION

λ*18

GERHARD RICHTER (B. 1932)

Abstraktes Bild (704-2)

signed, numbered and dated ‘704-2 Richter 1989’ (on the reverse) oil on canvas

28¡ x 24Ωin. (72 x 62.2cm.) Painted in 1989

£2,500,000-3,500,000

US$3,100,000-4,300,000

€2,900,000-3,900,000

PROVENANCE:

Galerie Fred Jahn, Munich. Private Collection, Munich. Barbara Mathes Gallery, New York. Acquired from the above by the present owner.

EXHIBITED:

Munich, Galerie Jahn und Fusban, Gerhard Richter. Fotoeditionen, Aquarelle und Bilder, 1991. New York, Barbara Mathes Gallery, Gerhard Richter: Paintings from the 1980s, 2002.

LITERATURE:

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (ed.), Gerhard Richter, Werkübersicht/ Catalogue Raisonné: 1962-1993, volume III, Ostfildern 1993, p. 187, no. 704-2 (illustrated in colour, unpaged).

D. Elger (ed.), Gerhard Richter Catalogue Raisonné, Nos. 652-1-805-6, 1988-1994, Vol. IV, Ostfildern 2015, no. 704-2 (illustrated in colour, p. 259).

TWO MASTERPIECES BY GEORG BASELITZ FROM THE HESS ART COLLECTION

GEORG BASELITZ (B. 1938)

Frau Paganismus (Mrs Paganism)

incised with the artist’s initials and date ‘G.B. 28.II.94’ (lower inside right arm)

Ayous wood and synthetic resin sculpture: 85¬ x 51√ x 26æin. (215 x 132 x 68cm.) base: 15 x 68æ x 68¡in. (38.1 x 174.6 x 173.7cm.) Executed in 1994

£4,000,000-6,000,000

US$5,000,000-7,400,000

€4,500,000-6,700,000

PROVENANCE:

Anthony d’Offay Gallery, London. Acquired from the above by the present owner in 1994.

EXHIBITED:

London, Anthony d’Offay Gallery, Frau Paganismus, 1994, pp. 8-10, 27 and 45 (studio view illustrated, p. 3; illustrated in colour, pp. 29, 31 and 33; details illustrated, pp. 30 and 32; studio view illustrated in colour, p. 44).

London, Anthony d’Offay Gallery, Sculpture, 1995, p. 111, no. 4 (unpaged, illustrated in colour).

New York, Solomon R. Guggenheim Museum, Georg Baselitz, 1995, pp. 118 and 273, no. 111 (studio view illustrated in colour, p. 116; illustrated in colour, p. 117). This exhibition later travelled to Los Angeles County Museum of Art; Washington, D.C., Hirshhorn Museum and Sculpture Garden, Smithonian Istitution; Berlin, Nationalgalerie, Staatliche Museen zu Berlin, Preussischer Kulturbesitz. Luxembourg, Casino Luxembourg, Forum d’art contemporain, New Works from the Hess Collection, 1998, p. 8 (illustrated in colour, p. 9).

Las Palmas de Gran Canaria, Centro Atlántico de Arte Moderno, Georg Baselitz en la Colección Hess, 2003-2004, pp. 48 and 58 (detail illustrated in colour on the front and back cover; studio view illustrated in colour, p. 51; illustrated in colour, pp. 59-61). This exhibition later travelled to Bern, Kunstmuseum Bern.

Lausanne, Fondation de l'Hermitage, Baselitz, une seule passion, la peinture, 2006, pp. 138 and 166, no. 71 (illustrated in colour, pp. 91 and 139).

Lugano, Museo d’Arte Moderna, Georg Baselitz, 2007, no. 84 (unpaged, illustrated in colour).

Paris, Musée D’Art Moderne de la Ville de Paris, BaselitzSculpteur, 2011-2012, pp. 126 and 167, no. 30 (illustrated in colour, pp. 119 and 127; studio view illustrated in colour, p. 166).

LITERATURE:

D. Kuspit, ‘Goth to Dance’, in Artforum International, Summer 1995 (illustrated in colour, p. 78).

E. Darragon, Baselitz à Paris, exh. cat., Paris, Musée d’Art moderne de la Ville de Paris, 1996 (illustrated, p. 33).

Baselitz, exh. cat., Bologna, Galleria d’Arte Moderna di Bologna, 1997 (studio view illustrated in colour, p. 131).

Georg Baselitz: Portraits of Elke, exh. cat., Fort Worth, Modern Art Museum of Fort Worth, 1997-1999, p. 25 (titled ‘Mrs. Paganismus’, illustrated in colour, p. 26).

E. Darragon, ‘Baselitz avec sculpture’, in De la sculpture au XXe siècle, Grenoble 2001, p. 130 (illustrated in colour, p. 126).

L. Cuénoud (ed.), Georg Baselitz Works from the Hess Collection, Bern 2003, pp. 4, 48 and 58 (detail illustrated in colour on the front and back cover; studio view illustrated in colour, p. 51; illustrated in colour, pp. 59-61; translated 'Pagan woman').

Hess Art Collection, Ostfildern 2009, p. 50 (studio view illustrated in colour, p. 55).

C. Kraus (ed.), Georg Baselitz: Skulpturen / Sculptures, Catalogue Raisonné of the Sculptures, Berlin 2009, no. 48 (illustrated in colour, pp. 170-171).

T. Jean (ed.), ‘Baselitz sculpteur au musée d’Art moderne de la Ville de Paris’, in BeauxArts, 2011, p. 23 (illustrated in colour, p. 22).

B. Vasseur (ed.), Georg Baselitz, Paris 2011, p. 36 (illustrated in colour, p. 37).

R. Calvocoressi (ed.), Georg Baselitz, London 2021, pp. 280 and 291 (illustrated in colour, p. 290).

TWO MASTERPIECES BY GEORG BASELITZ FROM THE HESS ART COLLECTION

°λ*20

GEORG BASELITZ (B. 1938)

Elke I

signed and dated ‘G. Baselitz 1975' (lower right); signed, titled, inscribed and dated 'Elke 1 G baselitz 1975 Derneburg' (on the overlap); signed, titled, inscribed and dated '1975 Derneburg G Baselitz Elke 1' (on the reverse) oil on canvas 63æ x 51¿in. (162 x 130cm.)

Painted in 1975

£2,500,000-3,500,000

US$3,100,000-4,300,000

€2,900,000-3,900,000

PROVENANCE:

Acquired directly from the artist by the present owner in 1976.

EXHIBITED:

Bern, Kunsthalle Bern, Bilder einer Ausstellung, 1979, no. 1, p. 6 (illustrated, p. 3).

Fort Worth, Modern Art Museum of Fort Worth, Georg Baselitz: Portraits of Elke, 1997-1999, pp. 44 and 120, no. 6 (illustrated in colour, p. 45). This exhibition later travelled to Raleigh, North Carolina Museum of Art; Pittsburgh, Carnegie Museum of Art and Monterrey, Museo de Arte Contemporáneo de Monterrey.

Las Palmas de Gran Canaria, Centro Atlántico de Arte Moderno, Georg Baselitz en la Colección Hess, 20032004, no. 4, pp. 48 and 54 (illustrated in colour, p. 55). This exhibition later travelled to Bern, Kunstmuseum Bern. Lausanne, Fondation de l'Hermitage, Baselitz, une seule passion, la peinture, 2006, pp. 150 and 165, no. 30 (illustrated in colour, pp. 45 and 151).

Lugano, Museo d’Arte Moderna, Georg Baselitz, 2007, no. 34 (illustrated in colour, unpaged).

Salzburg, Museum der Moderne Salzburg, Georg Baselitz. Gemälde und Skulpturen 1960–2008, 2009, p. 90 (illustrated in colour, p. 91).

LITERATURE:

D. Ronte, Hess Collection, New York 1989, no. 36 (illustrated in colour, p. 49).

D. Gretenkort (ed.), Georg Baselitz: Paintings 1962-2001, Milan 2002, p. 221 (illustrated in colour, p. 88).

L. Cuénoud (ed.), Georg Baselitz Works from the Hess Collection, Bern 2003, pp. 48 and 54 (illustrated in colour, p. 55, titled 'Elke 1 - Derneburg').

Forme per il David / Forms for the David, exh. cat., Florence, Galleria dell’Accademia, 2004-2005 (illustrated in colour, p. 274).

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

*21

ERNST LUDWIG KIRCHNER (1880-1938)

Rothaarige (recto); Rosa Stilleben (verso)

signed three times, dated and titled 'EL Kirchner 14 Rothaarige' and with the Nachlass stamp numbered ‘Be/ Bg6’ (on the reverse) oil on canvas

35Ω x 25º in. (90.2 x 64.5 cm.)

Painted in 1914 (recto); Painted in 1913-1914 (verso)

£2,400,000-4,000,000

US$3,000,000-4,900,000

€2,700,000-4,500,000

PROVENANCE:

The artist's estate, Davos. Stuttgarter Kunstkabinett, Roman Norbert Ketterer, by whom acquired from the above in 1954. Galerie Henze & Ketterer, Bern, by whom acquired from the above in 2000.

Private collection, New York, by whom acquired from the above; sale, Sotheby’s, London, 10 October 2001, lot 40. Acquired at the above sale by the present owners.

EXHIBITED:

Zurich, Kunsthaus, Ernst Ludwig Kirchner, March - April 1918, no. 141.

Bern, Kunsthalle, Ernst Ludwig Kirchner, March - April 1933, no. 22, p. 21.

Lugano, Museo d’Arte Moderna, Ernst Ludwig Kirchner, March - July 2000, no. 37, p. 272 (illustrated p. 89).

Bern, Galerie Henze & Ketterer, Ernst Ludwig Kirchner: zum 120. Geburtstag, September - December 2000, no. 30, p. 38 (illustrated p. 39).

Madrid, Museo Nacional Thyssen-Bornemisza, Brücke: El nacimiento del expresionismo alemán, February - May 2005, no. 164, pp. 279, 295 & 382 (illustrated p. 295); this exhibition later travelled to Barcelona, Museu Nacional d’Art de Catalunya, June - September 2005; and Berlin, Brücke-Museum, October 2005 - January 2006. Salzburg, Museum der Moderne, Ernst-Ludwig Kirchner, October 2009 - February 2010, no. 20, pp. 127 & 298 (illustrated p. 127).

Madrid, Fundación Mapfre, Ernst Ludwig Kirchner, MaySeptember 2012, no. 56, pp. 160 & 339 (illustrated p. 160).

LITERATURE:

K. Scheffler, 'Ernst Ludwig Kirchner', in Kunst und Künstler, vol. XVIII, no. 5, Berlin, 1920, p. 230.

D.E. Gordon, Ernst Ludwig Kirchner, Cambridge, 1968, nos. 410 and 410v, p. 326 (illustrated).

B. Dalbajewa, ''Dresden ist mir etwas schuldig' - Aus Briefen von Ernst Ludwig Kirchner und Hans Posse zum Erwerb eines Gemäldes für die Dresdener Galerie', in Dresdener Kunstblätter, no. 2, Dresden, 2008, pp. 101-111 (illustrated p. 104)

H. Delfs, ed., Ernst Ludwig Kirchner - Der Gesamte Briefwechsel "Die absolute Warheit, so wie ich sie fühle", Zurich, 2010, nos. 480, 489, 547, 990-991, 993, 995, 1104, 1240 and 1242.

W. Henze, Der doppelte Kirchner: die zwei Seiten der Leinwand, exh. cat., Kunsthalle, Mannheim, 2015, no. D76, p. 160 (illustrated).

PROPERTY

FROM

THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

*22

OTTO MUELLER (1874-1930)

Sitzende im Grünen

signed with initials ‘OM.’ (lower right); signed again ‘Otto Mueller’ (on the reverse) distemper on burlap

41º x 29¡ in. (105 x 74.7 cm.)

Painted circa 1927

£650,000-1,000,000

US$810,000-1,200,000

€730,000-1,100,000

PROVENANCE:

Galerie Ferdinand Möller, Berlin, on consignment from the artist in 1927. Dr Thielepape, Germany.

Private collection, Switzerland; sale, Villa Grisebach, Berlin, 26 May 1995, lot 23.

Galerie Michael Haas, Berlin (no. 2927), by whom acquired at the above sale; sale, Sotheby’s, London, 3 December 1996, lot 36.

Acquired at the above sale by the present owners.

EXHIBITED:

Berlin, Berliner Secession, 62 Austellung, NovemberDecember 1930, no. 86, p. 9 (titled 'Hockende').

LITERATURE:

T. Pirsig-Marshall & M.-A. von Lüttichau, Otto Mueller: Gemälde, Cologne, 2020, no. G1927/12 (96), p. 301 (illustrated).

PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION λ

*23

ERICH HECKEL (1883-1970)

Zwei Menschen im Freien

signed with initials and inscribed ‘EH 09’ (lower right); signed and inscribed again ‘Erich Heckel 1909’ (on the reverse); signed and inscribed again ‘Heckel Zwei Menschen im Freien 1909’ (on the stretcher) oil on canvas

31æ in x 27¡ in. (80.5 x 69.5 cm.)

Painted in 1910

£600,000-800,000

US$750,000-990,000

€680,000-900,000

PROVENANCE:

Roman Norbert Ketterer, Campione, by whom acquired directly from the artist by 1965.

Galleria Henze, Campione, by whom acquired from the above in 1983.

Private collection, Italy, by whom acquired from the above by 1984, and thence by descent to the present owner.

EXHIBITED:

Stuttgart, Württembergischer Kunstverein, Erich Heckel: Werke der Brückezeit 1907-1917: Gemälde, Aquarelle, Zeichnungen, Graphik, September - October 1957, no. 16 (dated '1909').

Munich, Galerie Wolfgang Ketterer, Erich Heckel: Gemälde, Aquarelle, Zeichnungen, February - April 1966, no. 63, p. 70 (illustrated p. 71; dated '1909').

Hannover, Kunstverein Hannover, Erich Heckel: Gemälde, Aquarelle, Zeichnungen, May - June 1966, no. 63, p. 70 (illustrated p. 71; dated '1909').

Essen, Museum Folkwang, Erich Heckel: Gemälde, Aquarelle, Zeichnungen und Graphik, SeptemberNovember 1983, no. 16, p. 97 (illustrated; dated '1909'); this exhibition later travelled to Munich, Haus der Kunst, December 1983 - February 1984.

Venice, La Biennale di Venezia, XLII Esposizione Internazionale d’Arte, June - September 1986, no. 769, p. 159 (dated '1909').

Paris, Musée d’Art Moderne de la Ville de Paris, Figures du Moderne: L' Expressionnisme en Allemagne, 1905 à 1914, November 1992 - March 1993, no. 3, p. 369 (illustrated p. 78; titled ‘Deux Personnages dans la nature’).

Zeitz, Museum Schloss Moritzburg, Künstler der Brücke in Moritzburg, July - October 1995, no. 37, pp. 126 and 247 (illustrated p. 127).

Edinburgh, Royal Scottish Academy, The Romantic Spirit in German Art: 1790-1990, July - September 1994, no. 137 (illustrated p. 326; dated '1909'); this exhibition later travelled to London, Hayward Gallery, September 1994January 1995; and Munich, Haus der Kunst, February - May 1995.

Essen, Museum Folkwang, Paul Gauguin: Das verlorene Paradies, June - October 1998, no. E2; this exhibition later travelled to Berlin, Neue Nationalgalerie, October 1998January 1999.

Bielefeld, Kunsthalle Bielefeld, Die Badenden: Mensch und Natur im deutschen Expressionismus, SeptemberNovember 2000, no. 37 (illustrated; dated '1909').

Dresden, Galerie Neue Meister, Die Brücke in Dresden 1905-1911, October 2001 - January 2002, no. 265, p. 410 (illustrated p. 220).

Madrid, Museo Thyssen-Bornemisza, Brücke: El nacimiento del expresionismo alemán, February - May 2005, no. 157; this exhibition later travelled to Barcelona, Museu Nacional d'Art de Catalunya, June - September 2005.

LITERATURE:

P. Vogt, Erich Heckel, Recklinghausen, 1965, no. 14 (illustrated; dated '1909').

R.N. Ketterer, Moderne Kunst VI, Campione, 1969, no. 22 (dated '1909').

A. Henze, Erich Heckel, Stuttgart, 1983, no. 2, p. 4 (illustrated; dated '1909').

J. Lloyd, German Expressionism: Primitivism and Modernity, New Haven, 1991, no. 143, p. 112 (illustrated; dated '1909').

A. Hüneke, Erich Heckel, Werkverzeichnis der Gemälde, Wandbilder und Skuplturen, vol. I, 1904-1918, Potsdam, 2017, no. 1910-42, p. 111 (illustrated).

With thanks to Andreas Hüneke for his assistance in cataloguing this work.

For the complete cataloguing of this lot visit christies.com

*24

ERNST LUDWIG KIRCHNER (1880-1938)

Leuchtturm hinter Bucht

signed 'E. L. Kirchner.' (lower right)

oil on canvas

40¿ x 30º in. (102 x 77 cm.)

Painted in 1912

£1,600,000-2,500,000

US$2,000,000-3,100,000

€1,800,000-2,800,000

PROVENANCE:

The artist's estate, Davos. Stuttgarter Kunstkabinett, Roman Norbert Ketterer, by whom acquired from the above in 1954; sale, 20 November 1959, lot 308.

Private collection, New York, by whom acquired at the above sale, and thence by descent to the present owner.

EXHIBITED:

Munich, Galerie Neue Kunst - Hans Goltz, Vierte Gesammtausstellung, August - October 1916, no. 54 (titled 'Bucht beim Leuchtfeuer Staberhuk').

LITERATURE:

E.L. Kirchner, Photoalbum, vol. I, no. 346. D.E. Gordon, Ernst Ludwig Kirchner, Cambridge, 1968, no. 250, p. 301 (illustrated).

*25

SCOTT KAHN (B. 1946)

Winter on Wig Hill

signed and dated ‘Scott Kahn ‘91’ (lower right); signed, titled and dated ‘WINTER ON WIG HILL KAHN 1991’ (on the overlap) oil on linen 66 x 78in. (167.7 x 198cm.) Painted in 1991

£300,000-500,000

US$370,000-610,000

€340,000-560,000

PROVENANCE:

Galleries Maurice Sternberg, Chicago. Acquired from the above by the present owner in 2006.

EXHIBITED:

Chicago, Galleries Maurice Sternberg, 2006.

PROPERTY FROM AN IMPORTANT AMERICAN COLLECTION

*26

PAUL GAUGUIN (1848-1903)

La Montagne Sainte-Marguerite vue des environs du presbytère

signed and dated 'P Gauguin 86' (lower left) oil on canvas

23¬ x 28√ in. (60.2 x 73.5 cm.)

Painted in Pont-Aven in 1886

£1,600,000-2,500,000

US$2,000,000-3,100,000

€1,800,000-2,800,000

PROVENANCE:

(Probably) Galerie Boussod, Valadon et Cie., Paris, by whom acquired directly from the artist in November 1888.

(Probably) M. Dupuis, Paris, by whom acquired from the above on 13 November 1888, until December 1890.

(Probably) Galerie E. Druet, Paris, no. 5110.

Hugo Perls, Berlin, 1926.

Graphisches Kabinett [Peter Voigt], Bremen, 1926.

E.H. Baron (née Pappier), Amsterdam, by whom acquired from the above in 1926.

Walter Feilchenfeldt, Zurich, by whom acquired from the above in 1959.

Acquired from the above by the family of the present owner in August 1960.

EXHIBITED:

(Probably) Paris, Galerie Boussod, Valadon et Cie., Paul Gauguin, November 1888.

Rotterdam, Museum Boymans, Kunstschatten uit Nederlandse Verzamelingen, June - September 1955, no. 186, p. 80 (illustrated pl. 198).

Paris, Galerie Charpentier, Cent Oeuvres de Gauguin, 1960, no. 23 (illustrated).

Munich, Haus der Kunst, Paul Gauguin, April - May 1960, no. 26, p. 7 (illustrated pl.19).

London, Tate Gallery, Gauguin and the Pont-Aven Group, January - February 1966, no. 3a, p. 19 (titled 'View of PontAven'); this exhibition later travelled to Zurich, Kunsthaus, Gauguin und sein Kreis in der Bretagne, March - April 1966, no. 5, p. 50 (titled 'La Montagne Sainte-Marguerite à PontAven').

LITERATURE: (Probably) R. Huyghe, Le Carnet de Paul Gauguin, c. 18881890, Paris, p. 225 ("[sold to] Dupuis Vue de Pont-Aven 350 [F]").

G. Wildenstein, Gauguin, vol. I, Paris, 1964, no. 195, p. 72 (illustrated; titled 'La Montagne Sainte-Marguerite à PontAven').

(Probably) J. Rewald, Studies in Post-Impressionism, Paris, 1986, Appendix I, 'Excerpts from the Goupil-Boussod & Valadon Ledgers', listed as 'Vue de Pont-Aven [W.195?]'.

G.M. Sugana, L'opera completa di Gauguin, Milan, 1972, no. 44, p. 89 (illustrated).

(Probably) J. Rewald, Theo Van Gogh, Goupil and the Impressionists, Paris, 1973, pp. 33, 74-75.

D. Wildenstein, Gauguin, Premier itinéraire d'un sauvage, Catalogue de l'oeuvre peint (1873-1888), vol. I, Paris, 2001, no. 227, pp. 283-284 (illustrated p. 283).

M. van Dijk & J. van der Hoeven, Gauguin and Laval in Martinique, Amsterdam, 2019, pp. 80 & 82 (illustrated fig. 49, p. 83).

PROPERTY FROM A DISTINGUISHED SWISS PRIVATE COLLECTION

VINCENT VAN GOGH (1853-1890)

Kop van een vrouw (Gordina de Groot) (Head of a Woman [Gordina de Groot])

oil on canvas laid down on panel 16º x 11√ in. (41.3 x 32.6 cm.)

Painted in Nuenen in March-April 1885

£1,000,000-2,000,000

US$1,300,000-2,500,000

€1,200,000-2,200,000

PROVENANCE:

Anna Cornelia van Gogh-Carbentus, Nuenen and Breda [the artist's mother] from the artist between November 1885 and February 1886.

Janus Schrauwen, Breda, from the above in April 1888.

Jan C. Couvreur, Breda, by whom acquired from the above on 14 August 1902.

Kees Mouwen Jr & Willem van Bakel, Breda, by whom acquired from the above between 1902-1903.

Kunstzalen Oldenzeel, Rotterdam, on consignment from the above by November 1903.

H. Daniel Pierson, The Hague, by whom acquired from the above in December 1903.

Anna-Marie Veuve-Pierson, The Hague & then Zurich, by descent from the above and thence by descent to the present owners.

EXHIBITED:

Rotterdam, Kunstzalen Oldenzeel, Tentoonstelling van schilderijen, teekeningen en aquarellen, door Vincent van Gogh, November - December 1903, no. 58.

Zurich, Kunsthaus Zurich, Ausländische Kunst in Zürich, July - September 1943, no. 711 (titled 'Kopf einer Brabanterin').

LITERATURE:

J.-B. de la Faille, The Works of Vincent van Gogh: His Paintings and Drawings, Amsterdam, 1970, no. SP 1668, p. 570 (illustrated).

P. Lecaldano, L'opera pittorica completa di van Gogh e i suoi nessi grafici, Milan, 1971, no. 147, p.102 (illustrated p. 103).

J. Hulsker, The Complete Van Gogh, Paintings, Drawings, Sketches, Amsterdam, 1977, no. 691, p. 153 (illustrated).

I.F. Walther & R. Metzger, Vincent van Gogh: The Complete Paintings, Etten, April 1881-Paris, February 1888, vol. I, Cologne, 2012, p. 88 (illustrated).

J. Hulsker, The New Complete Van Gogh, Paintings, Drawings, Sketches: Revised and enlarged edition of the Catalogue raisonné of the works of Vincent van Gogh, Amsterdam, 1996, no. 691, p. 152 (illustrated, p. 153).

The authenticity of this work has been confirmed by the Van Gogh Museum, Amsterdam.

PROPERTY OF A LADY *28

PIERRE-AUGUSTE RENOIR (1841-1919)

Jeune fille endormie (La dormeuse)

signed ‘Renoir.’ (upper right) oil on canvas

19æ x 24 in. (50.2 x 61.2 cm.)

Painted circa 1880

£2,000,000-3,000,000

US$2,500,000-3,700,000

€2,300,000-3,400,000

PROVENANCE:

Paul Durand-Ruel, Paris, by whom acquired directly from the artist on 14 February 1881.

Marie-Thérèse Durand-Ruel, by descent from the above. Comtesse Madeleine de Brecey, Paris, by descent from the above on 13 June 1949 and until at least 1974.

Private collection, Switzerland, by 1986.

EXHIBITED:

Paris, Salons du Panorama de Reichshoffen, 7ème exposition des Artistes indépendants, March 1882, no. 148.

Paris, Galeries Durand-Ruel, L'Exposition des Oeuvres de P.-A. Renoir, April 1883, no. 48.

Paris, Galeries Durand-Ruel, Exposition de Tableaux de Monet, Pissarro, Renoir & Sisley, April 1899, no. 77 (titled 'Jeune Fille dormant').

Paris, Chambre Syndicale de la Curiostié, L’Art français au service de la science française, April - May 1923, no. 218.

Paris, Galeries Durand-Ruel, Oeuvres Importantes de Monet, Pissarro, Renoir, Sisley, January 1925, no. 27, p. 3.

New York, Galeries Durand-Ruel, Exhibition of Masterpieces by Pierre-Auguste Renoir, February - March 1932, no. 5.

New York, Galeries Durand-Ruel, Exhibition of Masterpieces by Renoir, March 1935, no. 23. New York, Galeries Durand-Ruel, 1803-1943: 140th Anniversary, November - December 1943, no. 19 (illustrated).

Paris, Galeries Durand-Ruel, Hommage à Renoir, March - October 1958, no. 12 (illustrated).

Munich, Städtische Galerie, Auguste Renoir, November -December 1958, no. 10, pp. 31 & 63 (illustrated pl. 9, p. 21).

Paris, Galeries Durand-Ruel, Hommage à Paul Durand-Ruel, Cent Ans d’Impressionnisme, 1974, no. 48.

Washington D.C., The National Gallery, The New Painting: Impressionism, 1874-1886, January - April 1986, no. 133, p. 416 (illustrated); this exhibition later travelled to San Francisco, Fine Arts Museums of San Francisco, April - July 1986.

LITERATURE:

D. Rouart, Renoir, Lausanne, 1954 (illustrated on the front cover).

F. Daulte, Auguste Renoir: Catalogue raisonné de l'oeuvre peint, vol. I, Les figures 1860-1890, Lausanne, 1971, no. 328 (illustrated).

E. Fezzi, L'opera completa di Renoir nel periodo impressionista 1869-1883, Milan, 1972, no. 436, p. 108 (illustrated).

N. Wadley, Renoir: A Retrospective, New York, 1987, p. 157 (illustrated).

G.-P. & M. Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. I, 1858-1881, Paris, 2007, no. 343, p. 376 (illustrated).

PROPERTY OF A LADY

*29

EDGAR

DEGAS (1834-1917)

Trois Danseuses

signed 'Degas' (lower right) pastel and charcoal on paper laid down on board

31Ω x 20º in. (80 x 51.3 cm.)

Executed circa 1880

£3,000,000-5,000,000

US$3,800,000-6,200,000

€3,400,000-5,600,000

PROVENANCE:

Galeries Durand-Ruel, Paris. Harris Whittemore, Connecticut, by whom acquired from the above in 1925; his estate sale, Parke-Bernet Galleries, New York, 20 May 1948, lot 176. Georges Wildenstein, Paris, by whom acquired at the above sale.

Florence J. Gould, Cannes, by whom acquired from the above in 1964; her estate sale, Sotheby’s, New York, 21 February 1985, lot 30.

Acquired at the above sale by the present owner.

EXHIBITED:

Connecticut, The Tuttle House, Exhibition of Paintings, April 1938, no. 6, p. 2.

Connecticut, Mattatuck Historical Society, on loan, 1941. Washington, National Gallery of Art, on loan, 1944 - 1945. New York, Wildenstein & Co., A Loan Exhibition of Degas, April - May 1949, no. 53, p. 57 (illustrated p. 33).

LITERATURE:

P. A. Lemoisne, Degas et son oeuvre, vol. II, Paris, 1946, no. 602, p. 342 (illustrated p. 343).

L. Browse, Degas Dancers, London, 1949, p. 383, (illustrated pl. 137; titled ‘Trois Danseuses en Corselets, Debout’; dated 'circa 1884-1886').

F. Russoli & F. Minervino, L’opera completa di Degas, Milan, 1970, no. 767, p. 121 (illustrated).

I. Dunlop, Degas, London, 1979, no. 121, p. 7 (illustrated p. 135).

R. Kendall, Degas and the Little Dancer, exh. cat., Joslyn Art Museum, Nebraska, 1998, fig. 3, p. 11 (illustrated).

PROPERTY FROM AN IMPORTANT PRIVATE SWISS COLLECTION

*30

PAUL CEZANNE (1839-1906)

L'Aqueduc du canal de Verdon au nord d'Aix oil on canvas

23¬ x 28√ in. (60 x 73.4 cm.)

Painted in 1882-1883

£6,000,000-9,000,000

US$7,500,000-11,000,000

€6,800,000-10,000,000

PROVENANCE:

Ambroise Vollard, Paris, by whom acquired directly from the artist.

Dr Emil Hahnloser, Winterthur, by whom acquired from the above, circa 1920, and thence by descent.

EXHIBITED:

Basel, Kunsthalle, Paul Cezanne, August - October 1936, no. 29, p. 13 (titled ‘La Vallée de l'Arc’; dated ‘circa 1880’).

Paris, Galerie de la Gazette des Beaux-Arts, La peinture française du XIXe siècle en Suisse, March - June 1938, no. 4, p. 3 (illustrated pl. IV; titled ‘La vallée de l’arc’ and dated ‘circa 1878-1883’).

Lyon, Musée de Lyon, Palais Saint-Pierre, Centenaire de Paul Cezanne, May - June 1939, no. 20 (titled ‘La vallée de l’arc’; dated ‘1878-1883’).

London, Wildenstein & Co., Homage to Paul Cezanne, July 1939, no. 27 (titled ‘The Valley of the Arc, with the Viaduct of Rocquefavour’).

Vienna, Belvedere, Paul Cezanne, April - June 1961, no. 18, p. 25 (titled ‘Blick auf den Aquädukt im Norden von Aix’; dated ‘circa 1880’).

Aix-en-Provence, Pavillon de Vendôme, Exposition Cezanne: Tableaux, Aquarelles, Dessins, July - August 1961, no. 8, p. 22 (illustrated pl. 5; titled 'Vue de l'aqueduc au nord d'Aix’ and dated ‘1883-1885).

Tübingen, Kunsthalle, Cezanne Gemälde, January - May 1993, no. 28, p. 117 (illustrated p. 116; dated ‘circa 1883’).

London, Royal Academy of Arts, From Manet to Gauguin: Masterpieces from Swiss Private Collections, June - October 1995, no. 5, p. 51 (illustrated; titled ‘The Valley of the Arc’ and dated ‘1878-1883’).

Yokohama, Yokohama Museum of Art, Cezanne and Japan, September - December 1999, no. 24, p. 47 (illustrated);

this exhibition later travelled to Nagoya, Aichi Prefectural Museum of Art, January - March 2000.

Rome, Complesso del Vittoriano, Cezanne: Il padre dei moderni, March - July 2002, p. 142 (illustrated p. 143).

LITERATURE:

G. Rivière, Le Maître Paul Cezanne, Paris, 1923, p. 219 (titled ‘La Vallée de l'Arc’; dated ‘circa 1891’).

P. Courthion ‘L'art français dans les collections privées en Suisse: La collection Emile Hahnloser’, in L'Amour de l'art, vol. 7, Paris, January 1926, p. 51 (illustrated; titled ‘Paysage’).

L. Venturi, Cezanne: Son art, son œuvre, vol. I, Paris, 1936, no. 296, p. 130 (illustrated vol. II, pl. 80; titled ‘La Vallée de l'Arc’ and dated ‘1878-1883’).

A. Gatto & S. Orienti, L’opera complete di Cezanne, Milan, 1970, no. 303, p. 100 (illustrated; titled ‘Viadotto nella valle dell’arc’ and dated ‘1878-1883’).

J. Rewald, The Paintings of Paul Cezanne, A Catalogue Raisonné, vol. I, New York, 1996, no. 520, p. 353 (illustrated vol. II, p. 169).

B. Schmidt, Cezannes Lehre, Kiel, 2004, p. 171 (illustrated fig. 27).

M. Hahnloser-Ingold, ed., The Arthur and Hedy Hahnloser Collection: An Eye for Art Shared with Artists, Winterthur, New York, 2011, p. 262 (illustrated).

W. Feilchenfeldt, J. Warman & D. Nash, The Paintings of Paul Cezanne, An Online Catalogue Raisonné, no. FWN 186 (accessed 2023).

For the complete cataloguing of this lot visit christies.com

PROPERTY OF A PROMINENT PRIVATE EUROPEAN COLLECTION

GIORGIO MORANDI (1890-1964)

Natura morta

signed ‘Morandi’ (lower left) oil on canvas

10¬ x 15æ in. (27.5 x 40.6 cm.)

Painted in 1955

£1,000,000-1,500,000

US$1,300,000-1,900,000

€1,200,000-1,700,000

PROVENANCE:

B. Pero, Milan.

G. David Thompson, Boston. Charlotte Morat, Geneva, by the late 1970s and thence by descent to the present owner.

EXHIBITED: Freiburg, Morat-Institut für Kunst und Kunstwissenschaft Stiftung, on long term loan from 1983.

LITERATURE:

L. Vitali, Morandi, Dipinti, Catalogo generale, vol. II, 1948/1964, Milan, 1994, no. 944 (illustrated).

PROPERTY FROM A DISTINGUISHED GERMAN COLLECTION

LUCIO FONTANA (1899-1968)

Il Guerriero (The Warrior)

incised with the artist’s signature 'Fontana' (lower right) reflective glazed ceramic 42Ω x 17¡ x 13¡in. (108 x 44 x 34cm.) Executed in 1948

£900,000-1,500,000

US$1,100,000-1,800,000

€1,100,000-1,700,000

PROVENANCE:

Tofanelli Collection, Milan. Private Collection, Germany. Thence by descent to the present owner in 1979.

EXHIBITED:

Rome, Quadriennale d’Arte di Roma, Galleria d’Arte Moderna, Rassegna Nazionale di Arti Figurative, 1948, no. CVIII (illustrated, unpaged).

LITERATURE:

G. Ballo, Fontana: idea per un ritratto, Turin 1970, no. 107 (illustrated, p. 95; incorrectly titled and dated).

G. Bolaffi (ed.), Dizionario Bolaffi degli scultori italiani moderni, Turin 1972 (illustrated, p. 146; incorrectly titled and dated).

E. Crispolti, Lucio Fontana. Catalogue raisonné des peintures, sculptures et environnements spatiaux rédigé par Enrico Crispolti, vol. II, Brussels 1974, p. 22, no. 49 SC 1 (illustrated, p. 23; incorrectly dated).

Lucio Fontana, exh. cat., Munich, Staatsgalerie moderner Kunst, 1983-1984, no. 13 (illustrated, p. 44; incorrectly dated).

E. Crispolti, Lucio Fontana catalogo generale, vol. I, Milan 1986, no. 48 SC 18 (illustrated, p. 91).

E. Crispolti, Lucio Fontana: catalogo ragionato di sculture, dipinti, ambientazioni, vol. I, Milan 2006, no. 48 SC 18 (illustrated, p. 213).

(alternative view)

PROPERTY FROM AN ESTEEMED SWISS COLLECTION *33

JOSEF

ALBERS (1888-1976)

Study for Homage to the Square ‘Greek Tragedy’ signed with the artist's monogram and dated 'A61' (lower right); signed, titled and dated 'Study for Homage to the Square "Greek Tragedy" Albers' 1961' (on the reverse) oil on masonite

29√ x 29√in. (76 x 76cm.)

Painted in 1961

£300,000-500,000

US$380,000-620,000

€340,000-560,000

PROVENANCE:

Galerie Beyeler, Basel. Private Collection, Italy (acquired from the above in 1973). Galleria Peccolo, Livorno.

Acquired from the above by the present owner circa 1990.

EXHIBITED:

Basel, Galerie Beyeler, Albers, 1973, no. 23 (incorrectly titled).

This work will be included in the Catalogue Raisonné of Paintings by Josef Albers currently being prepared by the Josef and Anni Albers Foundation under number 1961.1.139.

LUCIO FONTANA (1899-1968)

Concetto spaziale, Attese

signed, titled and inscribed 'Concetto Spaziale ATTESE l. fontana 1+1 88884' (on the reverse) waterpaint on canvas 24º x 18¡in. (61.5 x 46.7cm.)

Executed in 1961

£1,500,000-2,000,000

US$1,900,000-2,500,000

€1,700,000-2,200,000

PROVENANCE:

Jean-Paul Meulemeester, Brussels. Serge de Bloe Collection, Brussels. Private Collection, Brussels (acquired from the above in 1966).

Anon. sale, Christie's London, 4 February 2004, lot 8. Private Collection, Switzerland.

Anon. sale, Christie's London, 24 October 2005, lot 18. Acquired at the above sale by the present owner.

LITERATURE:

E. Crispolti, Lucio Fontana, Catalogo generale, vol. II, Milan 1986, no. 61 T 77 (illustrated, p. 439).

E. Crispolti, Lucio Fontana. Catalogo ragionato di sculture, dipinti, ambientazioni, vol. II, Milan 2006, no. 61 T 77 (illustrated, p. 623).

λ*35

YVES KLEIN (1928-1962)

Sculpture éponge bleue sans titre (SE 328) dry pigment and synthetic resin on natural sponge, metal rod and stone base

sculpture: 13æ x 11 x 4æin. (35 x 28 x 12cm.)

base: 4º x 7 x 7¿in. (10.8 x 17.8 x 18cm.)

overall: 18 x 11¡ x 7¿in. (45.8 x 29cm x 18cm.)

Executed circa 1959

£600,000-800,000

US$740,000-970,000

€680,000-890,000

PROVENANCE:

Collection of Hanns Hülsberg, Hagen. Private Collection, Germany.

Anon. sale, Kunsthaus Lempertz Cologne, 17 June 2021, lot 11.

Private Collection, Europe. Acquired from the above by the present owner.

EXHIBITED:

Paris, Galerie Iris Clert, Bas-reliefs dans une forêt d'éponges, 1959.

Krefeld, Museum Haus Lange, Yves Klein: Monochrome und Feuer, 1961, no. 44.

LITERATURE:

Yves Klein, exh. cat., Paris, Centre Georges Pompidou, Musée national d’art moderne, 1983 (studio view illustrated, p. 336).

H. Weitemeier, Yves Klein 1928-1962 International Klein Blue, Cologne 2001 (studio view illustrated, p. 45).

O. Berggruen, M. Hollein, I. Pfeiffer (eds.), Yves Klein, exh. cat., Frankfurt, Schirn Kunsthalle, 2004 (studio view illustrated, p. 98; installation view at Museum Haus Lange, Krefeld, illustrated p. 78).

Yves Klein: A Career Survey, exh. cat., New York, L&M Arts, 2005 (studio view illustrated, p. 26).

B. Corà and D. Moquay (eds.), Yves Klein, exh. cat., Lugano, Museo d’Arte della Città di Lugano, 2009 (studio view illustrated, pp. 150-151).

D. Horowitz (ed.), Yves Klein: With the Void, Full Powers, exh. cat., Washington, DC, Hirshhorn Museum and Sculpture Garden, 2010 (studio view illustrated, p. 143).

M. Koddenberg (ed.), Yves Klein: in/out studio, Dortmund 2016 (studio view illustrated, pp. 110-111).

V. Schmitz-Grucker, 'Yves Klein: In Search of Infinity', in La Gazette Drouot, 10 June 2021 (detail illustrated in colour).

*36

ALEXANDER CALDER (1898-1976)

The Ghost sheet metal, wire and paint 16æ x 9æ x 6in. (42.5 x 24.8 x 15.2cm.) Executed in 1945

£800,000-1,200,000

US$990,000-1,500,000

€900,000-1,300,000

PROVENANCE:

Galerie Louis Carré, Paris. Kunsthalle Bern, Bern. Private Collection, Bern (acquired from the above in 1947). Thence by descent to the present owner in 1976.

EXHIBITED:

Paris, Galerie Louis Carré, Alexander Calder: Mobiles, Stabiles, Constellations, 1946. Bern, Kunsthalle Bern, Calder, Léger, Bodmer, Leuppi, 1947, p. 5, no. 52.

Amsterdam, Stedelijk Museum, Alexander Calder / Fernand Léger, 1947, p. 6, no. 52. Munich, Haus der Kunst, Elan vital oder Das Auge Der Eros: Kandinsky, Klee, Arp, Miro, Calder, 1994, p. 553, no. 187 (illustrated in color, pl. 443).

LITERATURE:

Calder After the War, exh. cat., London, Pace Gallery, 2013 (illustrated, p. 142).

Alexander Calder: Multum in Parvo, exh. cat., New York, Lévy Gorvy, 2015, (illustrated, p. 16).

Alexander Calder: Minimal / Maximal, exh. cat., Berlin, Neue Nationalgalerie, 2021, no. 38 (illustrated, p. 77).

This work is registered in the archives of the Calder Foundation, New York, under application number A14659

PROPERTY OF A PRIVATE SWISS COLLECTOR

λ*37

PIERRE SOULAGES (1919-2022)

Peinture 138 x 181 cm, 26 novembre 2010

signed, titled and dated 'SOULAGES "Peinture 138 x 181 cm" 26 novembre 2010' (on the reverse)

acrylic on canvas, in two parts overall: 54¡ x 71ºin. (138.1 x 181cm.)

Painted in 2010

£650,000-850,000

US$810,000-1,000,000

€730,000-950,000

PROVENANCE:

Galerie Alice Pauli, Lausanne. Acquired from the above by the present owner in 2013.

EXHIBITED:

Rodez, Musée Soulages, Outrenoir en Europe. Musées et fondations, 2014, p. 90, no. 20 (illustrated in colour, p. 91).

LITERATURE:

P. Encrevé, Soulages. L'œuvre complet. Peintures: IV. 19972013, Paris 2015, p. 22, no. 1467 (illustrated in colour, p. 398).

PROPERTY

FROM A PRIVATE AMERICAN COLLECTION °◆*38

DONALD JUDD (1928-1994)

Untitled

stamped 'JUDD JO BERNSTEIN BROS. INC. 79-50' (on the reverse)

red anodized aluminium

5 x 68√ x 8Ωin. (12.6 x 175 x 21.7cm.)

Executed in 1979

£1,000,000-1,500,000

US$1,300,000-1,900,000

€1,200,000-1,700,000

PROVENANCE:

Private Collection, New York (acquired directly from the artist).

Van de Weghe Fine Art, New York. Acquired from the above by the present owner in 2006.

*39

SAM FRANCIS (1923-1994)

Untitled

signed and dated ‘Sam Francis 1957’ (on the reverse)

acrylic on paper laid on board

40¿ x 27¿in. (102.1 x 69cm.)

Executed in 1957

£650,000-850,000

US$810,000-1,000,000

€730,000-950,000

PROVENANCE:

Private Collection.

Anon. sale, Kornfeld und Klipstein Bern, 17 June 1965, lot 298.

David Anderson Gallery, Paris.

Martha Jackson Gallery, New York.

Mr. and Mrs. Richard Miller Collection, Philadelphia and New York (acquired from the above in 1967).

William Zierler, Inc., New York (acquired from the above in 1970).

The Waddington Galleries, London.

Anon. sale, Sotheby’s New York, 11 November 1988, lot 113.

Jan Krugier Gallery, New York.

Richard Gray Gallery, Chicago.

Private Collection, Tokyo.

Anon. sale, Christie’s New York, 10 May 2000, lot 675. Acquired at the above sale by the present owner.

EXHIBITED:

Houston, Museum of Fine Arts, Sam Francis: A Retrospective Exhibition, 1967-1968, p. 27, no. 55. This exhibition later travelled to Berkeley, University Art Museum.

Basel, Kunsthalle Basel, Sam Francis, 1968, no. 91. This exhibition later travelled to Karlsruhe, Badischer Kunstverein and Amsterdam, Stedelijk Museum. New York, William Zierler, Inc., New Acquisitions Fall 1970, 1970, no. 23 (illustrated).

London, Waddington Galleries, Twentieth Century Works, 1989, no. 49 (illustrated in colour, pp. 102-103).

LITERATURE:

Contemporary Great Masters: Sam Francis, Tokyo 1994, no. 27 (illustrated in colour, p. 34).

D. Burchett-Lere (ed.), Sam Francis: Online Catalogue Raisonné Project, digital, ongoing, no. SFF5.486

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

λ*40

DAMIEN HIRST (B. 1965)

Cardura Doxazosin

household gloss on canvas 83√ x 72in. (213 x 183cm.) (4 inch spot) Painted in 1992

£500,000-700,000

US$620,000-860,000

€570,000-790,000

PROVENANCE:

Cohen Gallery, New York. Sammlung Goetz, Munich. Galerie Isabella Kacprzak, Berlin. Landesbank Berlin AG, Berlin. Galerie Thomas Schulte, Berlin. Acquired from the above by the present owner in 2008.

EXHIBITED:

New York, Cohen Gallery, Pharmacy, 1992-1993. Berlin, Max Liebermann Haus, Beyond the Wall. BerlinFreihafen der Künste, 2007, pp. 93-94 and 188 (illustrated in colour, p. 95).

LITERATURE:

M. Grütters (ed.), Die Kunstsammlung der Landesbank Berlin AG, Berlin 2007, pp. 46 and 126 (illustrated in colour, p. 47).

M. Grütters, 'Beyond the Wall. Berlin – Freihafen der Künste’, in MuseumsJournal, issue 21, no. 4, OctoberDecember 2007, p. 55 (illustrated in colour with incorrect orientation, p. 54).

J. Beard and M. Wilner (eds.), The Complete Spot Paintings, 1986-2011, London 2013, p. 826 (illustrated in colour, pp. 47 and 821).

PROPERTY OF A PRIVATE SWISS COLLECTOR

LOUISE BOURGEOIS (1911-2010)

Needle Woman

incised with the artist’s initials, number and date ‘L.B. 2/6 1991’ (lower edge)

painted bronze

55º x 12¿ x 12¿in. (140.3 x 30.7 x 30.7cm.)

Conceived in 1947-1949 and cast in 1991, this work is number two from an edition of six plus one artist's proof

£900,000-1,300,000

US$1,200,000-1,600,000

€1,100,000-1,500,000

PROVENANCE:

Cheim & Read, New York.

Acquired from the above by the present owner.

EXHIBITED:

New York, Peridot Gallery, Louise Bourgeois: Sculptures, 1950 (wood version exhibited).

New York, Xavier Fourcade Gallery, Louise Bourgeois: Sculptures 1941-1953, Plus One New Piece, 1979 (wood version exhibited).

Chicago, Renaissance Society, University of Chicago, Louise Bourgeois: Femme Maison, 1981 (wood version exhibited).

New York, Museum of Modern Art, Louise Bourgeois. Retrospective, 1982-1983 (wood version exhibited, illustrated in colour, p. 37; installation view at Peridot Gallery in 1950, p. 55; installation view at Xavier Fourcade Gallery in 1979, p. 60).

Minneapolis, The Minneapolis Institute of Arts, Louise Bourgeois, 1999-2000 (another from the edition exhibited). Salzburg, Max Gandolph Bibliothek, Positionen, 2000 (another from the edition exhibited).

Champaign, Krannert Art Museum, Louise Bourgeois: The Early Work, 2002-2003 (another from the edition exhibited, illustrated in colour, p. 77). This exhibition later travelled to Madison, Madison Art Center and Aspen, Aspen Art Museum.

New York, Solomon R. Guggenheim Museum, Louise Bourgeois: Retrospective, 2008 (wood version exhibited, installation view at Peridot Gallery in 1950, p. 5).

LITERATURE:

Louise Bourgeois, exh. cat., New York, Robert Miller Gallery, 1986 (wood version illustrated, installation view at Peridot Gallery in 1950, unpaged).

Louise Bourgeois. The Personages, exh. cat., Saint Louis, Saint Louis Art Museum, 1994 (wood version illustrated, installation view at Peridot Gallery in 1950, p. 35; installation view at Xavier Fourcade Gallery in 1979, p. 79).

Louise Bourgeois. Skulpturen und Installationen, exh. cat., Hanover, Kestner-Gesellschaft, 1994 (wood version illustrated, installation view at Peridot Gallery in 1950, p. 177).

Louise Bourgeois. Blue Days and Pink Days, exh. cat., Milan, Fondazione Prada, 1997 (wood version illustrated, installation view at Xavier Fourcade Gallery in 1979, pp. 158-159).

A. Jahn, Louise Bourgeois: Subversionen Des Körpers, Berlin 1999 (wood version illustrated, installation view at Peridot Gallery in 1950, p. 24).

A. Potts, ‘Louise Bourgeois – Sculptural Confrontations’, in Oxford Art Journal, no. 2, vol. 22, Oxford 1999 (wood version illustrated, installation view at Peridot Gallery in 1950, p. 47).

Louise Bourgeois. Memory and Architecture, exh. cat., Madrid, Museo Nacional Centro de Arte Reina Sofia, 19992000 (wood version illustrated, installation view at Peridot Gallery in 1950, p. 41).

Louise Bourgeois, exh. cat., London, Tate Modern, 2000 (wood version illustrated, installation view at Peridot Gallery in 1950, p. 11).

PROPERTY

FROM A GERMAN PRIVATE COLLECTION

λ*43

PABLO PICASSO (1881-1973)

Femme assise dans un fauteuil tressé, en gris (Françoise)

dated '11.12.53.' (upper right); dated again and inscribed '11.12.53. Vallauris' (on the reverse) oil on canvas

45æ x 35 in. (116.2 x 88.9 cm.)

Painted in Vallauris on 11 December 1953

£6,000,000-9,000,000

US$7,500,000-11,000,000

€6,800,000-10,000,000

PROVENANCE:

The artist's estate (no. 13263).

Marina Picasso, Paris, by descent from the above.

Acquired from the above in 1983; sale, Sotheby's, New York, 5 November 2002, lot 44.

Acquired at the above sale by the present owner.

Claude Picasso has confirmed the authenticity of this work.

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ44

PABLO PICASSO (1881-1973)

La femme au tambourin (Dora Maar)

etching and aquatint, 1939, on Arches wove paper, a very good impression of the fifth (final) state, printing with velvety blacks and rich contrasts, signed in pencil and numbered 6/30, published by Galerie Louise Leiris, Paris, 1943, with wide margins, deckle edges at left and right Plate 665 x 512 mm. Sheet 751 x 570 mm.

£600,000-800,000

US$740,000-970,000

€680,000-890,000

PROVENANCE:

Lumley Cazalet Ltd., London. Private collection, London, by whom acquired from the above in 1999.

LITERATURE:

G. Bloch, Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié 1904-1967, Bern, 1968, no. 310, p. 92 (another example illustrated).

B. Baer, Picasso Peintre-Graveur, vol. III, Bern, 1986, no. 646, p. 156-161 (another example illustrated, p. 161).

λ*45

LYNETTE YIADOM-BOAKYE (B. 1977)

Les Partisans (The Partisans)

signed with the artist's initials, titled and dated ‘LYB 2009

Les Partisans’ (on the reverse) oil on canvas

59¡ x 78æin. (150.8 x 200cm.)

Painted in 2009

£800,000-1,200,000

US$990,000-1,500,000

€900,000-1,300,000

PROVENANCE:

Faye Fleming & Partner, Geneva. Private Collection, Italy.

Acquired from the above by the present owner.

EXHIBITED:

Geneva, Faye Fleming & Partner, Manifesto, 2009. Milan, Osart Gallery, Women Painters from 5 Continents, 2010.

°46

GEORGE CONDO (B. 1957)

Easter Sunday

signed and dated 'Condo 2011' (on the overlap) oil on linen

72 x 60in. (182.8 x 152.5cm.)

Painted in 2011

£1,800,000-2,500,000

US$2,300,000-3,100,000

€2,100,000-2,800,000

PROVENANCE:

Skarstedt Gallery, New York. Acquired from the above by the present owner in 2011.

THE PROPERTY OF A LADY

*47 PABLO PICASSO (1881-1973)

Mousquetaire I (Espagnol du XVllème siècle)

signed and dated ‘Picasso 21.4.67’ (on the reverse) oil on canvas

51 x 38º in. (128.3 x 97.1 cm.)

Painted on 21 April 1967

£4,500,000-6,500,000

US$5,600,000-8,000,000

€5,100,000-7,300,000

PROVENANCE:

The artist’s estate.

Marina Picasso, Paris (inv. no. 13611), by descent from the above, until at least October 1998.

Private collection, Switzerland.

Anonymous sale, Christie’s, New York, 8 November 2006, lot 85.

Acquired at the above sale by the family of the present owner.

EXHIBITED:

Johannesburg, The Goodman Gallery, Pablo Picasso, A Selection of Works from the collection of Marina Picasso, February - March 1984, no. 30, p. 39 (illustrated p. 36); this exhibition later travelled to Cape Town, South African National Gallery, April 1984.

Tokyo, Yomiuri Shimbun Sha, Pablo Picasso: Collection Marina Picasso, November 1986 - October 1987, no. PC-31, p. 131 (illustrated p. 38).

Caracas, Centro Cultural Consolidado, 5 Grandes de España: Picasso, Gris, González, Dalí, Miró, AugustOctober 1992, no. 5 (illustrated).

Geneva, Petit Palais, Picasso, passion et création. Les 30 dernières années, July - October 1998, no. 31, p. 117 (illustrated p. 41).

Aarau, Aargauer Kunsthaus, Per Kirkeby. Kristall. Reflexionen, Beziehungen und Bezüge, February - April 2006, p. 165 (illustrated p. 104).

New York, Gagosian Gallery, Picasso, Mosqueteros, March - June 2009, pp. 84 & 274 (illustrated pp. 85 & 274; with incorrect medium).

Jerusalem, Israel Museum, Family Traces, July - November 2009, p. 85.

LITERATURE:

C. Zervos, Pablo Picasso, vol. XXV, Oeuvres de 1965 à 1967, Paris, 1972, no. 339 (illustrated pl. 147).

THE MAKING OF A MASTER: WORKS BY DAVID HOCKNEY FROM AN IMPORTANT PRIVATE COLLECTION

λ*48

DAVID HOCKNEY (B. 1937)

Chair with a Horse Drawn by Picasso signed, titled and dated ‘chair with a horse drawn by Picasso David Hockney 1970’ (on the reverse)

acrylic on canvas 33√ x 28in. (86.2 x 71.1cm.) Painted in 1970

£1,500,000-2,000,000

US$1,900,000-2,500,000

€1,700,000-2,200,000

PROVENANCE:

Private Collection, Germany (acquired in the early 1970s).

EXHIBITED: Nijmegen, Nijmeegs Museum, David Hockney: Schilderijen, Tekeningen en Prenten (Paintings, Drawings and Prints), 1975, no. 38 (illustrated, unpaged).

LITERATURE:

N. Stangos (ed.), David Hockney by David Hockney, London 1976, p. 304, no. 317 (illustrated, p. 232; dated '1971'). David Hockney: A Retrospective, exh. cat., Los Angeles, Los Angeles County Museum of Art, 1988, pp. 41 and 284 (dated '1971').

PROPERTY FROM A PRIVATE COLLECTION, NEW JERSEY

°λ*49

PABLO PICASSO (1881-1973)

Compotier et verres

signed 'Picasso' (lower right) and dated '16 June 43' (on the reverse) oil on canvas 18º x 24 in. (46.5 x 61 cm).

Painted on 16 June 1943

£1,200,000-1,800,000

US$1,500,000-2,200,000

€1,400,000-2,000,000

PROVENANCE:

Galerie Simon [Daniel-Henry Kahnweiler], Paris. Michael & Vivian Newbury, Chicago, by 1968; sale, Sotheby's, New York, 11 November 1987, lot 64. Acquired at the above sale by the present owner.

EXHIBITED:

Chicago, The Art Institute of Chicago, Picasso in Chicago: Paintings, Drawings and Prints from Chicago Collections, February - March 1968, no. 41, p. 114 (illustrated p. 40; titled ‘Still Life with a Basket of Cherries’).

LITERATURE:

C. Zervos, Pablo Picasso, Oeuvres de 1943 à 1944, vol. 13, Paris, 1962, no. 54 (illustrated pl. 27).

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

λ50

MARC CHAGALL (1887-1985)

Hôtel de la Poste

signed and dated 'Marc Chagall 926' (lower right)

gouache and pencil on paper 26 x 20 in. (65.8 x 51 cm.)

Executed in Chambon-sur-Lae in 1926

£500,000-800,000

US$620,000-990,000

€570,000-900,000

PROVENANCE:

Marcel Arland, Paris. Anonymous sale; Sotheby's, London, 1 July 1987, lot 487.

Acquired at the above sale.

EXHIBITED:

Ludwigshafen, Wilhelm Hack Museum, Marc Chagall: Mein Leben - Mein Traum, Berlin und Paris 1922-1940, April - June 1990, no. 44, p. 201 (illustrated pl. 40).

The Comité Marc Chagall has confirmed the authenticity of this work.

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

GUSTAV KLIMT (1862-1918)

Dame en face mit plisiertem Kleid (Damenbilden en face)

signed 'GUSTAV KLIMT' (lower right) oil on board laid down on board 17 x 13º in. (43.2 x 33.8 cm.)

Painted circa 1898

£2,000,000-3,000,000

US$2,500,000-3,700,000

€2,300,000-3,400,000

PROVENANCE:

Galerie H.O. Miethke, Vienna, by whom acquired directly from the artist.

Kommerzialrat Julius Reich, Vienna, by whom acquired from the above in 1909; his sale, C.J. Wawra, Vienna, 7 November 1922, lot 160 (illustrated).

Bernhard Altmann, Vienna, by whom acquired at the above sale, from whom confiscated by the Gestapo in June 1938; sale, Dorotheum, Vienna, 18 June 1938, lot 379.

Gustav Ucicky [the artist's son], Vienna, by whom acquired at the above sale.

Österreichische Galerie Belvedere, Vienna (inv. 5449) by bequest from the above in 1961.

Restituted to the heirs of Bernhard Altmann in 2004; sale, Christie's, New York, 9 November 2006, lot 363.

Acquired at the above sale; sale, Christie's, London, 4 February 2009, lot 32.

Private collection, Europe, by whom acquired at the above sale and thence by descent.

EXHIBITED:

Vienna, Österreichische Galerie, Gustav Klimt: 29 Gemälde, ausgestellt im Oberen Belvedere aus Anlass der 100. Wiederkehr seines Geburtstages, October - December 1962, no. 4 (titled 'Damenkopf').

Tokyo, Sezon Museum of Art, Wien um 1900: Klimt, Schiele und ihre Zeit, October - December 1989, no. 96 (illustrated). Florence, Palazzo Strozzi, Gustav Klimt, November 1991March 1992, no. 16 (illustrated p. 97).

Zurich, Kunsthaus Zürich, Gustav Klimt, SeptemberDecember 1992, no. G20, p. 110 (illustrated p. 111).

Madrid, Fundación Juan March, Klimt, Kokoschka, Schiele, Un Sueño Vienés, February - May 1995, no. 2, pp. 42 & 110 (illustrated p. 43).

LITERATURE:

J. Dobai, Das Frühwerk Gustav Klimts (dissertation), Vienna, 1958, pp. 154-155. Österreichischen Galerie, Mitteilungen der Österreichischen Galerie, vol. V, No. 49, Vienna, 1961, p.4 (illustrated fig. 6).

F. Novotny & J. Dobai, Gustav Klimt with a Catalogue Raisonné of his Paintings, London, 1968, no. 97, p. 309 (illustrated & illustrated again pl. 23; dated 'c. 1898-9').

J. Dobai & S. Coradeschi, L'opera completa di Klimt, Milan, 1978, no. 80, p. 96 (illustrated & illustrated again pl. XII).

A. Bäumer, Gustav Klimt, Women, New York, 1987, p. 46 (illustrated p. 47).

G. Frodl, Klimt, London, 1992, no. 1, p. 153 (illustrated).

G. Frodl, Gustav Klimt in der Österreichischen Galerie Belvedere in Wien, Salzburg, 1992, p. 50 (illustrated p. 51, titled 'Bildnis einer Dame').

T.G. Natter & G. Frodl, exh. cat., Klimt's Women, Österreichische Galerie Belvedere, Vienna, 2000, p. 80 (illustrated).

L. Payne, Essential Klimt, London, 2000, p. 85 (illustrated).

S. Lillie, Was einmal war. Handbuch der enteigneten Kunstsammlungen Wiens, Vienna, 2003, no. 379, p. 53 (titled 'Frauenkopf').

A. Weidinger, ed., Gustav Klimt, New York, 2007, no. 115, p. 257 (illustrated).

PROPERTY FROM A PRIVATE COLLECTION, NEW JERSEY

°*52

CHAÏM SOUTINE (1893-1943)

Femme assise dans un fauteuil

signed 'Soutine' (upper right) oil on canvas

25¬ x 19¬ in. (65 x 50 cm.)

Painted circa 1919

£2,000,000-3,000,000

US$2,500,000-3,700,000

€2,300,000-3,400,000

PROVENANCE:

Salle Aeolian, Brussels.

Charles Drost, Brussels, by whom acquired from the above on 29 October 1920.

Anonymous sale, Sotheby & Co., London, 15 April 1970, lot 53.

Roland, Browse & Delbanco, London, by whom acquired at the above sale.

Cosmondia S.A., Geneva, by whom acquired from the above in November 1972.

Galerie Yoshii, Tokyo, by December 1972. Private collection, Japan.

Anonymous sale, Christie's, New York, 19 November 1986, lot 33.

Acquired at the above sale by the present owner.

EXHIBITED:

Tokyo, Gallery Yoshii, Soutine: l'exposition du peintre de la fatalité, fureur passionnée, January 1973, no. 4 (illustrated pl. 4).

Takasaki, Museum of Modern Art of Gunma, L'École de Paris, October - November 1984, no. 47.

Céret, Musée d'Art Moderne de Céret, Soutine: Céret 19121922, June - October 2000, p. 376 (illustrated p. 377).

Cologne, Galerie Gmurzynska, The impact of Chaim Soutine de Kooning, Pollock, Dubuffet, Bacon, NovemberDecember 2001, p. 154 (illustrated).

LITERATURE:

P. Courthion, Soutine, Peintre du déchirant, Paris, 1972, no. E, pp. 28 & 183 (illustrated p. 29; illustrated again p. 183; dated '1914' & '1917-1918').

T. Satomi, Sansai, February 1973 (illustrated).

M. Tuchman, E. Dunow & K. Perls, Chaim Soutine: Catalogue Raisonné, vol. II, Cologne, 1993, no. 28, p. 558 (illustrated p. 561).

PROPERTY FORMERLY FROM THE COLLECTION OF EDMOND &

JEANNE LÉVY-DITISHEIM

PIERRE-AUGUSTE RENOIR (1841-1919)

Le canotier de Bougival signed 'Renoir.' (centre right) oil on canvas

16¿ x 13 in. (41 x 32.8 cm.) Painted circa 1879

£500,000-800,000

US$620,000-990,000

€570,000-900,000

PROVENANCE:

M. de Lauradour, Paris, by whom likely acquired or a gift directly from the artist.

M. & Mme. Gustave Danthon, by March 1929, and thence by descent until at least February 1935. Ambroise Vollard, Paris, and thence by descent in 1939. (Probably) Otto Wertheimer, Paris.

Edmond & Jeanne Lévy-Ditisheim, Basel, by whom acquired in the early 1950s, and thence by descent to the present owner.

EXHIBITED:

London, The Leicester Galleries, The Renoir Exhibition, July - August 1926, no. 19 (dated '1875').

Paris, Galerie Danthon, Vingt-cinq tableaux de Renoir, Monet, etc., March 1929, p. 1.

Basel, Kunstmuseum, on loan, 2002-2015.

Basel, Kunstmuseum, Renoir between Bohemia and Bougeoisie: the early years, April - August 2012, no. 39, p. 114 (illustrated; dated '1875').

LITERATURE:

E. Fezzi, L'opera completa de Renoir nel periodo impressionista 1869-1883, Milan, 1972, no. 375, pp. 105 & 106 (illustrated).

F. Daulte, Auguste Renoir, New York, 1988, no. 304, p. 415 (illustrated pl. 304).

G.-P. & M. Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. I, 1858-1881, Paris, 2007, no. 552, p. 537 (illustrated).

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION *54

AUGUSTE RODIN (1840-1917)

Eve au rocher, petit modèle–modèle aux pieds détaillés

signed 'A. Rodin' (on the right side of the base) bronze with brown patina Height: 29¡ in. (74.5 cm.)

Conceived in 1883 and cast circa 1900

£1,500,000-2,500,000

US$1,900,000-3,100,000

€1,700,000-2,800,000

PROVENANCE:

Anonymous sale, Hôtel Drouot, Paris, 28 June 1972, lot 97. Dominique Jobert, Paris, by whom acquired at the above sale.

Galerie J. F. Aittouarès, Paris, by whom acquired from the above.

Robert Bowman Gallery, London, by whom acquired from the above in 1998.

Anonymous sale, Christie's, New York, 6 November 2002, lot 7.

Private collection, United States, by whom acquired at the above sale; sale, Christie's, New York, 9 May 2007, lot 21.

Acquired at the above sale by the present owner.

LITERATURE:

F. Lawton, The Life and Work of Auguste Rodin, London, 1906, pp. 75, 108, 126 & 268 (another cast illustrated).

J. Cladel, Auguste Rodin, l'oeuvre et l'homme, Brussels, 1908, p. 161 (another cast illustrated; marble version illustrated).

C. Mauclair, Auguste Rodin, The Man, His Ideas, His Works, London, 1909, p. 14 (another cast illustrated p. 12).

L. Bénédite, Rodin, Paris, 1924, pp. 26-27 (another cast illustrated pl. XVI).

L. Bénédite, Rodin, Paris, 1926, p. 61 (marble version illustrated pl. 9).

J. Cladel, Auguste Rodin, sa vie glorieuse, sa vie inconnue, Paris, 1936, pp. 142-143.

G. Grappe, Catalogue du Musée Rodin, Paris, 1944, pp. 27-28 (marble version illustrated p. 28).

G. Grappe, Le Musée Rodin, Paris, 1944, p. 141, no. 44 (another cast illustrated).

P.L. Grigau, 'Rodin's Eve', in Bulletin of the Detroit Institute, 1953 - 1954, pp. 14 & 16 (another cast illustrated p. 15).

A.E. Elsen, Rodin, New York, 1963, pp. 49, 151, 192 & 208 (another cast illustrated p. 51).

B. Champigneulle, Rodin, London, 1967, p. 279 (another cast illustrated p. 23).

R. Descharnes & J.-F. Chabrun, Auguste Rodin, Paris, 1967, p. 160.

I. Jianou & C. Goldscheider, Rodin, Paris, 1967, p. 88 (another cast illustrated pl. 19; plaster version illustrated, pl. 17).

J.L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, pp. 148-157 (another cast illustrated fig. 8).

J. de Caso & P.B. Sanders, Rodin's Sculpture: A Critical Study of the Spreckels Collection, San Francisco, 1977, pp. 17, 27, 143-144 & 146 (plaster version illustrated pp. 142 & 145).

L. Goldscheider, Rodin Sculptures, New York, 1979, no. 22, p. 118 (another cast illustrated).

This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay under the archive number 2002V202B.

For the complete cataloguing of this lot visit christies.com

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*55

MARC CHAGALL (1887-1985)

Le soleil à la guirlande ou Le paysage vert ou Soleil à Saint Jean

signed 'Marc Chagall.' (lower right)

gouache and pastel on paper

29√ x 21¬ in. (77 x 55.6 cm.)

Executed in 1949

£700,000-1,000,000

US$860,000-1,200,000

€790,000-1,100,000

PROVENANCE:

Franz Meyer, Switzerland, a gift from the artist in 1953.

Ida Meyer Chagall, Switzerland.

Private collection, by whom acquired from the above, and thence by descent to the present owners.

EXHIBITED:

Turin, Museo Civico Palazzo Madama, L’opera di Marc Chagall: dipinti, guazzi, acquarelli, disegni, sculture, ceramiche, incisioni, April - June 1953, no. 120.

Hannover, Kestner-Gessellschaft, Marc Chagall, May - June 1955, no. 74.

Hamburg, Kunstverein, Marc Chagall, February - March 1959, no. 248; this exhibition later travelled to Munich, Haus der Kunst, April - May 1959 and Paris, Musée des arts décoratifs, June - September 1959.

Copenhagen, Kunsthal Charlottenborg, Oskar KokoschkaMarc Chagall, October - November 1960, no. 27.

Knokke Le Zoute, Casino Communal, Hommage à Marc Chagall: Exposition retrospective, July - September 1961, no. 61 (illustrated).

Tokyo, National Museum of Western Art, Marc Chagall, October - November 1963, no. 171, p. 113 (illustrated); this exhibition later travelled to Kyoto, Kyoto Municipal Museum of Modern Art, November - December 1963.

Zurich, Kunsthaus Zürich, Chagall, May - July 1967, no. 244, p. 43.

St. Paul-de-Vence, Fondation Maeght, Hommage à Marc Chagall : Œuvres de 1947-1967, August - September 1967, no. 92 (illustrated).

Paris, Grand Palais, Hommage à Marc Chagall, December 1969 - March 1970, no. 107, p. 137 (illustrated).

Humlebaek, The Louisiana Museum of Modern Art, Marc Chagall, March - May 1970, no. 58.

Marcq-en-Barœul, Fondation Anne et Albert Prouvost, Septentrion, Hommage à Marc Chagall, OctoberDecember 1975, no. 46 (illustrated).

Tokyo, National Museum of Modern Art, Exposition Marc Chagall, August - September 1976, no. 79 (illustrated); this exhibition later travelled to Kyoto, Municipal Museum of Modern Art, September - October 1976; Nagoya, Prefectoral Museum of Aichi, November 1976 and Kumamoto, Kumamoto Prefectoral Museum of Art, November - December 1976.

Balingen, Stadthalle Balingen, Marc Chagall zum 100. Geburtstag: Gouachen und Aquarelle, June - August 1987, p. 152 (illustrated p. 153).

Tel-Aviv, The Tel-Aviv Museum, Marc Chagall: 100th Anniversary of his Birth, November 1987 - March 1988, no. 40 (illustrated p.41).

Breda, De Beyerd, Marc Chagall: 100th Anniversary of his Birth, April – June 1989, p. 160 (illustrated p. 161).

Kasama, Museum of Tokyo Cultural Village Kasama Nichido, Marc Chagall, October 1989 - March 1990. Munich, Kunsthalle der Hypo-Kulturstiftung, Marc Chagall, March - June 1991, no. 63 (illustrated).

Salzburg, Rupertinum, Chagall, March - June 1992, no. 63 (illustrated p. 127).

Linz, Neue Galerie der Stadt Linz, Marc Chagall, MarchJune 1994, no. 63, p. 146 (illustrated p. 147).

LITERATURE:

M. Chagall & J. Lassaigne, Chagall, Paris, 1957, p. 125 (illustrated).

F. Meyer, Marc Chagall, Life and Work, Cologne, 1961, no. 801, p. 759 (illustrated).

J. Cassou, Chagall, London, 1965, no. 149, p. 282 (illustrated p. 217).

A. P. Mandiargues, Chagall, Paris, 1975, no. 50, p. 205 (illustrated p. 85).

R. Negri, Marc Chagall, Milan, 1978, no. 74 (illustrated).

Bunte, No. 25/87, Munich, 11 June 1987, p. 90 (illustrated).

J. Baal-Teshuva, Chagall: A Retrospective, New York, 1995, no 67, p. 213 (illustrated).

J. Baal-Teshuva, Chagall, Cologne, 1998, p. 189 (illustrated).

The Comité Marc Chagall has confirmed the authenticity of this work.

PROPERTY

FROM A PRIVATE SWISS COLLECTION

*56

EDGAR DEGAS (1834-1917)

Femme en peignoir jaune se coiffant stamped with signature ‘Degas’ (Lugt 658; lower left) pastel on joined paper laid down on board

43º x 39Ω in. (109.8 x 100.3 cm.)

Executed circa 1894

£2,500,000-4,500,000

US$3,100,000-5,600,000

€2,900,000-5,000,000

PROVENANCE:

The artist's estate; First sale, Galerie Georges Petit, Paris, 6-8 May 1918, lot 175.

Ambroise Vollard, Paris.

Jacques Seligmann, New York & Paris; his sale, American Art Association, New York, 27 January 1921, lot 63.

Lathrop and Hélène Brown, New York & La Jolla, by whom acquired at the above sale; her estate sale, Sotheby Parke Bernet, Inc., New York, 17 May 1979, lot 224.

Private collection, United States, by whom acquired at the above sale.

Acquired from the above by the present owner.

EXHIBITED:

The Brooklyn Museum, on loan, 1921.

LITERATURE:

‘Museum Notes’, in The Brooklyn Museum Quarterly, vol. 8, no. 3, Brooklyn, July 1921, p. 118 (titled ‘The Yellow Kimono’).

P. A. Lemoisne, Degas et son œuvre, vol. III, Paris, 1946, no. 1160, p. 675 (illustrated).

F. Russoli & F. Minervino, L’Opera completa di Degas, Milan, 1970, no. 1167, p. 138 (illustrated).

PROPERTY OF A PRIVATE SWISS COLLECTOR

λ*57

SIGMAR POLKE (1941-2010)

Untitled

signed, dedicated and dated 'Sigmar Polke für den Ralf zum Geburtstag am 13.4.2000' (on the overlap); signed 'Sigmar Polke' (on the reverse)

acrylic on canvas 19æ x 27¬in. (50.2 x 70.1cm.)

Painted in 2000

£650,000-850,000

US$810,000-1,000,000

€730,000-950,000

PROVENANCE:

Private Collection, Cologne (a gift from the artist). Duke Street Gallery, London. Simon Lee Gallery, London. Private Collection, Europe. Double Vision, Christie’s London, 14 October 2007, lot 8. Acquired at the above sale by the present owner.

PROPERTY OF A DISTINGUISHED AMERICAN COLLECTOR

λ*58

RUDOLF STINGEL (B. 1956)

Untitled oil on canvas

83 x 67in. (210.8 x 170.2cm.)

Painted in 2006

£600,000-800,000

US$750,000-990,000

€680,000-900,000

PROVENANCE:

Paula Cooper Gallery, New York. Acquired from the above by the present owner.

λ*59

AMOAKO BOAFO (B. 1984)

The Shadow of Imana

signed and dated 'AMOAKO M BOAFO 2018 KING' (centre right)

oil and graphite on four joined sheets of paper

54 x 64ºin. (137.2 x 163.1cm.)

Executed in 2018

£250,000-350,000

US$310,000-430,000

€290,000-390,000

PROVENANCE:

Acquired directly from the artist by the present owner in 2018.

*60

STANLEY WHITNEY (B. 1946)

Bob’s Smile

signed, titled and dated ‘Dec. 2009 Stanley Whitney “Bob’s Smile”’ (on the reverse) oil on linen

72 x 72in. (182.9 x 182.9cm.)

Painted in 2009

£400,000-600,000

US$500,000-740,000

€450,000-670,000

PROVENANCE:

Team Gallery, New York. Douglas Udell Gallery, Edmonton. Acquired from the above by the present owner in 2010.

EXHIBITED:

New York, Team Gallery, Untitled ’10, 2010.

LITERATURE:

‘Galleries – Downtown’, in The New Yorker, 8 February 2010, p. 12.

FRAGMENTS

OF

LIFE: WORKS

BY

ERNIE BARNES

FROM

THE COLLECTION OF DANNY AND DONNA ARNOLD *61

ERNIE BARNES (1938-2009)

The Stroll

signed 'ERNIE BARNES' (lower right)

acrylic on canvas

36 x 47√in. (91.4 x 121.6cm.) Painted in 1982

£100,000-150,000

US$130,000-190,000

€120,000-170,000

PROVENANCE:

Acquired directly from the artist by the late owners circa 1982.

This work is included in the forthcoming Catalogue Raisonné prepared by the Ernie Barnes Estate. We would like to thank Luz Rodriguez at the Ernie Barnes Estate for her assistance in cataloguing this work.

λ*62

DAVID HOCKNEY (B. 1937)

Santa Monica Boulevard

signed, titled and dated 'David Hockney Santa Monica Blvd 1979' (on the reverse)

acrylic on canvas 24 x 36in. (61 x 91.5cm.)

Painted in 1979

£1,200,000-1,800,000

US$1,500,000-2,200,000

€1,400,000-2,000,000

PROVENANCE:

André Emmerich Gallery, New York. Susan Gersh Gallery, Los Angeles. Private Collection, Beverly Hills. Private Collection, Los Angeles. Anon. sale, Christie’s New York, 15 May 2019, lot 56B. Acquired at the above sale by the present owner.

LITERATURE:

D. Hockney, That's the Way I See It, London 1993, p. 242, no. 47 (illustrated in colour, p. 50).

λ*63

SEAN SCULLY (B. 1945)

Stare Red Yellow

signed, titled, and dated ‘STARE YELLOW RED

Sean Scully 8/1997’ (on the reverse) oil on three attached canvases

96¿ x 84in. (244 x 213.5cm.)

Painted in 1997

£600,000-800,000

US$750,000-990,000

€680,000-900,000

PROVENANCE:

Galerie Lelong, Paris.

Acquired from the above by the present owner in 1998.

EXHIBITED:

Bern, Kunstmuseum Bern, Sean Scully. Grey WolfRetrospective, 2012, pp. 118 and 203 (illustrated in colour, p. 119). This exhibition later travelled to Linz, Lentos Kunstmuseum.

LITERATURE:

D. Carrier, Sean Scully, London 2004, p. 224 (illustrated in colour, p. 36).

Sean Scully, exh. cat., Edinburgh, Ingleby Gallery, 2005, no. 24 (illustrated in colour, unpaged).

L. Beaumont-Maillet, Sean Scully, Paris 2006, p. 62, no. 31 (illustrated in colour, p. 27).

S. Scully, Pinako the K Conferencia, 2014 (illustrated in colour, unpaged).

Sean Scully, Vita Duplex, exh. cat., Karlsruhe, Staatliche Kunsthalle Karlsruhe, 2018, pp. 36 and 39 (illustrated in colour, p. 38).

PROPERTY OF A DISTINGUISHED AMERICAN COLLECTOR

λ*64

RUDOLF STINGEL (B. 1956)

Untitled (Bishop)

signed and dated 'Stingel 2009' (on the reverse) oil on linen

16 x 13in. (40.6 x 33cm.)

Painted in 2009

£250,000-350,000

US$310,000-430,000

€280,000-390,000

PROVENANCE:

Paula Cooper Gallery, New York. Acquired from the above by the present owner.

EXHIBITED:

New York, Paula Cooper Gallery, Rudolf Stingel, 2009.

*64A

SHARA HUGHES (B. 1981)

Rough Terrain oil and acrylic on canvas 60 x 52in. (152.4 x 132.1cm.)

Painted in 2017

£200,000-300,000

US$250,000-370,000

€230,000-340,000

PROVENANCE:

Rachel Uffner Gallery, New York. Acquired from the above by the present owner.

PROPERTY FROM A DISTINGUISHED GERMAN COLLECTION

λ*65

ALBERT OEHLEN (B. 1954)

Blues nach Noten (Blues by Notes)

signed, titled, inscribed and dated '44 "Blues nach Noten" A. Oehlen 96' (on the reverse) oil on canvas

75¡ x 75Ωin. (191.3 x 191.7cm.) Painted in 1996

£800,000-1,200,000

US$990,000-1,500,000

€900,000-1,300,000

PROVENANCE:

Private Collection, Germany (acquired directly from the artist in 1997).

EXHIBITED: Oslo, Galleri K, Albert Oehlen, 1997.

v65A

TYLER HOBBS (B. 1987)

Fidenza #724

smart contract address:

0xa7d8d9ef8D8Ce8992Df33D8b8CF4Aebabd5bD270

token ID: 78000724

wallet address:

0xf8BE957f65E67Fb0342992A51C30290d5758F880 PNG

2000 x 2400 pixels

Executed in 2021 and minted on 11 June 2021, this work is unique and accompanied by a non-fungible token

£200,000-300,000

US$250,000-370,000

€230,000-340,000

PROVENANCE:

0x7bA217eC4643A03f3477e9f2976dDAb7bA5b9161 0x88D3574660711e03196aF8A96f268697590000Fa

Acquired from the above by the present owner.

Please note that non-fungible tokens (NFTs) are not regulated assets in the UK or protected by financial compensation schemes. The value of an NFT could go down as well as up. For tax purposes, including potential sales tax, NFTs may be considered a digital service or digital product and thus Christie’s may be required to collect relevant taxes dependent on local laws. Tax may be payable on profits from investing in an NFT. You may wish to consult an independent tax adviser.

Whilst each NFT is associated with a digital asset (for example, the digital artwork), they are separate and distinct. Purchasing a NFT does not mean that you are buying the digital asset associated with the NFT. You should check before bidding what rights to the digital asset you obtain by virtue of buying the NFT (if any). Please see the Conditions of Sale for further information.

ANTONY GORMLEY (B. 1950) GUT VI

cast iron

63 x 19º x 28æin. (160 x 49 x 73cm.)

Executed in 2009

£350,000-550,000

US$430,000-670,000

€400,000-610,000

PROVENANCE: White Cube.

Acquired from the above by the present owner in 2011.

Photograph by Stephen White & Co. © the artist

PROPERTY FROM A PRIVATE COLLECTION, NEW JERSEY

HENRY MOORE (1898-1986)

Seated Woman: Thin Neck

signed and numbered ‘Moore 6/7’ (on the left hip) bronze with dark brown patina Height: 64Ω in. (163.8 cm.)

Conceived in 1961; cast in bronze in 1964 in a numbered edition of seven plus one

£550,000-750,000

US$680,000-930,000

€620,000-840,000

PROVENANCE:

Nina & Gordon Bunshaft, New York, by 1965.

The Museum of Modern Art, New York (no. 642.94), a gift from the above in 1994; sale, Christie’s, New York, 1 November 2005, lot 64.

Acquired at the above sale by the present owner.

EXHIBITED:

New York, The Museum of Modern Art, Selections from the Nina and Gordon Bunshaft Bequest, August - October 1995 (incorrectly numbered '6/9').

LITERATURE:

H. Read, Henry Moore, A study of his life and work, London, 1965, no. 233, pp. 243 & 280 (another cast illustrated p. 243; with incorrect edition size).

R. Melville, Henry Moore, Sculpture and Drawings 19211969, London, 1970, nos. 631-632, p. 363 (another cast illustrated; with incorrect edition size).

S. Spender, ed., Henry Moore: Sculptures in Landscape, New York, 1978, no. 30, p. 119 (illustrated in situ pl. 30; with incorrect edition size).

E. Teague, Henry Moore: Bibliography and Reproductions Index, North Carolina, 1981, p. 148.

D. Mitchinson, ed., Henry Moore Sculpture, with Comments by the Artist, London, 1981, p. 313, no. 341 (another cast illustrated, p. 159; with incorrect edition size).

A. Bowness, ed., Henry Moore, Sculpture and drawings, vol. III, Sculpture 1955-64, London, 2005, no. 472, p. 46 (another cast illustrated p. 47; another cast illustrated again pls. 106 & 107; with incorrect edition size).

PROPERTY FROM AN IMPORTANT BRITISH COLLECTION

JEAN DUBUFFET (1901-1985)

La vie en rose

signed with the artist’s initials and dated ‘J. D. 80’ (lower left); inscribed, titled and dated 'B41 La vie en rose Déc. 80' (on the reverse)

acrylic on canvas

39º x 31æin. (99.7 x 80.8cm.)

Painted in 1980

£450,000-650,000

US$560,000-800,000

€510,000-730,000

PROVENANCE:

Waddington Galleries, London. Acquired from the above by the present owner in 1985.

EXHIBITED: London, Waddington Galleries, Jean Dubuffet, 1981 (illustrated, unpaged).

LITERATURE:

M. Loreau (ed.), Catalogue des travaux de Jean Dubuffet. Fascicule XXXII: Sites aux figurines, Partitions, Paris 1982, pp. 126 and 129, no. 235 (illustrated, p. 97).

PROPERTY FROM A PRIVATE COLLECTION, NEW JERSEY

°λ*69

MARC CHAGALL (1887-1985)

Nuit de Nouvel An

signed and dated 'Marc Chagall 50-951' (bottom right) oil on canvas

26 x 16 in. (66 x 40.6 cm.)

Painted in 1950-1951

£550,000-750,000

US$680,000-930,000

€620,000-840,000

PROVENANCE:

Perls Galleries, New York. Private collection, Beverly Hills.

Susan Burton, Canada, and thence by descent; sale, Christie's, New York, 15 May 1997, lot 422. Acquired at the above sale by the present owner.

LITERATURE:

F. Meyer, Marc Chagall: Life and Work, London, 1964, no. 838, p. 760 (illustrated).

J. Baal-Teshuva, Marc Chagall, 1887-1985, Cologne, 1998, p. 180 (illustrated p. 181).

The Comité Marc Chagall has confirmed the authenticity of this work.

PROPERTY FROM A GERMAN PRIVATE COLLECTION

λ*70

GEORG BASELITZ (B. 1938)

Drei Streifen – Die Kuh (Three stripes – The cow) signed ‘Baselitz’ (centre right); signed, titled and dated '3 Streifen die Kuh Baselitz 68' (on the reverse) oil on canvas

63æ x 51¿in. (162 x 130cm.)

Painted in 1968

£700,000-1,000,000

US$870,000-1,200,000

€790,000-1,100,000

PROVENANCE:

Private Collection, Germany (acquired directly from the artist circa 1968-1970).

Private Collection, Germany (by descent from the above). Thence by descent to the present owner.

EXHIBITED:

Cologne, Galerie Tobiès & Silex, Georg Baselitz: Bilder 1962-1970, 1971-1972, no. 13 (illustrated, unpaged; incorrectly titled).

Kochel am See, Franz Marc Museum, Georg Baselitz. Tierstücke: Nicht von dieser Welt, 2014, pp. 22, 65, 76 and 139, no. 31 (illustrated in colour, p. 77). Frankfurt, Städel Museum (on long-term loan since 2014).

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY *71

MAX BECKMANN (1884-1950)

Nachtstilleben mit Sonnenblumen

signed, dated and inscribed 'Beckmann A.43' (lower right) oil on canvas

33¬ x 17¬ in. (85.3 x 44.6 cm.)

Painted in Amsterdam in 1943

£650,000-1,000,000

US$810,000-1,200,000

€730,000-1,100,000

PROVENANCE:

Galerie Karl Buchholz, Berlin, by whom acquired directly from the artist on 27 May 1943. Private collection, Düsseldorf, by 1943.

Anonymous sale, Christie’s, London, 28 June 1988, lot 196. Richard Feigen Gallery, New York (no. 18172-C), by whom acquired at the above sale.

Private collection, Canada, by whom acquired from the above.

Robin Garton & Co., Devizes, Wiltshire. Acquired from the above by the present owners in August 1999.

EXHIBITED:

Cologne, 1. Westdeutsche Kunstmesse, Kunst von der Antike bis zum 20. Jahrhundert, March 1970.

LITERATURE:

The artist’s diary, 16 December 1942 (titled 'Tisch mit Büchern').

The artist’s diary, 11 January 1943.

The artist’s diary, 19 January 1943.

E. & B. Göpel, Max Beckmann: Katalog der Gemälde, vol. I, Bern, 1976, no. 627, p. 378 (illustrated vol. II, pl. 224).

K. Schick & H. Gassner, eds., Max Beckmann: The Still Lifes, exh. cat., Kunsthalle, Hamburg, 2014, p. 21 (illustrated fig. 18).

A. Tiedemann, Max Beckmann - Die Gemälde, Ahlen, 2021, no. 627, p. 41.

A. Tiedemann, Werkverzeichnis Max Beckmann - Die Gemälde, Ahlen, 2021, no. 627 (accessed 2023).

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

λ*72

OTTO DIX (1891-1969)

Sadisten gewidmet

signed and dated ‘DIX 22.’ (lower left); inscribed ‘unverkäuflich’ (on the reverse) watercolour, pen and India ink and pencil on paper 19¬ x 14æ in. (49.8 x 37.5 cm.)

Executed in 1922

£500,000-700,000

US$620,000-860,000

€570,000-790,000

PROVENANCE:

Galerie Klihm, Munich, by whom acquired directly from the artist, and until January 1972.

Roman Norbert Ketterer, Campione, by whom probably acquired from the above.

Private collection, Europe, by whom acquired from the above in 1973; sale, Christie’s, London, 29 June 1992, lot 25. Acquired at the above sale by the present owner.

EXHIBITED:

Munich, Galerie Klihm, Otto Dix: Aquarelle, Zeichnungen, Radierungen, 1920-1927, June - August 1970, no. 3 (illustrated).

Paris, Goethe Institut, Otto Dix: Aquarelles, Dessins, November - December 1970, no. 11 (titled 'Dedie aux sadiques').

Munich, Galerie Klihm, Otto Dix: Entwürfe und Zeichnungen 1918 - 1938, August - September 1972. Hamburg, Bucerius Kunst Forum, Geisterbahn und Glanzrevue: Otto Dix, Aquarelle und Gouachen, JuneSeptember 2007, no. 90, p. 149 (illustrated).

New York, Neue Galerie, Otto Dix, March - August 2010, no. 118, pp. 99-100, 153 & 247 (illustrated p. 100, fig. 14; illustrated again p. 247); this exhibition later travelled to Montreal, Musée des Beaux Arts, September 2010January 2011.

Düsseldorf, Kunstsammlung Nordrhein-Westfalen, Otto Dix: The Evil Eye, February - May 2017, no. 147; this exhibition later travelled to Liverpool, Tate, June - October 2017.

LITERATURE:

R.N. Ketterer, Moderne Kunst VII, Munich, 1971, no. 24, p. 51 (illustrated p. 50).

B.S. Barton, Otto Dix and Die neue Sachlichkeit, 1918-1925, Michigan, 1981, no. VB2, p. 140.

S. Pfäffle, Otto Dix, Werkverzeichnis der Aquarelle und Gouachen, Stuttgart, 1991, no. A 1922/8, p. 150 (illustrated).

W. Herzogenrath & J.-K. Schmidt, Otto Dix: Zum 100. Geburtstag, 1891-1991, exh. cat., Galerie der Stadt, Stuttgart, 1991, pp. 118-119 (illustrated p. 119).

O. Peters, Otto Dix: Der unerschrockene Blick, Stuttgart, 2013, p. 81 (illustrated pl. 6a).

PROPERTY FROM THE SERGE AND VALLY SABARSKY COLLECTION

GEORGE GROSZ (1893-1959)

Paar im Zimmer

signed, dated and inscribed ‘Grosz 1915 Südende’ (on the reverse) oil on canvas

15¿ x 20 in. (38.4 x 50.7cm.)

Painted in Berlin in 1915

£700,000-1,000,000

US$870,000-1,200,000

€790,000-1,100,000

PROVENANCE:

Richard Feigen Gallery, Chicago, by whom probably acquired directly from the artist, circa 1959-1960. Morton D. May, St. Louis, by whom acquired from the above, in 1961, and until at least 1975.

HRN Primitives [Henri Ron Nasser], New York, by whom probably acquired from the above.

Acquired from the above by the present owner in January 1981.

EXHIBITED:

Chicago, Richard Feigen Gallery, George Grosz: Paintings, Watercolors, Drawings, January - February 1961. Bielefeld, Kunsthalle, Max Beckmann und die deutschen Expressionisten aus der Sammlung Morton D. May, September – December 1968; this exhibition later travelled to Cologne, Wallraf-Richartz Museum, 1968; Essen, Folkwang Museum, 1969; Bremen, Kunsthalle, April – June 1969; Badischer, Kunstverein, June - July 1969; and Vienna, Museum des 20. Jahrhunderts, August – September 1969. New York, Marlborough-Gerson Gallery, Morton D. May Collection of 20th Century German Masters, January – February 1970, no. 67, p. 21 (illustrated p. 103); this exhibition later travelled to St. Louis, City Art Museum, July – August 1970.

Munich, Galerie Ilse Schweinsteiger, Expressionisten 2: Aquarelle, Zeichnungen, Ölbilder, Winter 1982, no. 26 (illustrated).

New York, Serge Sabarsky Gallery, Works by German Expressionists, August – October 1982, no. 7.

New York, Serge Sabarsky Gallery, Expressionists: Paintings, watercolors and drawings by 12 German Expressionists, December 1984, no. 26, p. 56 (illustrated p. 57).

Milan, Palazzo Reale, George Grosz, gli anni di Berlino, May – July 1985, no. 2, p. 241 (illustrated); this exhibition later travelled to Ferrara, Palazzo di Diamanti, August –October 1985; Vienna, Museum des 20. Jahrhunderts, December 1985 – January 1986; Naples, Accademia di Belle Arti, February – April 1986; Hamburg, Kunsthalle Hamburger, April – June 1986; Paris, Hôtel de Ville, June – August 1986; Munich, Museum Villa Stuck, September – October 1986; Salzburg, Rupertinum, November 1986 –January 1987; Graz, Kulturhaus, January – February 1987; Berlin, Staatliche Kunsthalle, March – April 1987; Tel Aviv, Museum of Art, June – August 1987; and Hanover, KestnerGesellschaft, November 1987 – January 1988.

Saint-Paul-de-Vence, Fondation Maeght, Le nu au XXe siècle, July – October 2000, no. 54.

New York, Neue Galerie, New Worlds, German and Austrian Art, 1890-1940, November 2001 – February 2002, no. 11.47, pp. 335 and 398 (illustrated p. 335).

LITERATURE:

K. Hoffmann-Curtius, Im Blickfeld: George Grosz, John der Frauenmörder, exh. cat., Hamburger Kunsthalle, Hamburg, 1993, pp. 43-44 (illustrated p. 43, fig. 35).

P.-K. Schuster, ed., George Grosz, Berlin—New York, exh. cat., Neue Nationalgalerie, Berlin, 1994, no. IX.2, p. 317 (illustrated).

R. Jentsch, George Grosz: The Berlin Years, Milan, 1997, no. 55, p. 20 (illustrated).

REMASTERED: PROPERTY FROM THE COLLECTION OF J.E. SAFRA

AUGUST STRINDBERG (1849-1912)

Blomman på heden (Flower of the Moor) oil on board

19Ω x 11√ in. (49.6 x 30.2 cm.)

Painted in Stockholm in 1902

£600,000-900,000

US$750,000-1,100,000

€680,000-1,000,000

PROVENANCE:

A gift from the artist to his housekeeper. Private collection, by whom acquired from the above, and thence by descent.

Anonymous sale, Bukowskis, Stockholm, 17 May 1993, lot 120.

Acquired from the above sale by the present owner.

EXHIBITED:

London, Tate Modern, August Strindberg: Painter, photographer, writer, February - May 2005, no. 74, pp. 105 & 155 (illustrated p. 105).

Bukowskis, Stockholm, August Strindberg at Bukowskis, May 2012, p. 71 (illustrated p. 70).

LITERATURE:

G. Söderström, Strindbergs Måleri, Stockholm, 2017, no. 92 b, pp. 288 & 445 (illustrated p. 288).

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

75

CAMILLE PISSARRO (1830-1903)

Après la pluie, automne, Éragny

signed and dated 'C. Pissarro. 1901.' (lower left) oil on canvas

25æ x 36º in. (65 x 92.1 cm.)

Painted in Éragny in Autumn 1901

£700,000-1,000,000

US$870,000-1,200,000

€790,000-1,100,000

PROVENANCE:

Galeries Durand-Ruel, Paris, by whom acquired directly from the artist on 6 November 1901.

Durand-Ruel Gallery, New York, by whom acquired from the above.

Allston Burr, Massachusetts, by whom acquired from the above on 11 June 1924.

Julius H. Weitzner, New York.

M. Knoedler & Co., Inc., New York (no. A4200), by whom acquired from the above on 9 June 1949.

George Embiricos, Connecticut & London, by whom acquired from the above on 30 January 1952.

Zannis Leonidas Cambanis, London.

M. Knoedler & Co., Inc., New York (no. A6028), by whom acquired from the above on 13 June 1955.

William A. Dickey, Jr., Baltimore, by whom acquired from the above on 29 February 1956.

M. Knoedler & Co., Inc., New York (no. A6370), by whom acquired from the above on 31 May 1956.

Dunlevy & Katherine Milbank, New York, by whom acquired from the above on 30 November 1956.

Thomas Fowler Milbank, New York, by descent from the above; his Estate sale, Sotheby Parke Bernet, New York, 21 May 1975, lot 110.

Franklin & Carolyn Groves, Minneapolis.

Minneapolis Institute of Art, Minneapolis (no. 75.28), a gift from the above on 25 August 1975; sale, Sotheby's, New York, 17 May 1990, lot 11.

Galerie Urban, Paris, by whom acquired at the above sale, until 1993.

Anonymous sale, Christie's, London, 8 December 1999, lot 20.

Acquired at the above sale by the present owner.

EXHIBITED:

Vienna, Galerie Arnot, Kollektion moderner Franzosen, March - April 1913, no. 18.

Zurich, Kunsthaus, Französische Kunst des XIX. und XX. Jahrhunderts, October - November 1917, no. 149, p. 22. New York, Durand-Ruel Galleries, Paintings by Camille Pissarro, 1830-1903, December 1923, no. 19.

LITERATURE:

L.R. Pissarro & L. Venturi, Camille Pissarro, son art, son oeuvre, vol. I, Paris, 1939, no. 1203, p. 248 (illustrated vol. II, pl. 237).

J. Pissarro & C. Durand-Ruel Snollaerts, Pissarro: Catalogue critique des peintures, vol. III, Paris, 2005, no. 1396, p. 856 (illustrated).

THE ART OF THE SURREAL

Tuesday 28 February 2023 at 2:00pm GMT

(Immediately following the 20th/21st Century Evening Sale, approximately 4:00pm) 8 King Street, St. James’s London SW1Y 6QT

VIEWING

Wednesday 22 February 9.00am - 5.00pm

Thursday 23 February 9.00am - 8.00pm

Friday 24 February 9.00am - 5.00pm

Saturday 25 February 12.00pm - 5.00pm

Sunday 26 February 12.00pm - 5.00pm Monday 27 February 9.00am - 5.00pm

AUCTIONEER

Veronica Scarpati and Jussi Pylkkänen

DEPUTY CHAIRMAN

Olivier Camu

+ 44 (0) 776 858 3825 ocamu@christies.com

JUNIOR SPECIALIST

Olivia Vonberg

+44 (0)20 7389 2745 ovonberg@christies.com

COPYRIGHT NOTICE

No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Christie’s.

© COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2023)

Opposite: Lot 112, Oscar Dominguez, Machine à coudre électro-sexuelle, 1934-1935 (detail).

HEAD OF SALE

Ottavia Marchitelli

+44 (0) 782 441 5884 omarchitelli@christies.com

SALE COORDINATOR

Benedetta Fusco

+44 (0)20 7752 3218 bfusco@christies.com

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as: WENDI-21610

CONDITIONS OF SALE

The sale for each lot is subject to the Conditions of Sale, Important Notices and Explanation of Cataloguing Practice, which are set out in this catalogue and on christies. com.  Please note that the symbols and cataloguing for some lots may change before the auction.  For the most up to date sale information for a lot, please see the full lot description, which can be accessed through the sale landing page on christies.com

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POST SALE SERVICES

Payment, Shipping and Collection

Tel: +44 (0)20 7752 3200

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With thanks to Samantha Moreno for her assistance in clearing copyright, Kristen France, Marysol Nieves, Diana Bramham, Emma Boyd, Rafaela Cobo and Andrea Dauhajre for their assistance in cataloguing, and Charlie Capstick-Dale and Sarah Willis for their assistance in researching for the catalogue.

TICKETS

Admission to this sale is by ticket only. To reserve tickets, please email ticketinglondon@christies.com.

Alternatively, please call Christie’s Client Service on +44(0)20 7839 9060

In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.

Memory of a Surreal Journey

Property from an Important San Francisco Bay Area Collection

Christie’s is honoured to present Memory of a Surreal Journey, an exceptional grouping of Surrealist works from an important San Francisco Bay Area collection. Built over the course of two decades, the seed of this collection can be found in Mexico City, where the collecting couple were introduced to Leonora Carrington and Walter Gruen, Remedios Varo’s widower, by gallerist Wendi Norris. Without her astute eye and profound belief in the importance of these and other artists – many of whom had been overlooked for decades – this collection could not have come into being. Their travels proved transformative as the collectors immersed themselves wholly into the world of Mexican Surrealism, acquiring works such as Carrington’s Quería ser pájaro, a striking portrait of Enrique Álvarez Félix, and Varo’s Retrato del Doctor Ignacio Chávez (Portrait of Dr. Ignacio Chávez). It was the start of what would become an incomparable collection of Surrealist art. As their collection grew, they leant generously and eagerly, offering works to seminal exhibitions such as the In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States at the Los Angeles County Museum of Art in 2012; Leonora Carrington: The Celtic Surrealist at the Irish Museum of Modern Art, Dublin in 2014; Leonora Carrington: Magical Tales at the Museo de Arte Moderno, Mexico City in 2018; and 2019’s Wolfgang Paalen at the Belvedere Museum Vienna, amongst others.

Perhaps their greatest achievement, however, was the establishment of such a forward looking and magnanimous collection, which comprises a diversity of artists. Important works include an early fumage by Wolfgang Paalen; Óscar Domínguez’s masterpiece Machine à coudre électro-sexuelle; and the enthusiastic and important representation of female Surrealist artists (Carrington and Varo as well as Dorothea Tanning, Leonor Fini, and Stella Snead) as well as less internationally known Surrealist artists such as Gordon Onslow Ford and Gunther Gerzso. This collection speaks to the current moment in which Surrealism is once again at the fore: Recent exhibitions such as Surrealism Beyond Borders, co-organised by The Metropolitan Museum of Art and Tate Modern, and Surrealism and Magic: Enchanted Modernity, which just closed at the Museum Barberini, Potsdam, were sensational as was last year’s Venice Biennale, aptly named ‘The Milk of Dreams’ after Carrington’s publication.

In a truly surrealist twist, the collectors only turned their eye towards more ‘traditional’ Surrealist artists such as René Magritte, Paul Delvaux, Yves Tanguy, and André Masson after they had assembled works by the Surrealists in exile. The last painting to enter the collection was René Magritte’s aptly titled Souvenir de voyage, and thus the collecting couple has journeyed in reverse. In doing so, they have shed light upon a constellation of artists, their lives and friendships, great loves, and daring dreams. May the works from this wonderful collection continue their journey after the auction, giving life to new collections and new histories.

Opposite: Lot 102, René Magritte, Souvenir de voyage, 1958 (detail).

MEMORY OF A SURREAL JOURNEY

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*101

WOLFGANG PAALEN (1905-1959)

Taches solaires

signed, dated and titled 'WP 38 taches solaires' (on the reverse)

oil and fumage on canvas

51 x 38º in. (129.5 x 97.2 cm.)

Painted in 1938

£350,000-550,000

US$440,000-680,000

€400,000-620,000

PROVENANCE:

The artist’s studio, Mill Valley.

Franz Josef and Ann von Braun, Munich, by 1993.

Gordon Onslow Ford, Inverness, California.

Lucid Art Foundation, Inverness, California, by descent from the above.

Gallery Wendi Norris, San Francisco. Acquired from the above by the present owners in 2007.

EXHIBITED:

Paris, Galerie Renou et Colle, Exposition Wolfgang Paalen, June - July 1938, no. 16.

London, Guggenheim Jeune Gallery, Wolfgang Paalen, 1939, no. 11.

Vienna, Museum Moderner Kunst Stiftung Ludwig, Wolfgang Paalen: Zwischen Surrealismus und Abstraktion, September - November 1993, p. 139 (illustrated).

Mexico City, Museo de Arte Contemporáneo Alvar y Carmen T. de Carrillo Gil, Wolfgang Paalen. Retrospectiva, July - September 1994, no. 21, p. 275 (illustrated p. 139).

Madrid, Museo Nacional Centro de Arte Reina Sofía, Surrealistas en el exilo y los inicios de la Escuela de Nueva York, December 1999 - February 2000, p. 69 (illustrated);

184

this exhibition later travelled to Strasbourg, Musée d'Art Moderne et Contemporain, May - August 2000.

Dresden, Galerie Döbele, Wolfgang Paalen: Denker und Visionär im Medium der Malerei, September - October 2001, p. 54 (illustrated p. 55).

San Francisco, Frey Norris Gallery, Wolfgang Paalen: Implicit Spaces, May - July 2007, pp. 30-31 (illustrated).

Monterrey, Mexico, Museo de Arte Contemporáneo de Monterrey, La danza de los espectros, November 2013March 2014, p. 103 (illustrated).

LITERATURE:

Minotaure: revue artistique et litéraire, vol. 11, Paris, 1938, (illustrated).

A. Neufert, Wolfgang Paalen. Im Inneren des Wals: Monografie - Schriften - Œuvrekatalog, Vienna, 1999, no. 38.05, p. 301 (illustrated p. 132).

K. Maur, ed., Yves Tanguy und der Surrealismus, Staatsgalerie, Stuttgart, 2001, p. 201 (illustrated).

A. Neufert, Paalen. Life and Work. Forbidden Land: The Early and Crucial Years 1905-1939, vol. I, Norderstedt, 2022, p. 88 (illustrated).

MEMORY OF A SURREAL JOURNEY

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*102

RENÉ MAGRITTE (1898-1967)

Souvenir de voyage

signed 'Magritte' (lower left) oil on canvas

15√ x 12 in. (40.1 x 30.2 cm.)

Painted in August 1958

£2,500,000-3,500,000

US$3,100,000-4,300,000

€2,900,000-3,900,000

PROVENANCE:

Harry Torczyner, New York, by whom commissioned from the artist.

Bodley Gallery, New York, by whom acquired from the above by 1962.

Private collection, United States, by whom acquired from the above in 1964; sale, Sotheby's, London, 4 December 2000, lot 3.

Acquired at the above sale; sale, Sotheby's, London, 3 February 2009, lot 25.

Guggenheim, Asher, Associates, United States. Private collection, United States. Gallery Wendi Norris, San Francisco. Acquired from the above by the present owners in 2020.

EXHIBITED:

New York, Bodley Gallery, Magritte: Paintings, Gouaches, Collages, Drawings, October 1962, no. 9 (illustrated; dated '1952' and titled 'la tour de pise'). Philadelphia, Philadelphia Museum of Art, on loan, 1970. New York, Sidney Janis Gallery, Magritte, December 1977, no. 17 (titled 'La nuit de Pise').

LITERATURE:

186

Letter from Magritte to Harry Torczyner, 8 October 1958, in H. Torczyner, L’ami Magritte. Correspondence et souvenirs, Antwerp, 1992, p. 86.

Letter from Magritte to Harry Torczyner, 20 October 1958, in H. Torczyner, L’ami Magritte. Correspondence et souvenirs, Antwerp, 1992, p. 87.

H. Torczyner, Magritte, Ideas and Images, New York, 1977, no. 85, p. 61 (illustrated; titled 'La Nuit de Pise').

D. Sylvester, ed., René Magritte, Catalogue Raisonné, vol. III, Oil Paintings, Objects and Bronzes, 1949-1967, London, 1993, no. 881, pp. 294-295 (illustrated p. 294).

MEMORY OF A SURREAL JOURNEY

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*103

REMEDIOS VARO (1908-1963)

Retrato del Doctor Ignacio Chávez

signed 'R. VARO' (lower right) oil on Masonite

37º x 24¡ in. (94.6 x 61.9 cm.)

Painted in 1957

£2,500,000-3,500,000

US$3,100,000-4,300,000

€2,900,000-3,900,000

PROVENANCE:

Dr Ignacio Chávez, Mexico, by whom acquired directly from the artist.

Private collection, Mexico, by descent from the above.

Frey Norris Gallery, San Francisco.

Acquired from the above by the present owners in 2010.

EXHIBITED:

Mexico City, Museo Nacional de Arte Moderno, La obra de Remedios Varo, August 1964, no. 75.

Mexico City, Museo de Arte Moderno, Obra de Remedios Varo, October 1971, no. 22.

Mexico City, Museo de Arte Moderno, Surrealismo y Arte Fantástico, November 1971, no. 139.

Mexico City, Museo de Arte Moderno, La mujer como creadora y tema del arte, June 1975, no. 25.

Mexico City, Museo de Arte Moderno, Remedios Varo 19081963, February - June 1994, p. 102 (illustrated p. 58).

Tokyo, Isetan Museum of Art, Remedios Varo, June 1999, no. 24; this exhibition later travelled to Tokyo, Denki Bunka Kaikan, July - August 1999; and Kamakura, The Museum of Modern Art, October - November 1999.

Washington, D.C., National Museum of Women in the Arts, The Magic of Remedios Varo, February - May 2000; this exhibition later travelled to Chicago, Mexican Fine Arts Center, June - August 2000, p. 138 (illustrated p. 77).

Mexico City, Museo de Arte Moderno, Five Keys to the Secret World of Remedios Varo, May - August 2008 (illustrated on the cover and p. 118)

Chichester, England, Pallent House Gallery, Surreal Friends: Leonora Carrington, Remedios Varo, and Kati Horna, JuneSeptember 2010, p. 111 (illustrated).

San Francisco, Gallery Wendi Norris, Exultation: Sex, Death, and Madness in Eight Surrealist Masterworks, February - April 2011.

San Francisco, Frey Norris Gallery, Remedios Varo: Indelible Fables, JanuaryFebruary 2012 (illustrated).

Copenhagen, The Louisiana Museum of

188

Modern Art, The Moon - From Inner Worlds to Outer Space, September 2018 - January 2019, no. 205, p. 71.

LITERATURE:

A. De Neuvillate, 'Remedios Varo, pintora de lo imposible', in Novedades, México en la cultura, Mexico City, 1964.

J. Fernández, 'Catálogos de las exposiciones de arte', in Anales del Instituto de Investigaciones Estéticas, Mexico City, 1965, p. 104.

O. Paz, et al., Remedios Varo, Mexico City, 1966, no. 23, p. 175 (illustrated p. 23).

Bambi, 'Remedios Varo', in Revista de Revistas, Mexico City, 1968 (illustrated).

P. Montelongo, 'Un mundo de magia y revelaciones', in El Heraldo, Mexico City, 1971 (illustrated).

J. Fernández, 'Catálogos de las exposiciones de arte', in Anales del Instituto de Investigaciones Estéticas, Mexico City, 1972, pp. 122 & 104.

E. Jaguer, Remedios Varo, Mexico City, 1980, p. 71 (illustrated).

J. Kaplan, Remedios Varo: Unexpected Journeys, New York, 1988, no. 122, pp. 136 & 172 (illustrated p. 139).

R. Santos Torroella, 'El tiempo nunca perdido de Remedios Varo', in Remedios Varo, Madrid, 1988, p. 57 (illustrated).

J. Kaplan, et al., Art Vivant n. 32, Tokyo, 1989 (illustrated).

B. Espejo, Historia de la pintura mexicana, vol. III, Mexico, 1989, p. 231 (illustrated).

L. Andrade, Remedios Varo y la alquimia, Mexico, 1990, p. 52.

B. Morris, 'El surrealismo extragaláctico de la pintora Remedios Varo', in Turia, Revista Cultural, nos. 21-22, Teruel, Spain, 1992.

R. Ovalle, et al., Remedios Varo, Catalogue Raisonné, Mexico City, 1994, no. 192, p. 275 (illustrated p. 149).

R. Ovalle, et al., Remedios Varo, Catalogue Raisonné Second Revised Edition, Mexico City, 1998, no. 192, p. 275 (illustrated p. 149).

R. Ovalle, et al., Remedios Varo, Catalogue Raisonné Third Edition, Mexico City, 2002, no. 192, p. 340 (illustrated p. 209).

R. Ovalle, et al., Remedios Varo, Catalogue Raisonné Fourth Edition, Mexico City, 2008, no. 192, p. 340 (illustrated p. 209).

M. Nonaka, Remedios Varo: The Mexican Years, Mexico City, 2020, p. 56 (illustrated).

We are grateful to Dr. Salomon Grimberg for his assistance cataloguing this work.

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*104

LEONORA CARRINGTON (1917-2011)

Quería ser pájaro

signed and dated 'Leonora Carrington April 1960' (lower left); signed, dated and inscribed 'Leonora Carrington 1960 Enrique Alvarez Felix' (on the reverse) oil on canvas

47º x 35Ω in. (120 x 90.2 cm.)

Painted in 1960

£900,000-1,400,000

US$1,200,000-1,700,000

€1,100,000-1,600,000

PROVENANCE:

María Félix, Mexico City; her sale, Christie's, New York, 18 July 2007, lot 386.

Gallery Wendi Norris, San Francisco. Acquired from the above by the present owners in 2007.

EXHIBITED:

San Francisco, Frey Norris Gallery, Talismanic Lens: Leonora Carrington, February - March 2008, no. 9, p. 33 (illustrated on the cover and p. 32).

Mexico City, Museo de Arte Moderno, Palacio de Bellas Artes, Leonora Carrington: Magical Tales, April - September 2018, no. 96, pp. 266-269 and 471 (illustrated p. 268); this exhibition later travelled to Monterrey, Museo de Arte Contemporáneo, October - February 2019. New York, Gallery Wendi Norris, Leonora Carrington: The Story of the Last Egg, May - June 2019.

LITERATURE:

M. Carson, 'Leonora Carrington: The Story of the Last Egg', in Review: Literature and Art of the Americas, vol. 53, no. 1, June 2020 (illustrated on the cover).

G. Subelytė & D. Zamani, Surrealism and Magic, Enchanted Modernity, exh. cat., Peggy Guggenheim Collection, Venice, 2022, p. 239 (illustrated).

We are grateful to Dr. Salomon Grimberg for his assistance cataloguing this work.

190 MEMORY OF A SURREAL JOURNEY

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*105

WIFREDO LAM (1902-1982)

Untitled

signed 'Wifredo Lam' (lower right) oil on canvas

38√ x 31¬ in. (98.8 x 80.3 cm.)

Painted circa 1969

£300,000-500,000

US$380,000-620,000

€340,000-560,000

PROVENANCE:

Collezione d'Arte Moderna, Milan.

Freites Revilla Gallery, Boca Raton.

Anonymous sale, Christie's, New York, 16 May 1995, lot 169.

Private collection, Massachusetts.

Private collection, Miami.

Anonymous sale, Christie's, New York, 21 November 2006, lot 61.

Frey Norris Gallery, San Francisco.

Acquired from the above by the present owners in 2006.

EXHIBITED:

San Francisco, Frey Norris Contemporary & Modern, Exultation: Sex, Death and Madness in Eight Surrealist Masterworks, 2011.

LITERATURE:

L. Laurin-Lam & E. Lam, Wilfredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1982, Lausanne, 2002, no. 69.03 (illustrated p. 308).

This work is sold with a certificate of authenticity signed by Lou Laurin-Lam and dated 21 September 21 1994.

192 MEMORY OF A SURREAL JOURNEY

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*106

MAX ERNST (1891-1976)

Golden Eye

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

14 x 11 in. (35.6 x 28.2 cm.)

Painted in 1948

£120,000-180,000

US$150,000-220,000

€140,000-200,000

PROVENANCE:

Nevada Frye, Las Vegas, by 1975.

Richard Feigen Gallery, New York, by 1987. Hirschl and Adler Galleries, Inc., New York.

Acquired from the above by the present owners in 2002.

EXHIBITED:

Tuscon, The University of Arizona, University Art Gallery, on loan, 1959-1970.

LITERATURE:

W. Spies & S. & G. Metken, Max Ernst, Werke 1939-1953, Cologne, 1987, no. 2575, p. 145 (illustrated).

194 MEMORY OF A SURREAL JOURNEY

MEMORY OF A SURREAL JOURNEY

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*107

LEONORA CARRINGTON (1917-2011)

Hierophante, pour Dauphine

signed and inscribed 'Leonora Carrington For Dauphine' (lower right) oil on canvas

39Ω x 19æ in. (100.3 x 50.2 cm.)

Painted in 1958

£400,000-700,000

US$500,000-860,000

€450,000-790,000

PROVENANCE:

Dauphine Edwards, England, a gift from the artist. Wittie McDonald and Juliet McHenry, England, by descent from the above.

Anonymous sale, Sotheby's, London, 6 December 1984, lot 612.

Galerie 1900-2000, Paris.

Galerie Artcurial, Paris.

Galería Arvil, Mexico City. Private collection, Mexico City. Weinstein Gallery, San Francisco. Acquired from the above by the present owners in 2001.

EXHIBITED:

San Francisco, Frey Norris Gallery, Leonora Carrington: The Talismanic Lens, February - March 2008, no. 8, p. 30 (illustrated p. 31).

Dublin, Irish Museum of Modern Art, Leonora Carrington: The Celtic Surrealist, September 2013 - January 2014, p. 163 (illustrated).

Liverpool, Tate Liverpool, Leonora Carrington, March - May 2015.

Mexico City, Museo de Arte Moderno, Palacio de Bellas Artes, Leonora Carrington: Magical Tales, April - September 2018, no. 42, p. 469 (illustrated p. 165); this exhibition later travelled to Monterrey, Museo de Arte Contemporáneo, October - February 2019.

New York, Gallery Wendi Norris, Leonora Carrington: The Story of the Last Egg, May - June 2019.

We are grateful to Dr. Salomon Grimberg for his assistance cataloguing this work.

196

MEMORY OF A SURREAL JOURNEY

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

*108

DOROTHEA TANNING (1910-2012)

Visite jaune (Visite éclair)

signed and dated ‘Dorothea Tanning 60’ (lower right); signed again and titled ‘VISITE ECLAIR DOROTHEA TANNING’ (on the reverse)

oil on canvas

34√ x 45¬ in. (88.7 x 116 cm.)

Painted in 1960

£160,000-240,000

US$200,000-300,000

€180,000-270,000

PROVENANCE:

Galerie Le Point Cardinal, Paris. Mme Vernhes, Paris, by 1966.

Daniel Vernhes, Paris, by descent from the above.

Anonymous sale, Artcurial, Paris, 6 December 2016, lot 42. Gallery Wendi Norris, San Francisco. Acquired from the above by the present owners in 2019.

EXHIBITED:

Knokke-le-Zoute, Casino Communal, Dorothea Tanning, June - August 1967, no. 50 (titled 'Visite éclair I').

San Francisco, Gallery Wendi Norris, (ism): 80 Years of Nonconformity, July - September 2017.

San Francisco, Gallery Wendi Norris, Threads of Memory: One Thousand Ways of Saying Goodbye, OctoberNovember 2017.

LITERATURE:

A. Bosquet, La peinture de Dorothea Tanning, Paris, 1966, p. 101 (illustrated).

We are grateful to The Dorothea Tanning Foundation for their assistance in cataloguing this work.

198

λ*109

ANDRÉ MASSON (1896-1987)

Le fauteuil Louis XVI

signed 'André Masson' (upper left) oil on canvas

29 x 23¡ in. (73.7 x 59.5 cm.)

Painted in 1938

£800,000-1,200,000

US$990,000-1,500,000

€900,000-1,300,000

PROVENANCE:

Galerie Simon [Daniel-Henry Kahnweiler], Paris, by 1965. Buchholz Gallery [Curt Valentin], New York. Saidenberg Gallery, New York.

Henry A. Markus, Chicago, by whom acquired from the above in 1968, and thence by descent; sale, Sotheby's, New York, 5 November 2012, lot 41. Gallery Wendi Norris, San Francisco. Acquired from the above by the present owners in 2012.

EXHIBITED:

Mexico, Galería de Arte Mexicano, Exposición internacional del surrealismo, January - February 1940, no. 51 (illustrated). New York, Coordinating Council of French Relief Societies, First Papers of Surrealism, October - November 1942 (illustrated).

Paris, Museé National d'Art Moderne, Centre Georges Pompidou, Paris - Paris: Créations en France 1937-1957, May - November 1981, no. 430 bis, p. 512 (illustrated p. 78).

Chicago, Museum of Contemporary Art, In the Mind's Eye: Dada and Surrealism in Chicago Collections, December 1984 - January 1985, p. 184 (illustrated pl. 42, p.185; dated '1938-1939').

200 MEMORY OF A SURREAL JOURNEY

LITERATURE:

A. Breton, 'Prestige d'André Masson', in Minotaure, vols. 12-13, Paris, 1939, pp. 13-15 (illustrated p. 14).

A. Masson, 'Life and Liberty', in Art in Australia, series 4. no. 5, Sydney, 1 March 1942, p. 13 (illustrated).

M. Jean, The History of Surrealist Painting, Paris, 1959, p. 294 (titled 'The Louis XV Armchair').

O. Hahn, Masson, New York, 1965, p. 76 (illustrated pl. 47).

J.-P. Clébert, Mythologie d'André Masson, Geneva, 1971, no. 106 (illustrated; with inverted dimensions).

G. Brownstone, André Masson: Vagabond du Surréalisme, Paris, 1975, p. 96 (illustrated).

W. Rubin & C. Lanchner, André Masson, exh. cat., The Museum of Modern Art, New York, 1976, p. 41 (illustrated; dated '1938-1939').

'André Masson vom Automatismus zur Allegorie' in Kunstforum International, 1987, p. 128 (illustrated).

C. Morando, Peinture, dessin, sculpture et littérature autour du Collège de Sociologie pendant l'entre-deux-guerres, 2000, Paris, no. 268, p. 1388 (illustrated).

M. Ries, 'André Masson: Surrealism and His Discontents', in Art Journal, vol. 61, no. 4, New York, 2002, pp. 79-80 (illustrated p. 80).

E. Darragon, ed., La provocation: Une dimension de l'art contemporain (XIXe-XXe siècles), Paris, 2004, p. 102.

G. & M. Masson & C. Lœwer, André Masson, Catalogue raisonné de l'œuvre peint, vol. II, 1930-1941, Vaumarcus, 2010, no. 1938*6, p. 326 (illustrated p. 327).

MEMORY OF A SURREAL JOURNEY

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*110

LEONORA CARRINGTON (1917-2011)

Lepidoptera

signed and dated 'Leonora Carrington 1968 13th Agosto' (lower right) tempera and charcoal on Masonite 48 x 27Ω in. (121.9 x 69.9 cm.)

Painted on 13 August 1968

£160,000-240,000

US$200,000-300,000

€180,000-270,000

PROVENANCE:

Private collection, Miami. Gallery Wendi Norris, San Francisco. Acquired from the above by the present owners in 2019.

EXHIBITED:

San Francisco, Gallery Wendi Norris, Leonora Carrington: The Talismanic Lens, February - March 2008. Dublin, Irish Museum of Modern Art, Leonora Carrington: The Celtic Surrealist, September 2013 - January 2014, p. 47 (illustrated); this exhibition later travelled to San Francisco, Gallery Wendi Norris, April - May 2014. Sacramento, The Crocker Museum, Arte Mexicano: Legacy of the Masters, October 2014 - February 2015. Mexico City, Museo de Arte Moderno, Leonora Carrington: Magical Tales, April - September 2018, no. 53, p. 469 (illustrated p. 389); this exhibition later travelled to Monterrey, Museo de Arte Contemporáneo, October 2018 - February 2019.

We are grateful to Dr. Salomon Grimberg for his assistance cataloguing this work.

202

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*111

YVES TANGUY (1900-1955)

Le lourd palais

signed and dated 'Yves Tanguy 35' (lower right) oil on canvasboard

10¬ x 13æ in. (26.8 x 34.8 cm.)

Painted in 1935

£400,000-700,000

US$500,000-860,000

€450,000-790,000

PROVENANCE:

Lucien Lefebvre-Foinet, Paris.

E.L.T. Mesens, London, by 1940.

A.S. Hubbard, London.

Jacques Ulmann, Paris by 1963, and thence by descent.

Private collection.

Frey Norris Gallery, San Francisco.

Acquired from the above by the present owners in 2011.

EXHIBITED:

San Francisco, San Francisco Museum of Art, Yves Tanguy, April - June 1940, no. 813.38.

London, The London Gallery, Paintings and drawings by Yves Tanguy: Work by two Scandinavian painters, Vilhelm Bjerke Petersen and Elsa Thoresen, and recent work by the English artist Samuel Hecht, May - June 1950, no. 9. Paris, Galerie Malingue, Yves Tanguy, May - July 2002, p. 44 (illustrated p. 43).

Quimper, Musée des Beaux-Arts, Yves Tanguy: L’univers surréaliste, June – September 2007; this exhibition later travelled to Barcelona, Museu Nacional d’Art de Catalunya, October 2007 – January 2008.

San Francisco, Gallery Wendi Norris, EXPO Chicago, September 2014.

204 MEMORY OF A SURREAL JOURNEY

LITERATURE:

P. Matisse & K. Sage, eds., Yves Tanguy, Un Recueil de ses œuvres / A Summary of his Works, New York, 1963, no. 214, p. 108 (illustrated).

P. Waldberg, Yves Tanguy, Brussels, 1977, p. 339 (illustrated p. 36).

A. Cariou, Yves Tanguy L'univers surrealiste, Paris, 2007, no. 137, p. 149 (illustrated).

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*112 ÓSCAR DOMÍNGUEZ (1906-1957)

Machine à coudre électro-sexuelle

signed and dated 'OSCAR DOMINGUEZ 1934' (upper left); signed and dated again 'OSCAR DOMINGUEZ 1935' (lower left)

oil on canvas

39Ω x 31√ in. (100.2 x 80.8 cm.)

Painted in 1934-1935

£2,000,000-3,000,000

US$2,500,000-3,700,000

€2,300,000-3,400,000

PROVENANCE:

Eduardo Westerdahl, Santa Cruz de Tenerife.

Galerie André François Petit, Paris, by 1966 and until at least 1971.

Galeria Biosca, Madrid.

Private collection, Spain, by whom acquired from the above circa 1975, and thence by descent; sale, Christie's, London, 24 June 2008, lot 74.

Private collection, Europe, by whom acquired at the above sale; sale, Christie's, London, The Art of the Surreal, 6 February 2013, lot 127 ($3,307,638).

Gallery Wendi Norris, San Francisco.

Acquired from the above by the present owners in 2013.

EXHIBITED:

Santa Cruz, Círculo de Bellas Artes de Tenerife, La Exposición de Arte Contemporáneo, June 1936.

Tel Aviv, Museum of Art, Le Surréalisme, December 1966January 1967, no. 25 (dated '1934').

Hamburg, Kunstverein, Malerei des Surrealismus, AprilMay 1969, no. 37 (illustrated pl. 43.; dated '1934')

Stockholm, Moderna Museet, Surrealism?, March - April 1970, no. 21, p. 109 (illustrated p. 75; dated '1935'); this exhibition later travelled to Gothenburg, Göteborgs Konsthall, April - May 1970; Sundsvall, Sundsvalls Museum, May - June 1970 and Malmo, Malmö Museum, June 1970. Bordeaux, Galerie des Beaux Arts, Exposition "Le Surréalisme"`, May - September 1971, no. 64, p. 53 (illustrated; dated '1934').

Munich, Haus der Kunst, Der Surrealismus, 1922-1942, March - May 1972, no. 112 (illustrated); this exhibition later travelled to Paris, Musée des Arts décoratifs, June - September 1972, no. 106.

206 MEMORY OF A SURREAL JOURNEY

Madrid, Galería Biosca, Óscar Domínguez, October - November 1973, no. 13 (illustrated).

Barcelona, Galería Laietana, Óscar

Domínguez, February - March 1974, no. 31 (illustrated).

Bern, Kunsthalle, Junggesellenmaschinen, Les Machines Célibataires, July - August 1975, p. 88 (illustrated p. 89; dated '1935').

Paris, Musée d'Art moderne de la Ville de Paris, Le siècle de Picasso, October - November 1987, no. 69 (illustrated p. 124).

Las Palmas, Centro Atlántico de Arte Moderno, El Surrealismo entre Viejo y Nuevo Mundo, December 1989February 1990, p. 147 (illustrated; dated '1935').

Madrid, Museo Nacional Centro de Arte Reina Sofía, El Surrealismo en España, October 1994 - January 1995, no. 50, p. 363 (illustrated p. 168; dated '1934').

Las Palmas de Gran Canaria, Centro Atlántico de Arte Moderno, Óscar Domínguez, Antológica 1926-1957, January - March 1996, no. 17, p. 254 (illustrated p. 101; dated '1934'); this exhibition later travelled to Santa Cruz de Tenerife, Centro de Arte 'La Granja', April - May 1996 and Madrid, Museo Nacional Centro de Arte Reina Sofía, JuneSeptember 1996.

Las Palmas de Gran Canaria, Centro Atlántico de Arte Moderno, Máquinas, September - November, 2000, pp. 46 & 194 (illustrated p. 47; dated '1934').

London, Tate Modern, Surrealism: desire unbound, September 2001 - January 2002, pp. 245 & 329 (illustrated fig. 241, p. 244; dated '1934').

Madrid, Museo Nacional Centro de Arte Reina Sofía, on loan from 2008 - 2012.

LITERATURE:

E. Westerdahl, Oscar Domínguez, Barcelona, 1968, no. 23, p. 62 (titled 'Machine à coudre'; dated '1935' and with inverted dimensions).

Filipacchi (ed.), Oscar Domínguez, Paris, 1973, p. 21 (illustrated; dated '1934').

F. Castro, Óscar Domínguez y el Surrealismo, Madrid, 1978, no. VII, p. 118 (illustrated pl. VII; dated '1934').

Exh. cat., 10x Max Ernst, Kunstsammlung NordrheinWestfalen, Dusseldorf, 1978 (illustrated p. 35; dated '1934').

A. Zaya, Óscar Domínguez: el infierno de la civilización me Ilama a gritos negros, Madrid, 1992, p. 146 (illustrated; dated '1935').

V. Bozal, Arte del siglo XX en España; pintura y escultura, Madrid, 1995, p. 591 (illustrated; dated '1935').

Exh. cat., Óscar Domínguez, surrealista, Fundación Telefónica, Madrid, 2002 (illustrated in situ p. 24).

V. Serrano & C. Migletti, eds., La Part de jeu et du rêve: Óscar Domínguez et le surréalisme 1906-1957, exh. cat., Musée Cantini, Marseille, 2005 (illustrated fig. 4; dated '1934').

Please refer to christies.com for full cataloguing.

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA

λ*113

PAUL DELVAUX (1897-1994)

Squelette

signed, dated and inscribed ‘P. DELVAUX ANDERLECHT

7-45’ (lower right) oil on canvas

61√ x 23Ω in. (157 x 59.7 cm.)

Painted in Anderlecht in July 1945

£350,000-550,000

US$440,000-680,000

€400,000-620,000

PROVENANCE:

Gustav van Geluwe, Brussels. Dr Purnal, Brussels.

Mme Jean Krebs, Brussels, by 1971. Galleria Internazionale, Milan, by 1975.

COLLECTION

Anonymous sale, Christie's, London, 4 April 1978, lot 40. Private collection, Belgium, by whom acquired at the above sale.

Private collection, Belgium, by whom acquired from the above circa 1998; sale, Christie's, London, The Art of the Surreal, 4 February 2008, lot 180.

Gallery Wendi Norris, San Francisco. Acquired from the above by the present owners in 2008.

EXHIBITED:

Ostende, Musée des Beaux-Arts, Paul Delvaux, JulyAugust 1962, no. 76.

Bordeaux, Galerie des Beaux-Arts, Surréalisme, MaySeptember 1971, no. 57, p. 49 (titled 'Squelette à l'Atelier').

208 MEMORY OF A SURREAL JOURNEY

Charleroi, Palais des Beaux-Arts, Le Hainaut, terre de surréalisme, October 1971, no. 19.

Knokke-Heist, Christian Fayt Art Gallery, Selection I, JuneJuly 1978, no. 16.

New York, Cheim & Reid, I am as you will be - The Skeleton in Art, September - November 2007.

San Francisco, Frey Norris Contemporary & Modern, Exultation: Sex, Death and Madness in Eight Surrealist Masterworks, 2011.

New York, Blain/di Donna, Paul Delvaux, May - June 2013, pp. 32 & 84 (illustrated p. 33; titled ‘Squelette dans l’atelier’); this exhibition later travelled to London, Blain/di Donna, June - July 2013.

LITERATURE:

M. Butor, J. Clair & S. Houbart-Wilkin, Delvaux: catalogue de l'œuvre peint, Brussels, 1975, no. 159, p. 213 (illustrated).

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*114

YVES TANGUY (1900-1955)

Merveilles des mers

signed and dated 'Yves Tanguy 36' (lower right) oil on canvas

21¬ x 18¿ in. (55 x 46 cm.)

Painted in 1936

£900,000-1,500,000

US$1,200,000-1,900,000

€1,100,000-1,700,000

PROVENANCE:

Galerie Jacques Tronche, Paris.

Michel et Susi Meyer collection, Zurich. Galerie Beyeler, Basel (no. 12884), on consignment from the above, September 1994 - June 1995.

Shaler collection, Darmstadt.

Private collection, France, by whom acquired circa 1989. Gallery Wendi Norris, San Francisco. Acquired from the above by the present owners in 2014.

EXHIBITED:

Bordeaux, Musée des Beaux- Arts, Bosch, Goya et le fantastique, May - July 1957, no. 358. Cologne, Baukunst Galerie, Surrealismus in Europa: phantastische und visionäre Bereiche, October - November 1969, no. 141, pp. 78 and 135. Stuttgart, Staatsgalerie, Yves Tanguy und der Surrealismus, December 2000 - April 2001, no. 52, p. 234 (illustrated); this exhibition later travelled to Houston, Menil Collection, June - September 2001.

Rome, Museo del Corso, Max Ernst e i suoi amici surrealsti, July - November 2002, p. 137 (illustrated p. 113; illustrated again on the back cover).

Aix-en-provence, Des duos et des couples, 2003 (illustrated).

A Coruña, Fundación Pedro Barrié de la Maza, Surrealismo: Max Ernst y sus amigos surrealistas, June - September 2004, p. 130 (illustrated p. 117).

210 MEMORY OF A SURREAL JOURNEY

Santa Cruz Tenerife, Instituto Óscar Domínguez de arte y cultura contemporánea, Éxodo hacia el sur, 2006, no. 6, p. 185 (illustrated).

Quimper, Musée des Beaux-Arts, Yves Tanguy: L’univers surréaliste, June - September 2007, no. 138, p. 150 (illustrated); this exhibition later travelled to Barcelona, Musée National d'Art de Catalogne, October 2007January 2008.

Saint-Louis, Alsace, Espace d’Art Contemporain FernetBranca, Chassé-croisé Dada-Surréaliste 1916-1969, January - July 2012, p. 55 (illustrated).

Paris, Maison de Victor Hugo, La Cime du rêve: les surréalistes et Victor Hugo, October 2013 - February 2014, no. 241, p. 177 (illustrated).

LITERATURE:

P. Matisse & K. Sage, eds., Yves Tanguy: Un Recueil de ses oeuvres, New York, 1963, no. 176, p. 96 (illustrated).

P. Waldberg & A. De Rache, eds., Yves Tanguy, Brussels, 1977, p. 337 (illustrated p. 14).

R. Le Bihan, R. Mabin & M. Sawin, Yves Tanguy, Paris, 2001, p. 111 (illustrated).

G. Sebbag, Memorabilia: Constellations inaperçues: Dada & Surréalisme 1916-1970, Paris, 2010, pp. 291 & 398 (illustrated p. 290).

MEMORY OF A SURREAL JOURNEY

PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

*115

GORDON ONSLOW FORD (1912-2003)

Cycloptomania

signed and dated 'G Onslow Ford 4.40' (lower right); signed, dated and inscribed 'Clyptomania G.O.-F. 40' (on the reverse)

oil on canvas

35 x 50 in. (88.9 x 127 cm.)

Painted in April 1940

£150,000-250,000

US$190,000-310,000

€170,000-280,000

PROVENANCE:

The artist, until at least 1988. Weinstein Gallery, San Francisco. Acquired from the above by the present owners in 2003.

EXHIBITED:

London, Zwemmer Gallery, Surrealist Show, June - July 1940.

London, Hayward Gallery, Dada and Surrealism Reviewed, January - March 1978, no. 14.43, p. 367.

New York, Artists Space, Moderns in Mind, April - May 1986, pp. 23-24.

Geneva, Museé d'Art et d'Histoire, Focus on Minotaure: The Animal-Headed Review, October 1987 - January 1988, no. 204, p. 270 (illustrated p. 256); this exhibition later travelled to Paris, Musee d'Art Moderne de la Ville de Paris, MarchMay 1988.

Berkeley, University Art Museum, Anxious Visions: Surrealist Art, October - December 1990, no. 136, p. 288 (illustrated, p. 107).

Fresno, Fresno Art Museum, Fifteen Profiles: Distinguished California Modernists, 1995-1996, p. 49.

Berkeley, John F. Kennedy University, The Quest of the Inner-Worlds: Paintings by Gordon Onslow Ford, November 1996, p. 58 (illustrated, p. 40).

San Francisco, Weinstein Gallery, Roberto Matta, Gordon Onslow Ford, A Vision Shared, 2003, p. 6 (illustrated).

San Francisco, Gallery Wendi Norris, Science in Surrealism, May - August 2015 (illustrated, p. 39).

212

LITERATURE:

E.L.T. Mesens, R. Penrose & G. Onslow-Ford, eds., London Bulletin, June 1940, p. 37 (illustrated).

Exh. cat., Gordon Onslow Ford: Mirando en lo profundo, Fundación Eugenio Granell, Santiago de Compostela, 1998, p. 194 (illustrated p. 30).

PROPERTY FROM A PRIVATE ITALIAN COLLECTION

λ*116

RENÉ MAGRITTE (1898-1967)

Untitled

signed 'magritte' (lower right) gouache, photomontage, paper collage and pen and ink on card 16º x 22Ω in. (41.4 x 57 cm.)

Executed in 1926 or 1927

£250,000-350,000

US$310,000-430,000

€290,000-390,000

PROVENANCE:

Galleria La Bussola, Turin. Private collection, by whom acquired from the above in 1969, and thence by descent.

EXHIBITED:

Brussels, Galerie Le Centaure, Exposition Magritte, April - May 1927 (one of nos. 51 - 61).

Milan, Studio Bellini, Panorama 3: autor du surrealisme, May 1967, no. 3 (illustrated pl. XV; titled 'Note musicali' and dated '1926').

LITERATURE:

D. Sylvester, ed., S. Whitfield & M. Raeburn, René Magritte, Catalogue raisonné, vol. IV, Gouaches, Temperas, Watercolours and Papiers Collés, 1918-1967, London, 1994, no. 1620, p. 303 (illustrated).

214

PROPERTY FROM AN IMPORTANT ITALIAN COLLECTION

λ*117

JOAN MIRÓ (1893-1983)

Sans titre (Danseuse espagnole)

signed and dated 'Miró 20-10-24.' (lower right) charcoal, watercolour, wax crayon and graphite on paper 24¡ x 18¬ in. (61.8 x 47.4 cm.)

Executed on 20 October 1924

£200,000-300,000

US$250,000-370,000

€230,000-340,000

PROVENANCE:

Julien Levy, Bridgewater, Connecticut. Harold Diamond, New York.

Private collection, Chicago. Allan Frumkin Gallery, New York.

Acquired from the above by the present owner on 29 November 1973.

ADOM (Association pour la défense de l’œuvre de Joan Miró) has confirmed the authenticity of this work.

THE PROPERTY OF A PRIVATE SWISS COLLECTOR

°λ*118

RENÉ MAGRITTE (1898-1967)

Le retour signed ‘Magritte’ (lower left) gouache on paper

11¬ x 16¡ in. (29.6 x 41.7 cm.)

Executed circa 1950

£4,000,000-6,000,000

US$5,000,000-7,400,000

€4,500,000-6,700,000

PROVENANCE:

Lou Cosyn, Brussels, by whom probably acquired directly from the artist, and thence by descent.

Serge de Bloë, Brussels, by whom acquired from the above. Private collection, Brussels, by whom acquired from the above circa 1978; sale, Christie’s, London, The Art of the Surreal, 2 February 2004, lot 69. Private collection, Switzerland, by whom acquired at the above sale.

LITERATURE:

D. Sylvester, ed., S. Whitfield & M. Raeburn, René Magritte, Catalogue Raisonné, vol. IV, Gouaches, Temperas, Watercolours and Papiers Collés, 1918-1967, Antwerp, 1994, no. app. 173, p. 332 (incorrectly referred to as no. 1397).

S. Whitfield, ed., René Magritte, Newly Discovered Works, Catalogue Raisonné, vol. VI, Brussels, 2012, no. 20, p. 36 (illustrated).

218

PROPERTY

FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

λ*119

RENÉ MAGRITTE (1898-1967)

Le masque de la foudre

signed 'Magritte' (lower left) oil on canvas

31Ω x 25¬ (80.2 x 65.1 cm.)

Painted in 1965 or 1966

£3,000,000-5,000,000

US$3,800,000-6,200,000

€3,400,000-5,600,000

PROVENANCE:

Private collection, Brussels, by whom acquired directly from the artist in 1966.

Private collection, Brussels, by descent from the above; sale, Christie's, London, The Art of the Surreal, 6 February 2001, lot 80.

Private collection, Europe, by whom acquired at the above sale and thence by descent.

LITERATURE:

R. Passeron, René Magritte, Paris, 1970, p. 47 (illustrated; dated '1967').

E. Calas, 'Magritte's inaccessible woman', in Colóquio: artes, no. 30, Lisbon, December 1976, p. 29 (dated '1961').

G. Mazzotta, ed., Da Magritte a Magritte, exh. cat., Palazzo Forti, Verona, 1991, p. 258 (illustrated; dated '1967').

D. Sylvester, ed., René Magritte, Catalogue Raisonné, vol. III, Oil Paintings, Objects and Bronzes, 1949-1967, London, 1993, no. 1031, p. 423 (illustrated).

220

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

λ*120

PAUL DELVAUX (1897-1994)

Rosine

signed and dated 'P. DELVAUX ST. IDESBALD. 9-68.' (lower right); signed, titled and inscribed 'ROSINE. P. DELVAUX. 34A AV. DES CAMPANULES. BRUXELLES 17 (WAT. BOITSFORT)' (on the stretcher) oil on canvas

63¿ x 55º in. (160 x 140.4 cm.)

Painted in Saint-Idesbald in September 1968

£1,200,000-1,800,000

US$1,500,000-2,200,000

€1,400,000-2,000,000

PROVENANCE:

The artist.

Private collection, Brussels, by descent from the above.

Private collection, Japan, by whom acquired from the above. American/European Art Association, Inc., New York.

Private collection, Washington D.C., by whom acquired from the above; sale, Christie's, London, 25 June 2002, lot 43.

Private collection, Europe, by whom acquired at the above sale, and thence by descent.

EXHIBITED:

Paris, Musée des Arts Décoratifs, Rétrospective Paul Delvaux, May - July 1969, no. 75.

Ferrara, Palazzo dei Diamanti, Paul Delvaux, April - June 1986, no. 28, p. 15 (illustrated p. 119; with incorrect medium). Osaka, Daimaru Museum of Art, Paul Delvaux, November 1989, no. 38 (illustrated); this exhibition later travelled to Kyoto, Daimaru Museum of Art, January 1990; Tokyo, Isetan Museum of Art, February 1990; Himeji, Himeji City Museum of Art, March - April 1990; and Yokohama, Yokohoma Museum of Fine Art, April - May 1990.

LITERATURE:

M. Butor, J. Clair & S. Houbart-Wilkin, Delvaux, Brussels, 1975, no. 308, p. 271 (illustrated p. 270).

222

*121

DOROTHEA TANNING (1910-2012)

The Moonstone Effect (formerly Opale, Opale, Opale)

signed 'Dorothea Tanning' (lower right) oil on canvas

44¬ x 57Ω in. (113.4 x 146 cm.)

Painted in 1959 and 2005

£250,000-350,000

US$310,000-430,000

€290,000-390,000

PROVENANCE:

William and Noma Copley, Paris & New York, by whom acquired directly from the artist.

Noma Copley, New York.

Dorothea Tanning, New York, by whom acquired from the above circa 2005.

The artist's estate, New York.

The Destina Foundation, New York, by bequest.

Private collection, Hong Kong, by whom acquired from the above in 2019 via the intermediation of Alison Jacques Gallery.

EXHIBITED:

Paris, Galerie Edouard Loeb, Societé d'Art Saint-Germain des Prés and Paris, Galerie Mouradian Vallotton, Dorothea Tanning, May - June 1959, n.p. (titled 'Opale, Opale, Opale'). Knokke-Le Zoute, Casino Communal, XXe Festival belge d'été: Dorothea Tanning, June - August 1967, no. 44. n.p. (titled 'Opale, Opale, Opale'; dated '1959'). New York, Kent Gallery, Dorothea Tanning, Insomnias, 19561963, October - December 2005, no. 6, n.p. (dated '1959').

We are grateful to The Dorothea Tanning Foundation for their assistance in cataloguing this work.

224 THE PROPERTY OF A GENTLEMAN

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

°λ*122

ANDRÉ MASSON (1896-1987)

Homme et femme

signed 'andré Masson' (on the reverse)

oil and sand on canvas

36º x 23æ in. (92 x 60.3 cm.)

Painted in 1927

£800,000-1,200,000

US$990,000-1,500,000

€900,000-1,300,000

PROVENANCE:

Galerie Simon [Daniel-Henry Kahnweiler], Paris. Josef Mueller, Switzerland, by whom acquired from the above in 1927.

Private collection, Switzerland, by descent from the above in 1977, and thence by descent to the present owner.

EXHIBITED:

Geneva, Musée d'Art et d'Histoire, Art du 20e siècle, Collections Genevoises, June - September 1973, no. 105, p. 116 (illustrated; titled ‘L’homme et la femme’).

New York, The Museum of Modern Art, André Masson, June - August 1976, no. 37, p. 120 (illustrated); this exhibition later travelled to Houston, Museum of Fine Arts, October - November 1976; and Paris, Galeries nationales d’expositions du Grand Palais, March - May 1977.

Bern, Kunstmuseum, Masson. Massaker, Metamorphosen, Mythologien, September - November 1996, no. 53, p. 60 (illustrated).

New York, The Museum of Modern Art, on loan.

LITERATURE:

F. Levaillant, ‘L’Image littéraire revisitée: André Masson et Piranèse’, in Psychologie médicale, vol. 17, no. 9, Paris, 1985, pp. 1395-1402 (illustrated fig. 14, p. 1402).

G. Masson, M. Masson & C. Lœwer, André Masson, Catalogue raisonné de l’œuvre peint 1919-1941, vol. I, 19191929, Paris, 2010, no. 1927*25, p. 362 (illustrated p. 363).

226

λ123

SALVADOR DALÍ (1904-1989)

Le voyage fantastique

signed twice and dated 'Dalí 1965' (lower left) gouache, watercolour, brush and India ink, coloured pencils and pencil on board

39√ x 60¿ in. (101.2 x 152.7 cm.)

Executed in 1965

£2,000,000-3,000,000

US$2,500,000-3,700,000

€2,300,000-3,400,000

PROVENANCE:

Twentieth Century Fox Film Corporation, by whom acquired directly from the artist.

Anonymous sale, Doyle, New York, 22 September 1982, lot 63.

Private collection, Europe; sale, Christie's, London, The Art of the Surreal, 6 February 2007, lot 140.

Private collection, by whom acquired at the above sale; sale, Sotheby's, London, 2 November 2011, lot 5.

Acquired at the above sale; sale, Christie's, London, The Art of the Surreal, 2 February 2016, lot 132.

Acquired at the above sale by the present owner.

LITERATURE:

Exh. cat, Dalí, Centre Pompidou, Paris, 2012, p. 19 (detail of the work illustrated in an unfinished state).

This work is sold with a photo-certificate from the late Robert Descharnes.

228 THE PROPERTY OF A PRIVATE BELGIAN COLLECTOR

PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION

λ124

MAX ERNST (1891-1976)

Don Juan et Faustroll

signed and dated 'max ernst' (lower right); signed, dated and titled 'DON JUAN ET FAUSTROLL max ernst 51' (on the reverse)

oil on canvas

56¿ x 43º in. (142.5 x 109.8 cm.)

Painted in 1951

£1,500,000-2,500,000

US$1,900,000-3,100,000

€1,700,000-2,800,000

PROVENANCE:

Aram D. Mouradian, Paris.

Ragnar Moltzau, Oslo, until at least 1958.

Maurice d'Arquian [Galerie Helios Art], Brussels.

Private collection, Belgium, by whom acquired from the above in October 1959, and thence by descent; sale, Christie's, London, The Art of the Surreal, 4 February 2015, lot 105.

Acquired at the above sale by the present owner.

EXHIBITED:

New York, Alexander Iolas Gallery, Max Ernst, Dancers Under the Starry Sky, November - December 1951, no. 43.

Houston, Contemporary Arts Association, Max Ernst, January - February 1952, no. 18.

Venice, La Biennale di Venezia, XXVII. Esposizione Internazionale d'Arte, June - October 1954, no. 20 (illustrated).

Paris, Galerie Mouradian-Vallotton-Loeb, Max Ernst, JuneJuly 1956, no. 25.

Bern, Kunsthalle, Max Ernst, August - September 1956, no. 72.

London, Matthiesen Gallery, Max Ernst, NovemberDecember 1956, no. 27.

Bordeaux, Galerie des Beaux-Arts, Bosch, Goya et le Fantastique, May - July 1957, no. 271, p. 95.

London, The Tate Gallery, From Cézanne to Picasso: The Moltzau Collection, October - November 1958, no. 30.

LITERATURE:

P. Waldberg, Max Ernst, Paris, 1958, p. 437 (illustrated).

S. Takiguchi, Max Ernst, Tokyo, 1960, p. 57 (illustrated).

W. Spies, S. & G. Metken, Max Ernst, Werke 1939-1953, Cologne, 1987, no. 2877, p. 294 (illustrated).

230

λ*125

WOLFGANG PAALEN (1905-1959)

Pays interdit

signed with initials 'WP' (lower centre); signed again with initials and dated 'WP 36-37' (on the reverse)

oil and fumage on canvas

36º x 23¡ in. (92 x 59.2 cm.)

Painted in 1936-1937

£200,000-300,000

US$250,000-370,000

€230,000-340,000

PROVENANCE:

Gordon Onslow Ford, Inverness, by whom acquired directly from the artist in 1940, and thence by descent.

Private collection, Berlin, by whom acquired from the above in 2008.

EXHIBITED:

New York, Julien Levy Gallery, Surrealist Paintings by Wolfgang Paalen, April 1940, no. 3 (titled 'L'upyre').

Vienna, Jüdisches Museum der Stadt, Moderne auf der Flucht, Österreichische KünstlerInnen in Frankreich 19381945, June - September 2008, no. 75, p. 104 (illustrated p. 105).

Ludwigshafen, Wilhelm Hack Museum, Gegen jede Vernunft: Surrealismus Paris - Prag, November 2009February 2010, no. 83, pp. 144 & 353 (illustrated p. 144).

San Francisco, Frey Norris Gallery, Exultation: Sex, Death and Madness in Eight Surrealist Masterworks, 2011. Vancouver, Vancouver Art Gallery, The Colour of My Dreams: The Surrealist Revolution in Art, May - September 2011, pp. 234 & 328 (illustrated p. 234).

Herford, MARTa Herford, Asche und Gold: Eine Weltenreise, January - April 2012, pp. 58 & 218 (illustrated p. 58); this exhibition later travelled to Bedburg-Hau, Museum Schloss Moyland, May - August 2012.

Frankfurt, Städel Museum, Schwarze Romantik, Von Goya bis Max Ernst, September 2012 - January 2013, no. 183, pp. 252 & 300 (illustrated p. 252); this exhibition later travelled to Paris, Musée d'Orsay, March - June 2013, no. 174, pp. 266 & 295 (illustrated p. 266).

Berlin, Hamburger Bahnhof, Hello World: Revision einer Sammlung, April - August 2018, p. 407 (illustrated pp. 27 & 28 in situ).

232 THE PROPERTY OF A GENTLEMAN

Vienna, Unteres Belvedere, Der Österreichische Surrealist in Paris und Mexiko: Wolfgang Paalen, October 2019 - January 2020, p. 111 (illustrated).

London, Camden Art Centre, The Botanical Mind, Mysticism and the Cosmic Tree, September - December 2020.

Bad Frankenhausen, Panorama Museum, Surrealismus in Deutschland: Kunst von 1919 bis 1949, July - October 2021, no. 104, pp. 117 & 339 (illustrated p. 117).

LITERATURE:

I. Rodríguez Prampolini, El Surrealismo y el Arte Fantástico de México, Mexico, 1969, no. 44, p. 124 (first state illustrated pl. 44; dated '1936').

A. Neufert, Wolfgang Paalen. Im Inneren des Wals –Monografie/Schriften/Oevrekatalog, Wien, 1999, p. 291 (first state illustrated).

T. Arcq, G.M.M. Colvile, A. Neufert, L. Jarbouai & N. Deffebach, Una surrealista en México: Alice Rahon, exh. cat. Mexico City, Museo de Arte Moderno, 2009, p. 99 (illustrated).

D. Ades, R. Eder & G. Speranza, 'Wolfgang Paalen: The Totem as Sphinx', in Surrealism in Latin America, Vivísimo Muerto, Los Angels, 2012, no. 6, pp. 122-123 (illustrated p. 123).

J. Barnitz & P. Frank, Twentieth Century Art of Latin America, Austin, 2015, no. 4.14, pp. IX & 127 (illustrated p. 127).

D. Morris, The Lives of the Surrealists, London, 2018, p. 210 (illustrated).

A. Dempsey, Art Essentials: Surrealism, London, 2019, p. 89 (illustrated p. 88).

M. Richardson, ed., The International Encyclopedia of Surrealism, vol. III, Surrealists M-Z, London, 2019, p. 155 (illustrated).

N. Schedlmayer, 'Mann der vielen Möglichkeiten', in Belvedere Kunstmagazin No. 2, Vienna, 2019, no. 5, p. 11 (illustrated).

R. Bertra, ed., Wolfgang Paalen, Der Axolotl / El Axolotle, Mexico, 2019 (illustrated on the cover).

A. Neufert, Paalen: Life and Work, vol. I., Forbidden Land: The Early and Crucial Years, 1905 - 1939, Berlin, 2022, pp. 248-254 (illustrated p. 250 & the first state illustrated p. 251; illustrated again on the cover).

PROPERTY FROM AN IMPORTANT PRIVATE AMERICAN COLLECTION

λ*126

MATTA (1911-2002)

Sans titre

wax and coloured crayons and pencil on paper

19¬ x 25Ω in. (50 x 65 cm.)

Executed in 1937

£200,000-300,000

US$250,000-370,000

€230,000-340,000

PROVENANCE:

André Breton, Paris, by whom probably acquired directly from the artist.

Elisa Breton, Paris, by descent from the above in 1966.

Aube Elléouët Breton, Paris, by descent from the above in 2000; her sale, Calmels Cohen, Hôtel Drouot, Paris, 15 April 2003, lot 4366.

Acquired at the above sale by the present owner.

EXHIBITED:

Paris, Musée National d'art Moderne, Centre Georges Pompidou, Matta, October - December 1985, no. 2, p. 83 (illustrated).

Marseille, Centre de la Vieille Charité, La planète affolée, Surréalisme Dispersion et Influences 1938-1947, April - June 1986, no. 204, p. 327 (illustrated p. 44). Bochum, Museum Bochum, Roberto Matta, Zeichnungen, 1937-1988, June - July 1988, no. 4.

Paris, Musée National d'Art Moderne, Centre Georges Pompidou, La révolution surréaliste, March - June 2002, p. 43.

LITERATURE:

G. Ferrari & R. Matta, Entretiens morphologiques, Notebook no. 1, 1936-1944, London, 1987, p. 262 (illustrated p. 53).

Roberto Matta’s Sans titre was executed in 1937, the The Matta Archives have confirmed the authenticity of this work.

PROPERTY FROM A DISTINGUISHED PRIVATE SWISS COLLECTION

λ*127

MAX ERNST (1891-1976)

eh bin l'vla l'petit chien

signed ‘max ernst’ (lower right); titled ‘eh bin l’vla l’petit chien’ (lower left)

gouache on paper

8 x 9Ω in. (20.3 x 23.7 cm.)

Executed circa 1924

£220,000-320,000

US$280,000-400,000

€250,000-360,000

PROVENANCE:

Solange Dreyfus, Paris.

Dr Ewald Rathke, Frankfurt.

Dr Hans Feith, Frankfurt.

Elisabeth Feith, Frankfurt, and thence by descent.

Galerie 1900-2000, Paris, by 2018.

Private collection, by whom acquired from the above.

This work will be included in the forthcoming volume of the Max Ernst Catalogue raisonné, currently being prepared by Werner Spies in collaboration with Sigrid Metken and Jürgen Pech.

PROPERTY FROM A DISTINGUISHED PRIVATE EUROPEAN COLLECTION

λ*128

MARCEL DUCHAMP (1887-1968)

French Military Paper

signed, dated and inscribed '(From) Marcel Duchamp 1918.' (lower left)

Readymade: typed note, pen and black and red ink and pencil on paper

9√ x 8Ω in. (25 x 21.5 cm.)

Executed in New York in 1918

£100,000-200,000

US$130,000-250,000

€120,000-220,000

PROVENANCE:

Pierre de Massot, Paris, probably a gift from the artist, circa 1921.

Pierre André Benoit, Alès, France, until at least 1967.

Galerie Tarica, Paris, circa 1970.

Acquired from the above by the family of the present owners, circa 1970.

EXHIBITED:

Zurich, Kunsthaus Zürich, DADA: Ausstellung zum 50-jährigen Jubiläum, October - November 1966, no. 42, p. 69 (titled 'Ready-made ohne Titel'); this exhibition later travelled to Paris, Musée National d'Art Moderne, November 1966 - January 1967.

LITERATURE:

A. Schwarz, The Complete Works of Marcel Duchamp, New York, 1970, no. 250, p. 469 (illustrated).

A. Schwarz, The Complete Works of Marcel Duchamp, vol. II, New York, 2000, no. 352, p. 657 (illustrated).

Jacqueline Matisse Monnier and the Association Marcel Duchamp have confirmed the authenticity of this work.

238

PROPERTY FROM A PRIVATE ENGLISH COLLECTOR

λ129

LEONORA CARRINGTON (1917-2011)

Mars Red Predella

signed and dated 'LEONORA CARRINGTONSEPTEMBER 1947' (lower right) tempera and sgraffito on prepared panel

8¡ x 39¡ in. (21.2 x 100 cm.)

Painted in September 1947

£170,000-250,000

US$210,000-310,000

€200,000-280,000

PROVENANCE:

Edward James, West Dean Park, West Sussex; his estate sale, Christie’s, London, 5 June 1986, lot 1789. Acquired at the above sale by the present owner.

EXHIBITED:

New York, Centre for Inter-American Relations, Leonora Carrington: A Retrospective Exhibition, November 1975 - January 1976, no. 7 (illustrated); this exhibition later travelled to Austin, Texas, University Art Museum, January - February 1976.

We are grateful to Dr. Salomon Grimberg for his assistance cataloguing this work.

PROPERTY FROM THE COLLECTION OF RUTH MAYER

*130

JEAN (HANS) ARP (1886-1966)

Grand personnage

signed with the artist's monogram, numbered '2/3' and inscribed with foundry mark 'Susse Fondeur Paris' (on the inside of the base)

polished bronze

Height: 65¬ in. (166.8 cm.)

Conceived in 1957; this version cast in July 1958

£800,000-1,200,000

US$990,000-1,500,000

€900,000-1,300,000

PROVENANCE:

Sidney Janis Gallery, New York (no. 1717).

Robert and Beatrice Mayer, Chicago, by whom acquired from the above on 13 January 1961, and thence by descent to the present owner.

LITERATURE:

J. Thrall Soby, Arp, exh. cat., Museum of Modern Art, New York, 1958, no. 112, p. 123 (another cast illustrated pl. 112; titled ‘Great Lady’).

Exh. cat., Jean Arp: sculpture, reliefs, paintings, collages, tapestries, Tate Gallery, London, 1962, no. 34.

Exh. cat., Exhibition of sculpture by Jean Arp in marble bronze and wood relief from the years 1923-63, Sidney Janis Gallery, New York, 1963, no. 16 (another cast illustrated).

G. Marchiori, Arp, Milan, 1964 (detail of another cast illustrated fig. 44, p. 60).

H. Read, Arp, London, 1968, no. 116, p. 207 (illustrated p. 206).

E. Trier, M. Arp-Hagenbach & F. Arp, Jean Arp, Sculpture: His Last Ten Years, New York, 1968, p. 107, no. 157 (another cast illustrated).

Exh., Jean Arp, Museum of Contemporary Art, Madrid, 1985, no. 20, p. 112 (another cast illustrated).

Exh., Hans Arp, Die Metamorphose der Figur, Museum Ludwig, Cologne, 1991, no. 10, p. 169 (another cast illustrated p. 64).

B. Mayer, The Passionate Collector: Robert B. Mayer’s Adventures in Art, New York, 2011 (illustrated p. 61).

A. Hartog & K. Fischer, Hans Arp, Sculptures - a Critical Survey, Ostfildern, 2012, no. 157, p. 128 (another cast illustrated; with incorrect provenance).

We thank the Fondation Arp, Clamart, for their help cataloguing this work.

Alternative view of the present lot.

THE PROPERTY OF A PRIVATE COLLECTOR

λ*131

PAUL DELVAUX (1897-1994) Faubourg

signed and dated 'P. Delvaux 11-56' (lower right) oil on panel

51 x 51 in. (129.7 x 129.7 cm.)

Painted in November 1956

£400,000-600,000

US$500,000-740,000

€450,000-670,000

PROVENANCE:

The artist's studio, Boitsfort.

René Simonis, Brussels, by 1962; sale, Sotheby Parke Bernet, London, 3 December 1975, lot 48.

Private collection, Switzerland, by whom acquired at the above sale, and thence by descent; sale, Christie's, London, The Art of the Surreal, 4 February 2009, lot 44.

Private collection, Europe, by whom acquired at the above sale; sale, Christie's, New York, 5 November 2014, lot 32.

Acquired at the above sale by the present owner.

EXHIBITED:

Charleroi, Cercle royal Artistique et Littéraire, Salle de la Bourse, XXXIe Salon, hommage à Marc Chagall, rétrospective Paul Delvaux, March - April 1957, no. 66. São Paulo, Museu de Arte Moderna, Pavillon belge, IV Bienal, September - December 1957, no. 7 (illustrated).

Ostend, Musée des Beaux-Arts, Paul Delvaux, July - August 1962, no. 50.

Geneva, Galerie Krugier, Rétrospective Paul Delvaux, September - October 1966, no. 15.

Brussels, Musée d'Ixelles, Paul Delvaux, NovemberDecember 1967, no. 32 (illustrated).

Brussels, Musées royaux des Beaux-Arts de Belgique, Paul Delvaux, March - July 1997, no. 87 (illustrated p. 144).

LITERATURE:

L.L. Sosset, 'Les expositions à Brussels', in Les Beaux Arts, 5 April 1957, no. 767 (illustrated p. 5).

L.L. Sosset, 'Un monde d'évasion en suspens: Paul Delvaux', in Le Rail, January 1965, no. 101 (illustrated p. 23).

L.L. Sosset, 'Een wereld van magisch realisme: Paul Delvaux', in Het Spoor, January 1965, no. 101 (illustrated p. 23).

P.A. de Bock, Paul Delvaux, l'homme, le peintre, psychologie d'un art, Brussels, 1967, p. 297 (illustrated pl. 119, p. 193).

M. Butor, J. Clair & S. Houbart-Wilkin, Delvaux: Catalogue de l'oeuvre peint, Brussels, 1975, no. 226, p. 241 (illustrated).

244

THE PROPERTY OF A PRIVATE ITALIAN COLLECTOR

λ*132

JOAN MIRÓ (1893-1983)

Personnage, oiseaux, étoiles signed 'Miró' (lower right); signed, dated and inscribed 'MIRÓ. 5/VII/65 PERSONNAGE, OISEAUX, ÉTOILE' (on the reverse); dated indistinctly, inscribed and numbered '5/6/65 personnage, oiseaux, étoile' (on the stretcher) oil on canvas

16¿ x 13 in. (41 x 33 cm.)

Painted on 5 July 1965

£220,000-320,000

US$280,000-400,000

€250,000-360,000

PROVENANCE:

Galerie Maeght, Paris. Richard L. Feigen & Co., New York. Galleria La Bussola, Turin. Private collection, by 2002. Galleria d'arte Anthea, Rome. Galleria Marescalchi, Bologna. Private collection, Italy, and thence by descent to the present owner.

LITERATURE:

G. Weelen, Miró, Paris, 1984, no. 236, p. 170 (illustrated). J. Dupin & A. Lelong-Mainaud, Joan Miró, Catalogue raisonné, vol. IV, Paintings, 1959-1968, Paris, 2002, no. 1186, p. 150 (illustrated).

246

POST WAR AND CONTEMPORARY DAY SALE

Wednesday, 1 March 2023, 1.00pm GMT 8 King Street, St. James’s London SW1Y 6QT

VIEWING

Wednesday 22 February 9.00am - 5.00pm

Thursday 23 February 9.00am - 8.00pm

Friday 24 February 9.00am - 5.00pm

Saturday 25 February 12.00pm - 5.00pm

Sunday 26 February 12.00pm - 5.00pm

Monday 27 February 9.00am - 5.00pm

Tuesday 28 February 9.00am - 5.00pm

AUCTIONEERS

Arlene Blankers, Hugh Creasy & Yuge Wang

HEAD OF SALE

Anna Touzin

+44 (0)20 7752 3064 atouzin@christies.com

Opposite: Lot 240, Marlene Dumas, Bondage, Painted in 1993

SPECIALISTS

Stephanie Rao Specialist

+44 (0)20 7389 2523 StephanieRao@christies.com

Joanna Hattab

Junior Specialist +44 (0)20 7389 5102 jhattab@christies.com

Katy Landles

Graduate Trainee +44 207 880 2019 klandles@christies.com

CONDITIONS OF SALE

The sale for each lot is subject to the Conditions of Sale, Important Notices and Explanation of Cataloguing Practice, which are set out in this catalogue and on christies. com.  Please note that the symbols and cataloguing for some lots may change before the auction.  For the most up to date sale information for a lot, please see the full lot description, which can be accessed through the sale landing page on christies.com

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as: LISKAT-21611

SALE COORDINATOR

Lisanne Sophie de Jooden +44 (0)20 7389 2626 lsdejooden@christies.com

POST SALE SERVICES

Payment, Shipping and Collection

Tel: +44 (0)20 7752 3200

Fax: +44 (0)20 7752 3300 Email: PostSaleUK@christies.com

COPYRIGHT NOTICE

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© COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2023)

With special thanks to Teresa Integlia, Lauren Fulcher and Kanon Ida.

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In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.

LOOKING AT ME - WORKS FROM A DISTINGUISHED CONTEMPORARY COLLECTION

*201

DEVAN SHIMOYAMA (B. 1989)

After the Black Ecstatic signed, titled and dated ''After the Black Ecstatic' 2019 Devan Shimoyama' (on the reverse) oil, coloured pencil, rug, paper collage, gems, sequins, denim, glitter and Flashe on canvas laid on panel 84º x 72¿ x 2æin. (214 x 183.2 x 7cm.)

Executed in 2019

£40,000-60,000

US$50,000-74,000

€46,000-68,000

LOOKING AT ME - WORKS FROM A DISTINGUISHED CONTEMPORARY COLLECTION

λ*202

GEORGE ROUY (B. 1994)

Looking At Me Through Gaps Of Her Toes signed with the artist's initials and dated 'GR 19' (on the turnover edge)

acrylic on canvas

67 x 88æin. (170.3 x 225.4cm.)

Painted in 2019

£50,000-70,000

US$62,000-86,000

€57,000-79,000

λ*203

VOJTĚCH KOVAŘÍK (B. 1993)

Spinario

signed, signed with the artist's initials, titled and dated twice 'VOJTECH KOVARIK "SPINARIO" 2018 VK 18' (on the reverse)

acrylic on canvas

78√ x 78√in. (200.3 x 200.3cm.)

Painted in 2018

£20,000-30,000

US$25,000-37,000

€23,000-34,000

LOOKING AT ME - WORKS FROM A DISTINGUISHED CONTEMPORARY COLLECTION

*204

CELESTE RAPONE (B. 1985)

Tony Posing

signed, titled and dated 'RAPONE 2017 "TONY POSING"' (on the overlap) oil on canvas

42 x 46in. (106.7 x 116.8 cm.)

Painted in 2017

£20,000-30,000

US$25,000-37,000

€23,000-34,000

λ*205

BEN SPIERS (B. 1972)

Vice

signed and titled 'Ben Spiers 'VICE'' (on the overlap) oil on linen

32¿ x 36ºin. (81.5 x 92cm.)

Painted in 2012

£20,000-30,000

US$25,000-37,000

€23,000-34,000

206 NO LOT

LOOKING AT ME - WORKS FROM A DISTINGUISHED CONTEMPORARY COLLECTION

*207

REBECCA NESS (B. 1992)

Schmutz

signed, titled and dated '"Schmutz" Rebecca Ness 2020' (on the reverse); titled 'Schmutz' (on the stretcher) oil on linen

90¡ x 82Ωin. (229.5 x 209.5cm.)

Painted in 2020

£40,000-60,000

US$50,000-74,000

€46,000-68,000

LOOKING AT ME - WORKS FROM A DISTINGUISHED CONTEMPORARY COLLECTION

*208

DANIELLE ORCHARD (B. 1985)

Garden Eclipse With Clementine

signed and dated 'Danielle Orchard 2015' (on the overlap) oil on canvas

36 x 30in. (91.5 x 76.2cm.)

Painted in 2019

£25,000-35,000

US$31,000-43,000

€29,000-40,000

*209 JENNA GRIBBON (B. 1978)

Tatiana in her Studio

signed and dated ‘Jenna Gribbon ‘18’ (on the overlap) oil on linen

18 x 14in. (45.7 x 35.6cm.)

Painted in 2018

£30,000-50,000

US$37,000-62,000

€34,000-57,000

LOOKING AT ME - WORKS FROM A DISTINGUISHED CONTEMPORARY COLLECTION

*210

AMANI LEWIS (B. 1994)

Negroes in the Trees #9

inscribed 'TGBTG' (lower left)

acrylic, glitter, oil pastel and digital collage on canvas

40 x 60in. (101.6 x 152.4cm.)

Executed in 2019

£30,000-50,000

US$37,000-62,000

€34,000-57,000

*211

KATHERINE BRADFORD (B. 1942)

Swimmers Under the Pier

signed and dated 'K. Bradford 2020' (on the reverse)

acrylic on canvas

39¡ x 29√in. (100 x 76cm.)

Painted in 2020-2021

£25,000-35,000

US$31,000-43,000

€29,000-40,000

LOOKING AT ME - WORKS FROM A DISTINGUISHED CONTEMPORARY COLLECTION

*212

AUSTIN LEE (B. 1983)

Last Days

signed, titled and dated 'LAST DAYS Austin Lee 2016' (on the overlap)

acrylic on canvas

52 x 68¿in. (132 x 173cm.)

Painted in 2016

£20,000-30,000

US$25,000-37,000

€23,000-34,000

213 CHLOE WISE (B. 1990)

A nice stranger I can trust, a nice trustee I can estrange

signed and dated 'CHLOE WISE 2019.' (on the reverse) oil on linen

72 x 60in. (182.9 x 152.4cm.)

Painted in 2019

£50,000-70,000

US$62,000-86,000

€57,000-79,000

λ*214 FLORA YUKHNOVICH (B. 1990)

Untitled oil on linen

15æ x 12in. (40 x 30.5cm.)

Painted in 2019

£60,000-80,000

US$74,000-98,000

€68,000-90,000

*215 KARYN LYONS (B. 1981)

Dreaming of Nelcotte oil on vellum

16 x 12in. (40.6 x 30.5cm.)

Executed in 2020

£15,000-20,000

US$19,000-25,000

€17,000-23,000

LOOKING AT ME - WORKS FROM A DISTINGUISHED CONTEMPORARY COLLECTION

λ*216

JULES DE BALINCOURT (B. 1972)

Possible Worlds

signed, incorrectly titled and dated 'Jules de Balincourt "LOST HIGHWAY" 2016' (on the reverse) oil on panel

48 x 40in. (122 x 101.7cm.)

Executed in 2018

£40,000-60,000

US$50,000-74,000

€46,000-68,000

PROPERTY FROM THE ESTATE OF RICHARD A. HUNDLEY

*217

PAUL THEK (1933-1988)

Untitled (beach with figures)

watercolour and graphite on paper

18 x 24in. (46 x 61cm.)

Executed circa 1986

£12,000-18,000

US$15,000-22,000

€14,000-20,000

PROPERTY FROM THE ESTATE OF RICHARD A. HUNDLEY

*218

PAUL THEK (1933-1988)

Untitled (cityscape)

watercolour and graphite on paper

24 x 18in. (61 x 46cm.)

Executed circa 1986

£10,000-15,000

US$13,000-18,000

€12,000-17,000

PROPERTY FROM THE ESTATE OF RICHARD A. HUNDLEY

*219

PAUL THEK (1933-1988)

Untitled (cityscape)

graphite and watercolour on paper 24 x 18in. (61 x 46cm.)

Executed circa 1986

£10,000-15,000

US$13,000-18,000

€12,000-17,000

220

ETEL ADNAN (1925-2021)

Pont

signed 'Adnan' (lower left) watercolour and ink on paper

14Ω x 17√in. (36.9 x 45.4cm.)

Executed in 1998

£20,000-30,000

US$25,000-37,000

€23,000-34,000

PROPERTY FROM AN ESTEEMED SWISS COLLECTION

λ

*221

BRIDGET RILEY (B. 1931)

Study For 'Day and Night' Revision B

signed and dated ‘Bridget Riley '03' (lower right); titled and dated 'Study for Day and Night. Revision B. 21 November.’ (lower left) gouache on paper 15æ x 40Ωin. (40 x 102.8cm.)

Executed in 2003

£50,000-70,000

US$62,000-86,000

€57,000-79,000

PROPERTY FROM A DISTINGUISHED CALIFORNIAN ESTATE

λ*222

DAVID HOCKNEY (B. 1937)

Armchair, Table and Lamp

signed with the artist's initials and dated 'DH 72.' (lower left)

coloured crayon and graphite on paper

13º x 16Ωin. (34.9 x 41.9cm.)

Executed in 1972

£300,000-500,000

US$370,000-620,000

€340,000-570,000

PROPERTY OF A PRIVATE SWISS COLLECTOR

*223

RAYMOND PETTIBON (B.

1957)

No Title (So Swift / His Life Belonged)

signed and dated 'Raymond Pettibon 2001' (on the reverse)

watercolour and ink on paper

19Ω x 25¡in. (49.4 x 64.5cm.)

Executed in 2001

£10,000-15,000

US$13,000-18,000

€12,000-17,000

PROPERTY FROM A DISTINGUISHED PRIVATE SWISS COLLECTION

*224

ALEX KATZ (B. 1927)

Dancer

signed 'alex Katz' (lower right); signed and dated '90 alex Katz' (on the reverse) oil on board

10æ x 12¿in. (27.2 x 30.7cm.)

Executed in 1990

£30,000-50,000

US$37,000-62,000

€34,000-57,000

PROPERTY FROM A DISTINGUISHED PRIVATE SWISS COLLECTION

*225

TOM WESSELMANN (1931-2004)

Drawing for Great American Nude #78

signed ‘Wesselmann’ (lower left); signed, titled, inscribed and dated ‘DRAWING FOR GREAT AMERICAN NUDE #78 1966 + 77 pencil + thinned Liquitex on 100% ragboard (pencil 1966 Liquitex 1977) WESSELMANN’ (on the reverse)

liquitex and graphite on ragboard

7√ x 9Ωin. (20 x 24.2cm.)

Executed in 1966-1977

£60,000-80,000

US$74,000-98,000

€68,000-90,000

*226

GUY YANAI (B. 1977)

Pauline Reading

signed and dated 'guy yanai '21' (on the overlap) oil on canvas

59¿ X 47ºin. (150.5 x 119.9cm.)

Painted in 2021

£15,000-20,000

US$19,000-25,000

€17,000-23,000

λ227

DAVID HOCKNEY (B. 1937)

Celia

signed with the artist's initials, inscribed and dated 'DH. Paris Nov 1973' (lower right) coloured pencil on paper

25Ω x 19¬in. (64.8 x 49.7cm.)

Executed in 1973

£300,000-500,000

US$370,000-620,000

€340,000-570,000

THE MAKING OF A MASTER: WORKS BY DAVID HOCKNEY FROM AN IMPORTANT PRIVATE COLLECTION

λ*228

DAVID HOCKNEY (B. 1937)

Swimming Pool

signed with the artist’s initials, titled, inscribed and dated ‘Swimming pool DH. 65 Los Angeles’ (lower right) coloured pencil and crayon on paper 13√ x 16æin. (35.4 x 42.7cm.)

Executed in 1965

£120,000-180,000

US$150,000-220,000

€140,000-200,000

λ229

HURVIN ANDERSON (B. 1965)

Scenes from Rockers: Police and Thieves

signed and dated 'Hurvin Anderson JUNE 2010' (on the reverse)

acrylic on paper 11¬ x 16¬in. (29.5 x 42.2cm.)

Executed in 2010

£8,000-12,000

US$9,900-15,000

€9,100-14,000

λ*230

SEAN SCULLY (B. 1945)

Untitled

signed and dated ‘Sean Scully 1.8.95’ (lower left)

pastel on paper

22¬ x 30¿in. (57.5 x 76.5cm.)

Executed in 1995

£60,000-80,000

US$74,000-98,000

€68,000-90,000

λ*231 CAROLINE WALKER (B. 1982)

Patrol

signed, titled and dated ''PATROL' Caroline Walker 2012.' (on the reverse)

oil on canvas paper

19¬ x 25¬in. (50 x 65cm.)

Executed in 2012

£30,000-50,000

US$37,000-62,000

€34,000-57,000

λ232 KARIN MAMMA ANDERSSON (B. 1962)

On Tenterhooks

signed, titled and dated 'ON TENTERHOOKS 2005 KARIN MAMMA ANDERSSON' (on the reverse)

acrylic and oil on panel, in three parts overall: 24 x 99¡in. (61 x 252.5cm.)

Executed in 2005

£180,000-250,000

US$230,000-310,000

€210,000-280,000

*233

SCOTT KAHN (B. 1946)

Autumn Moon

signed and dated 'Scott Kahn '14' (lower right); signed twice, titled, inscribed and dated twice 'AUTUMN MOON KAHN 2014/15 © 2015 by Scott Kahn all rights reserved' (on the overlap)

oil on linen

24¿ x 28¿in. (61.3 x 71.5cm.)

Painted in 2014-2015

£80,000-120,000

US$99,000-150,000

€91,000-140,000

*234

SCOTT KAHN (B. 1946)

Self Portrait as a Tree

signed and dated 'S. Kahn '07' (lower right); signed twice, titled, inscribed and dated twice 'SELF PORTRAIT AS A TREE KAHN 2007 © 2007 by Scott Kahn all rights reserved' (on the overlap)

oil on linen, in artist's frame

22Ω x 18Ωin. (57.2 x 47cm.)

Painted in 2007

£60,000-80,000

US$74,000-98,000

€68,000-90,000

λ235

PETER DOIG (B. 1959)

Frozen Lake

signed, titled and dated ''FROZEN LAKE' PM Doig '97' (on reverse)

oil on canvas

12¿ x 14ºin (30.7 x 36.2cm.)

Painted in 1997

£180,000-250,000

US$230,000-310,000

€210,000-280,000

λ*236

CAROLINE WALKER (B. 1982)

Remarks on the Golden Bow

signed twice, titled and dated ‘“Remarks On The Golden Bow’ 2010 Caroline Walker C. WALKER’ (on the reverse) oil on canvas

70√ x 87æin. (180 x 223cm.)

Painted in 2010

£100,000-150,000

US$130,000-180,000

€120,000-170,000

λ237 CAROLINE WALKER (B. 1982)

The Steam Room signed, titled and dated ''The Steam Room' Caroline Walker 2013.' (on the reverse)

oil on canvas paper

15 x 19¬in. (38 x 50cm.)

Executed in 2013

£20,000-30,000

US$25,000-37,000

€23,000-34,000

λ*238 LYNETTE YIADOM-BOAKYE (B. 1977)

Wishes Above Needs

signed with the artist's initials, titled and dated ‘LYB 2011 Wishes Above Needs’ (on the reverse) oil on canvas

31¬ x 25æin. (80.4 x 65.4cm.)

Painted in 2011

£200,000-300,000

US$250,000-370,000

€230,000-340,000

λ*239

AMOAKO BOAFO (B. 1984)

Nerida 1

signed, inscribed and dated 'AMOAKO M BOAFO 2018 KING' (centre left)

oil on two joined sheets of paper

54 x 39ºin. (137.3 x 99.8cm.)

Executed in 2018

£80,000-120,000

US$99,000-150,000

€91,000-140,000

λ*240

MARLENE DUMAS (B. 1953)

Bondage

titled 'Bondage' (on the overlap); signed and dated '1993 MDumas' (on the stretcher) oil on canvas

11æ x 9¡in. (29.8 x 23.8cm.)

Painted in 1993

£250,000-350,000

US$310,000-430,000

€290,000-400,000

λ*241

WILLIAM KENTRIDGE (B. 1955)

Peripheral Thought No. 1 (Nose Series)

signed, titled, inscribed, numbered and dated ‘PERIPHERAL THOUGHT NO I (Nose Series) Edition 2/6 2015 WKentridge’ (on a fabric label sewn to the reverse) and signed ‘KENTRIDGE’ (on a fabric label affixed to the reverse)

handwoven Mohair tapestry and embroidery

106º x 129√in. (252 x 326cm.)

Executed in 2015, this work is number two from an edition of six

£70,000-100,000

US$87,000-120,000

€80,000-110,000

λ*242

ADRIAN GHENIE (B. 1977)

Untitled charcoal on paper

59¿ x 70√in. (150 x 180cm.)

Executed in 2017

£100,000-150,000

US$130,000-180,000

€120,000-170,000

*243

DORON LANGBERG (B. 1985)

Elika

signed with the artist's initials and dated 'DL 16' (on the overlap)

oil on linen

60 x 50ºin. (152.5 x 127.5cm.)

Painted in 2016

£50,000-70,000

US$62,000-86,000

€57,000-79,000

COLOUR AND LIGHT: IMPORTANT WORKS BY EILEEN AGAR FROM A PRIVATE BRITISH COLLECTION

λ244

EILEEN AGAR (1899-1991)

The Gardener (Leaf Head) signed 'AGAR' (lower right); signed and dated 'AGAR 1965' (on the backing board) oil on canvas

24 x 18¿in. (61.1 x 46cm.)

Painted in 1965

£7,000-10,000

US$8,700-12,000

€8,000-11,000

COLOUR AND LIGHT: IMPORTANT WORKS BY EILEEN AGAR FROM A PRIVATE BRITISH COLLECTION

λ245

EILEEN AGAR (1899-1991)

To a Nightingale signed ‘AGAR’ (lower right); signed 'AGAR' (on the overlap); signed and dated ‘AGAR 1979’ (on the backing board); signed, titled and dated 'EILEEN AGAR NIGHTINGALE 1979' (on tape affixed to the stretcher) oil on canvas

28 x 36in. (71.2 x 91.3cm.)

Painted in 1979

£8,000-12,000

US$9,900-15,000

€9,100-14,000

λ246

CAMILLE HENROT (B. 1978)

Overlapping Figures

incised with the artist's monogram and number '8/8' (on the base of the bronze)

green patinated bronze, two plaster elements, wood and polished bronze

overall: 15¡ x 16¿ x 11¡in. (27.5 x 41 x 29cm.)

Executed in 2011, this work is number eight from a series of eight unique variants

£10,000-15,000

US$13,000-18,000

€12,000-17,000

λ*247

TRACEY EMIN (B. 1963)

More Dreaming

signed and dated 'Tracey Emin 2016' (lower right); titled 'More dreaming' (lower left); signed, titled and dated 'More Dreaming Tracey Emin 2016' (on the stretcher)

acrylic on canvas

12¿ x 12in. (30.9 x 30.6cm).

Painted in 2016

£60,000-80,000

US$74,000-98,000

€68,000-90,000

λ*248

EWA JUSZKIEWICZ (B. 1984)

Artemisia

signed and dated 'Ewa Juszkiewicz 2013' (on the stretcher) oil on canvas

39º x 35¡in. (99.7 x 90cm.)

Painted in 2013

£60,000-80,000

US$74,000-98,000

€68,000-90,000

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

λ249

SARAH BALL (B. 1965)

AC15

signed and dated ‘Sarah Ball 2017’ (on the reverse) oil on canvas

39¡ x 39¡in. (100 x 100cm.)

Painted in 2017

£60,000-80,000

US$74,000-98,000

€68,000-90,000

PROPERTY FROM A DISTINGUISHED CALIFORNIAN ESTATE

λ*250

DAVID HOCKNEY (B. 1937)

Celia Seated

signed with the artist's initials and dated 'DH 74' (lower right) graphite on paper

18 x 23Ωin. (45.7 x 59.7cm.)

Executed in 1974

£50,000-70,000

US$62,000-86,000

€57,000-79,000

λ*251

LUCIAN FREUD (1922-2011)

Man in a Spotted Jacket

dated '4.8.1942' (lower right) ink and watercolour on paper

10º x 7ºin. (26 x 18.4cm.)

Executed in 1942

£150,000-200,000

US$190,000-250,000

€170,000-230,000

PROPERTY FROM THE ESTATE OF ELAINE FEINSTEIN

λ252

PAULA REGO (1935-2022)

Portrait of Elaine Feinstein

signed 'Paula Rego' (lower right)

pastel and charcoal on paper

33¿ x 23ºin. (84 x 59.2cm.)

Executed in 2008

£25,000-35,000

US$31,000-43,000

€29,000-40,000

λ253

GRAYSON PERRY (B. 1960)

Scenes from Hello! Magazine

stamped with artist's monogram (at the base)

glazed ceramic

21¬ x 10º x 10ºin. (55 x 26 x 26cm.)

Executed in 1996

£50,000-80,000

US$62,000-98,000

€57,000-90,000

λ*254

JIM LAMBIE (B. 1964)

Somebody to Love

oil on canvas collage on printed poster

62√ x 49¿in. (159.8 x 124.8cm.)

Executed in 2013

£25,000-35,000

US$31,000-43,000

€29,000-40,000

λ255

GRAYSON PERRY

(B. 1960)

A Portrait of My Soul glazed earthenware

22 x 16¿ x 16.8in. (56 x 41 x 41cm.)

Executed in 1987

£50,000-70,000

US$62,000-86,000

€57,000-79,000

λ256

DAVID HOCKNEY (B. 1937)

Study for Simplified Faces oil on canvas

9Ω x 7Ωin. (24.1 x 19.1cm.)

Painted in 1974

£30,000-50,000

US$37,000-62,000

€34,000-57,000

λ257

DAVID HOCKNEY (B. 1937)

Boodgie and Stanley, 30 May 1994 signed with the artist’s initials and dated ‘ DH 30 MAY 1994’ (upper right) graphite on paper

22Ω x 29√in. (57 x 76cm.)

Executed in 1994

£30,000-50,000

US$37,000-62,000

€34,000-57,000

*258

YOSHITOMO NARA (B. 1959)

Untitled

signed with the artist's initials and dated 'YN 08' (on the reverse)

coloured pencil on envelope

6º x 4Ωin. (16 x 11.5cm.)

Executed in 2008

£40,000-60,000

US$50,000-74,000

€46,000-68,000

THE CURATOR'S EYE: PROPERTY FROM A PRIVATE GERMAN COLLECTION

*259

YOSHITOMO NARA (B. 1959)

The Girl with a Knife

signed in Japanese and dated '98' (lower right)

acrylic, gouache, coloured pencil and ink on paper laid on paper

17¬ x 12¿in. (44.8 x 30.7cm.)

Executed in 1998

£350,000-500,000

US$440,000-620,000

€400,000-570,000

*260 MADSAKI (B. 1974)

Dat Way

signed and dated ‘Madsaki 2018’ (on the overlap) spray enamel, metallic spray enamel and acrylic on canvas

39¬ x 39¬in. (100.5 x 100.5cm.)

Executed in 2018

£55,000-90,000

US$68,000-110,000

€63,000-100,000

261

ROBERT NAVA (B. 1985)

Air Lines

signed, titled and dated 'Nava 18 "Air Lines"' (on the reverse)

acrylic and spray paint on canvas

30¡ x 48Ωin. (77.1 x 123.1cm.)

Executed in 2018

£40,000-60,000

US$50,000-74,000

€46,000-68,000

*262

MICHAEL KAGAN (B. 1980)

Untitled

signed and dated 'Michael Kagan 2020' (on the reverse) oil on canvas

39æ x 30in. (101.1 x 76.3cm.)

Painted in 2020

£20,000-30,000

US$25,000-37,000

€23,000-34,000

263

EDDIE MARTINEZ (B. 1977)

Untitled

signed with the artist's initials and dated 'EM. 14' (upper right); signed and dated 'MARTINEZ. 2014' (on the reverse); signed with the artist's initials and dated 'EM. 14' (on the stretcher)

acrylic, oil, enamel and spray enamel canvas

40 x 30in. (101.5 x 76.3cm.)

Executed in 2014

£60,000-80,000

US$74,000-98,000

€68,000-90,000

PROPERTY OF A PRIVATE SWISS COLLECTOR

*264

ALEX KATZ (B. 1927)

Snow Scene 1

signed and dated 'Alex Katz 02' (upper right) oil on board

9 x 11√in. (23 x 30.2cm.)

Executed in 2002

£15,000-20,000

US$19,000-25,000

€17,000-23,000

*265

ROBERT RAUSCHENBERG (19252008)

Locker (Slide)

signed and dated 'RAUSCHENBERG 79' (lower centre)

solvent transfer and fabric on paper

59æ x 40ºin. (151.8 x 102.3cm.)

Executed in 1979

£50,000-70,000

US$62,000-86,000

€57,000-79,000

266

ANDY WARHOL (1928-1987)

Be a Somebody with a Body

signed, stamped with the Andy Warhol Foundation for the Visual Arts, Inc. and the Estate of Andy Warhol stamps, numbered and dated 'PA 10.615 Andy Warhol 85

A158.0310' (on the overlap); stamped with the Estate of Andy Warhol stamp (on the reverse); numbered 'PA 10.615' (on the stretcher)

acrylic and silkscreen ink on canvas

16¿ x 19√in. (40.8 x 50.5cm.)

Executed in 1985

£100,000-150,000

US$130,000-180,000

€120,000-170,000

FRAGMENTS OF LIFE: WORKS BY ERNIE BARNES FROM THE COLLECTION OF DANNY AND DONNA ARNOLD

*267

ERNIE BARNES (1938-2009)

The Back Room

signed 'ERNIE BARNES' (lower right)

acrylic on canvas

24 x 35√in. (61 x 91.1cm.)

Painted in 1974

£70,000-100,000

US$87,000-120,000

€80,000-110,000

268

GEORGE CONDO (B. 1957)

Seated Nude

signed and titled 'Condo Seated Nude' (on the reverse) oil on canvas

14 x 17√in. (35.5 x 45.5cm.)

Painted in 2005

£80,000-120,000

US$99,000-150,000

€91,000-140,000

269

ANDY WARHOL (1928-1987)

Portrait of a Lady (Natalie Sparber)

stamped with the Andy Warhol Foundation for the Visual Arts, Inc. and the Estate of Andy Warhol stamps and numbered 'PO50.273' (on the overlap); numbered '10-9802903 PO50.273' (on the stretcher)

acrylic and silkscreen ink on canvas

40 x 40cm. (101.7 x 101.7cm.)

Executed in 1984

£150,000-200,000

US$190,000-250,000

€170,000-230,000

PROPERTY FROM A DISTINGUISHED PRIVATE SWISS COLLECTION

*270

MARK GROTJAHN (B. 1968)

Untitled

signed, inscribed and dated ‘MARK GROTJAHN JULY

2000 GOUACH [sic] ON PAPER’ (on the reverse) gouache on paper 20 x 24in. (50.8 x 60.9cm.)

Executed in 2000

£25,000-35,000

US$31,000-43,000

€29,000-40,000

λ*271 GÜNTHER FÖRG (1952-2013)

Untitled

signed, inscribed and dated '217/86 Forg 86' (on the reverse)

acrylic on lead on wood

63 x 43Ωin. (160 x 110cm.)

Executed in 1986

£120,000-180,000

US$150,000-220,000

€140,000-200,000

λ*272 ANISH KAPOOR (B. 1954)

Wounds and Absent Objects

signed, numbered and dated '2/5 Anish Kapoor 1996' (on the reverse)

pigment and stainless steel

44¿ x 24 x æin. (112 x 61 x 2cm.)

Executed in 1996, this work is number two from an edition of five

£40,000-60,000

US$50,000-74,000

€46,000-68,000

PROPERTY OF A PRIVATE SWISS COLLECTOR

*273

LOUISE LAWLER (B.

1947)

Pictures That May or May Not Go Together

signed, numbered and dated 'Louise A. Lawler 1/5 1997' (on the reverse)

Cibachrome print flush-mounted on plywood museum box 24 x 30 x 1in. (60.9 x 76.3 x 2.5cm.)

Photographed in 1997 and printed in 1998, this work is number one from an edition of five

£10,000-15,000

US$13,000-18,000

€12,000-17,000

PROPERTY OF A PRIVATE SWISS COLLECTOR λ

*274

GERHARD RICHTER (B.

1932)

12. August 2000

signed and dated '12. August 2000 Richter' (on the mount); signed and dated '12. Aug. 2000 Richter' (on the backing board)

oil on colour photograph

3√ x 6in. (9.7 x 15.2cm.)

Executed in 2000

£25,000-30,000

US$31,000-37,000

€29,000-34,000

λ*275

TONY CRAGG (B. 1949)

Flag (Flagge)

black, red and yellow plastic fragments

76¡ x 94Ωin. (194 x 240cm.)

Executed in 1984

£50,000-70,000

US$62,000-86,000

€57,000-79,000

PROPERTY OF A PRIVATE SWISS COLLECTOR

λ*276

IMI KNOEBEL (B. 1940)

Face 42

signed with artist's initials and dated 'IMI 2 . . 3' (on the reverse)

acrylic on aluminium

15æ x 15æ x 3Ωin. (40 x 40 x 9cm.)

Executed in 2003

£30,000-50,000

US$37,000-62,000

€34,000-57,000

λ277

DÓRA MAURER (B. 1937)

Ixek 9

signed, dated and numbered 'maurer 2013 2 +1/2' (on the reverse)

acrylic on canvas laid on board

50æ x 53ºin. (128.8 x 135.3cm.)

Executed in 2013

£30,000-50,000

US$37,000-62,000

€34,000-57,000

λ278

KATHARINA GROSSE (B. 1961)

Untitled

signed and dated 'Katharina Grosse 2005' (on the reverse)

acrylic on canvas

92æ x 79¡in. (235.5 x 201.6cm.)

Painted in 2005

£100,000-150,000

US$130,000-180,000

€120,000-170,000

PROPERTY FROM A PRIVATE SWISS COLLECTOR

*279

TATSUO MIYAJIMA (B. 1957)

Counter Fragile No. 4

each diode numbered consecutively '4-1' to '4-32' (on the turnover edges)

light-emitting diode, silver-plated brass bar, Plexiglas, electric wire and IC

15¡ x 10º x 6ºin. (39 x 26 x 16cm.)

Executed in 2004

£5,000-7,000

US$6,200-8,600

€5,700-7,900

λ*280 THOMAS BAYRLE (B. 1937)

Verkehrsornament (Auto) (Traffic Ornament (Car))

signed, titled and dated ‘Bayrle AUTO 1990’ (on the reverse)

lino paint on canvas laid on canvas

41¿ x 66√in. (104.5 x 169.9cm.)

Executed in 1990

£15,000-20,000

US$19,000-25,000

€17,000-23,000

PROPERTY OF A PRIVATE SWISS COLLECTOR

*281

LAWRENCE WEINER (1942 - 2021)

Filofax Drawing Polaris, Vancouver NY

each: signed with the artist's initials and dated 'LW 90' (lower right)

ink, watercolour and graphite on paper, in eleven parts each: 6¬ x 5in. (16.8 x 12.8cm.)

frame: 34¿ x 37Ω x 1ºin. (86.7 x 95.1 x 3cm.)

Executed in 1990

£10,000-15,000

US$13,000-18,000

€12,000-17,000

*282

JIM DINE (B. 1935)

Three Studies for Three Palettes Behind Three Windows

signed and dated 'Jim Dine 1963' (lower right of of the right element)

oil, resin, charcoal and paper collage on paper, in three parts

30¿ x 71ºin. (76.5 x 181cm.)

Executed in 1963

£30,000-50,000

US$37,000-62,000

€34,000-57,000

*283

ALLAN MCCOLLUM (B. 1944)

Collection of 15 Drawings (No. 2)

signed and dated 'Allan McCollum 1998/90' (on the reverse of each element)

graphite on museum board in artist’s frame, in fifteen parts

smallest: 10 x 8æin. (25.4 x 22.2cm.)

largest: 13º x 14¬in. (33.6 x 37cm.)

overall dimension variable

Executed in 1988-1990

£15,000-20,000

US$19,000-25,000

€17,000-23,000

PROPERTY OF A PRIVATE SWISS COLLECTOR

*284

ROBERT MANGOLD (B. 1937)

Untitled

signed and dated 'R. Mangold 1999' (lower right)

acrylic, graphite and charcoal on paper

8º x 20ºin. (21 x 51.4cm.)

Executed in 1999

£8,000-12,000

US$9,900-15,000

€9,100-14,000

PROPERTY OF A PRIVATE SWISS COLLECTOR

*285

ROBERT MANGOLD (B. 1937)

Grey-White Zone Drawing

signed and dated 'R. Mangold 1996' (lower right)

graphite and charcoal on three joined sheets of paper

30º x 66¬in. (77 x 169.3cm.)

Executed in 1996

£30,000-50,000

US$37,000-62,000

€34,000-57,000

FORM, SPACE AND MATERIAL: MINIMALIST MASTERS IN DIALOGUE

*286

RICHARD ARTSCHWAGER (1923-2013)

Hair Crate (Frosted)

acrylic, rubberised hair and wood

30Ω x 25¬ x 21√in. (77.5 x 65 x 55.5cm.)

Executed in 1995

£30,000-50,000

US$37,000-62,000

€34,000-57,000

FORM, SPACE AND MATERIAL: MINIMALIST MASTERS IN DIALOGUE

*287

SOL LEWITT (1928-2007)

Kubus

painted aluminium

31¡ x 44¿ x 22¡in. (80 x 112 x 56.8cm.)

Executed in 1984, this work is unique

£30,000-50,000

US$37,000-62,000

€34,000-57,000

FORM, SPACE AND MATERIAL: MINIMALIST MASTERS IN DIALOGUE

λ*288

RICHARD LONG (B. 1945)

Green Quartz Circle

green quartz stones diameter: 165¡in. (420cm.)

Executed in 1990

£60,000-80,000

US$74,000-98,000

€68,000-90,000

FORM, SPACE AND MATERIAL: MINIMALIST MASTERS IN DIALOGUE

*289

DONALD JUDD (1928-1994)

Untitled

Douglas fir plywood and cadmium red light acrylic

19Ω x 45 x 30Ωin. (49.5 x 114.3 x 77.5cm.)

Executed in 1979

£150,000-200,000

US$190,000-250,000

€170,000-230,000

FORM, SPACE AND MATERIAL: MINIMALIST MASTERS IN DIALOGUE *290

ROBERT MORRIS (1931-2018)

Untitled (Brown Felt Piece)

felt and metal grommets

89æ x 72 x 19ºin. (240 x 183 x 49cm.)

Executed in 1983-1984

£70,000-100,000

US$87,000-120,000

€80,000-110,000

λ*291 MANOLO MILLARES (1926-1972)

Personaje Caido (Fallen Figure) signed 'MILLARES' (upper left); signed, titled and dated 'MILLARES-PERSONAJE CAIDO (1968)' (on the stretcher) acrylic, cardboard and twine on stitched burlap 59 x 59in. (150 x 150cm.)

Executed in 1968

£200,000-300,000

US$250,000-370,000

€230,000-340,000

*292

EL ANATSUI (B. 1944)

Illusions and Signs Series No. IV

incised with the artist's initials and date 'EL 93' (on the upper right of the tenth element); titled 'Illusions & Signs Series No. IV' (on the reverse) oil on carved wood, in fourteen parts overall: 21¡ x 56æ x æin. (54.3 x 144.2 x 2cm.)

Executed in 1993

£50,000-70,000

US$62,000-86,000

€57,000-79,000

λ*293

ALIGHIERO BOETTI (1940-1994)

Il progressivo svanire della consuetudine (The Progressive Fading of Habit) signed 'alighiero e boetti' (on the overlap) embroidery on canvas 12æ x 12æin. (32.5 x 32.5cm.)

Executed in 1993

£50,000-70,000

US$62,000-86,000

€57,000-79,000

PROPERTY FROM AN ESTEEMED SWISS COLLECTION

λ*294

LUCIO FONTANA (1899-1968)

Concetto spaziale

signed, titled and dated 'l. fontana Concetto spaziale 1960' (on the reverse)

aniline and graphite on canvas

15¿ x 21¡in. (38.3 x 54.3cm.)

Executed in 1960

£200,000-300,000

US$250,000-370,000

€230,000-340,000

PROPERTY FROM A DISTINGUISHED PRIVATE SWISS COLLECTION

λ*295

ALIGHIERO BOETTI (1940-1994)

Cieli ad alta quota (High Altitude Skies)

watercolour and graphite on photographic paper laid down on canvas

19æ x 28æin. (50 x 73cm.)

Executed in 1988-89

£60,000-90,000

US$74,000-110,000

€68,000-100,000

λ296

GÜNTHER FÖRG (1952-2013)

Untitled

each: signed and dated 'Förg 02' (upper left)

acrylic on unstretched canvas in artist's frame, in three parts

each: 19¬ x 23¬in. (50 x 60cm.)

Painted in 2002

£30,000-40,000

US$37,000-49,000

€34,000-45,000

λ*297 WOLFGANG TILLMANS (B. 1968)

Freischwimmer 39

signed and numbered 'Wolfgang Tillmans 1/1 + 1' (on a label affixed to the backing board)

C-print mounted on Dibond, in artist's frame

image: 70æ x 94Ωin. (179.6 x 240cm.)

overall: 74æ x 98¡in. (190 x 250cm.)

Executed in 2004, this work is number one from an edition of one, plus one artist’s proof

£120,000-180,000

US$150,000-220,000

€140,000-200,000

λ*298

GÜNTHER FÖRG (1952-2013)

Untitled

signed and dated 'Förg 06' (upper left)

acrylic on canvas

77 x 65¡in. (195.5 x 166cm.)

Painted in 2006

£250,000-350,000

US$310,000-430,000

€290,000-400,000

λ*299

MARTIN KIPPENBERGER (1953-1997)

Mutter in der Wohnung = Wirklichkeit, tote Mutter = Wahrheit (Mother in the Apartment = Reality, Dead Mother = Truth), (from the I.N.P Pictures series)

oil on canvas, in artist's frame

64 x 53Ωin. (162.7 x 136cm.)

Painted in 1984

£180,000-250,000

US$230,000-310,000

€210,000-280,000

λ

*301

ANISH KAPOOR (B. 1954)

Mirror Glow (Brandy Wine over Grey)

signed and dated 'Anish Kapoor 2016' (on the reverse) lacquer on synthetic wood 19 x 19 x 4¬in. (48.2 x 48.2 x 12cm.)

Executed in 2016

£50,000-70,000

US$62,000-86,000

€57,000-79,000

λ*302

JORINDE VOIGT (B.

1977)

Mille Plateaux VIII

signed, inscribed and dated 'Jorinde Voigt Berlin / 2012' (lower left) ink, graphite and gold leaf on paper 36º x 72Ωin. (92 x 184cm.)

Executed in 2012

£25,000-35,000

US$31,000-43,000

€29,000-40,000 300 NO LOT

λ303 KARIN KNEFFEL (B. 1957)

FX

signed, titled and dated 'Karin Kneffel 1995 "FX"' (on the reverse)

oil on canvas

39Ω x 39¡in. (100.3 x 100.1cm.)

Painted in 1995

£100,000-150,000

US$130,000-180,000

€120,000-170,000

λ*304 DANIEL RICHTER (B. 1962)

N.W.A.

signed, titled and inscribed “N.W.A. Ich improviere: das Bild ist von mir. Daniel Richter 2013” (on the frame)

oil on canvas

27Ωx 39¡in. (70 x 100cm.)

Painted in 2010

£100,000-150,000

US$130,000-180,000

€120,000-170,000

λ*305

RAINER FETTING (B. 1949)

Junger Sitzender Mann (Young Seated Man)

signed, titled and dated 'Junger sitzender Mann Fetting 83' (on the reverse)

oil on canvas

90Ω x 70¿in. (230 x 178cm.)

Painted in 1983

£50,000-70,000

US$62,000-86,000

€57,000-79,000

PROPERTY FROM A PRIVATE SWISS COLLECTION

λ*306

SIGMAR POLKE

(1941-2010)

Überfall der Bijouterie (Raid of the Jewellery Store)

signed and dated 'S. Polke 82.' (lower right)

acrylic, gouache and spray paint on cut-out paper (recto and verso)

27 x 38√in. (68.7 x 98.8cm.)

Executed in 1982

£70,000-100,000

US$87,000-120,000

€80,000-110,000

PROPERTY FROM A PRIVATE SWISS COLLECTION

λ*307

MARIO MERZ (1925-2003)

Untitled

signed and dated 'Mario Merz 78' (on the backing board)

watercolour, ink, gouache and acrylic on paper

18√ x 14¿in. (47.8 x 35.9cm.)

Executed in 1978

£8,000-12,000

US$9,900-15,000

€9,100-14,000

PROPERTY FROM A PRIVATE SWISS COLLECTION

DIETER ROTH

(1930-1998)

Ohne Titel

signed, inscribed and dated 'Dieter Roth 1980 Vera Roth' (lower centre)

acrylic, gouache and felt-tip pen on cardboard laid on board, in artist's frame

31º x 39√ x 2in. (79.4 x 101.4 x 5cm.)

Executed in 1979-1980

£40,000-50,000

US$50,000-62,000

€46,000-57,000

PROPERTY FROM A PRIVATE SWISS COLLECTION

λ*310

PROPERTY FROM A PRIVATE SWISS COLLECTION

*309 DIETER ROTH (1930-1998)

Selbstbildnis als Suppe (Self-Portrait as Soup), (from the Piccadilly series)

signed, titled and dated '"Selbstbildnis als Suppe", Dieter Roth 74' (lower edge)

acrylic, glue and paper collage on screenprint mounted on board

27¿ x 19Ωin. (69 x 49.5cm.)

Executed in 1974

£25,000-40,000

US$31,000-49,000

€29,000-45,000

DIETER ROTH (1930-1998) & RICHARD HAMILTON (1922-2011)

Interfaces 15 and 16

assemblage of acrylic and resin on cibachrome print, acrylic on cibachrome print, two cibachrome prints on plywood board, acrylic and rubber on plywood board and household gloss and found object collage on printed paper on plywood board, in artist's box

closed: 17¡ x 24º x 2¡in. (44 x 61.5 x 6cm.) open: 17¡ x 48¡ x 1¿in. (44 x 123 x 3cm.)

Executed in 1977-1978

£20,000-30,000

US$25,000-37,000

€23,000-34,000

λ*311 FRANCESCO VEZZOLI (B. 1971)

Chaerea Killed Caligula (Paolo Bonacelli)

oil and metallic embroidery on canvas, in artist’s frame

20Ω x 15æin. (52 x 40cm.)

Executed in 2005

£25,000-35,000

US$31,000-43,000

€29,000-40,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*312

THOMAS SCHÜTTE (B. 1954)

Untitled

stamped with the artist’s initials, number,date and foundry mark 'T.S. 03 1/1 KAYSER & KLIPPEL DÜSSELDORF' (on the underside of one of the figure’s feet) bronze, wooden pedestal and model car 63 x 24æ x 24æin. (160 x 62.8 x 62.8cm.)

Executed in 2003, this work is number one from an edition of one

£35,000-55,000

US$44,000-68,000

€40,000-62,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*313

GENIEVE FIGGIS (B. 1972)

Portal

signed and dated 'Genieve Figgis 2018' (on the reverse) acrylic on canvas 59 x 59in. (150 x 150cm.)

Painted in 2018

£100,000-150,000

US$130,000-180,000

€120,000-170,000

*314

HERNAN BAS (B. 1978)

Untitled

signed with the artist's initials and dated 'HB 05' (lower right)

watercolour, acrylic, ink and graphite on paper 30º x 22æin. (76 x 57.5cm.)

Executed in 2005

£14,000-18,000

US$18,000-22,000

€16,000-20,000

*315

ALEX DA CORTE (B. 1980)

Untitled (Jawa/ The Merry Jester with Vampire Watermelon) after Rousseau digitally printed sheer Nylon, paper and paper collage, suede, tape, spray enamel, sequins, foam, plexiglass, velvet and in artist's frame

64¿ x 56ºin. (163 x 143cm.)

Executed in 2014

£15,000-20,000

US$19,000-25,000

€17,000-23,000

*316

NIKKI MALOOF (B. 1985)

Little Bat with Golden Wings signed and dated 'Nikki Maloof 2017' (on the reverse) oil on canvas

16¿ x 23in. (41.1 x 58.3cm.)

Painted in 2017

£3,000-5,000

US$3,700-6,200

€3,400-5,700

λ

*317

RAQIB SHAW (B. 1974)

Puck's Predicament after the Rains from Midsummer Night's Dream signed, titled and dated ‘”Puck’s Predicament after the rains” from midsummer night's dream. Raqib Shaw 2018.’ (on the reverse)

acrylic, enamel, watercolour and rhinestones on paper laid on board

17æ x 23¬in. (45 x 60cm.)

Executed in 2017-2018

£30,000-50,000

US$37,000-62,000

€34,000-57,000

318

NATE LOWMAN (B. 1979)

Trash Landing Marilyn (Quit While You're Ahead) #2

signed and dated '2011 Nate Lowman' (on the overlap) oil on linen

36 x 24ºin. (91.5 x 61.2cm.)

Painted in 2011

£50,000-70,000

US$62,000-86,000

€57,000-79,000

λ*319

JORDY KERWICK (B. 1982)

Two days in June

signed and dated 'Jordy Kerwick 2021' (on the reverse) oil and spray paint on canvas

63¿ x 55¿in. (160.5 x 140cm.)

Executed in 2021

£30,000-50,000

US$37,000-62,000

€34,000-57,000

λ*320

RAFA MACARRON (B. 1981)

Untitled

signed with the artist's intials and dated 'RM 21' (on the reverse)

acrylic, spray enamel, oil, pastel, ballpoint pen and charcoal on canvas

55¿ x 72ºin. (140 x 183.5cm.)

Executed in 2021

£60,000-80,000

US$74,000-98,000

€68,000-90,000

λ321 STIK (B. 1979)

Untitled

signed and dated 'STIK 2011' (on the overlap)

acrylic on canvas

63 x 70√in. (160.5 x 80cm.)

Painted in 2011

£60,000-80,000

US$74,000-98,000

€68,000-90,000

322 NO LOT

λ*323

SZABOLCS BOZÓ (B. 1992)

Fuck You

signed, titled, inscribed and dated 'Bozó 2020 LONDON

F.U.S' (on the reverse)

acrylic, oil stick and pastel on canvas

61¡ x 51ºin. (160.2 x 130.2cm)

Executed in 2020

£30,000-50,000

US$37,000-62,000

€34,000-57,000

λ*324

ÁNGELES AGRELA (B. 1966)

Rosita

signed 'A. AGRELA' (lower right)

acrylic and coloured pencil on paper

78Ω x 59ºin. (199.5 x 150.5cm.)

Executed in 2020

£20,000-30,000

US$25,000-37,000

€23,000-34,000

λ*325

JEPPE HEIN (B. 1974)

Fly Me To The Moon II

glass fibre reinforced plastic, chrome lacquer (blue, light purple, yellow, purple, pink, green), magnets, string (white smoke) and birch stem each balloon: 15æ x 10º x 10ºin. (40 x 26 x 26cm.)

overall: 76¡ x 27¿ x 34ºin. (194 x 69 x 87cm.)

Executed in 2017, this work is number one from an edition of three, plus two artist's proofs

£30,000-50,000

US$37,000-62,000

€34,000-57,000

λ*326

THOMAS RUFF (B. 1958)

Substrat 24 I

signed, titled, numbered and dated 'sub 24 I Th Ruff 2/3 2004' (on the backing board)

chromogenic print face-mounted on Diasec, in artist's frame

image: 95¬ x 63in. (243 x 160cm.)

overall: 105√ x 72√in. (269 x 185cm.)

Executed in 2004, this work is number two from an edition of three plus one artist's proof

£35,000-55,000

US$44,000-68,000

€40,000-62,000

λ327

IDA EKBLAD (B. 1980)

Tracks (Damp October)

signed with the artist's initials 'I.E' (lower right) acrylic, textile dye and ink on canvas

71¿ x 55¡in. (180.7 x 140.7cm.)

Executed in 2013

£12,000-18,000

US$15,000-22,000

€14,000-20,000

λ328 TAL R (B. 1967)

Pyjamas

signed with the artist's initials 'T.R' (lower right); signed, signed with the artist's initials, titled and dated ''Pyjamas' 2011 T.R Tal R' (on the stretcher) pigment, pastel and glue on canvas 122√ x 67æin. (312 x 172cm.)

Executed in 2011

£30,000-50,000

US$37,000-62,000

€34,000-57,000

λ329

MICHAEL KREBBER (B. 1954)

Untitled (8)

signed and dated 'Michael Krebber 2013' (on the reverse) lacquer on canvas

41¡ x 33ºin. (105 x 84.5cm.)

Executed in 2013

£35,000-45,000

US$44,000-55,000

€40,000-51,000

λ*330 VICTOR MAN (B. 1974)

Minutes

signed 'VICTOR MAN' (on the overlap); signed, titled and dated '"MINUTES" VICTOR MAN 2003' (on the reverse)

oil on canvas laid on board

10√ x 16ºin. (27.5 x 41.3cm.)

Painted in 2003

£20,000-30,000

US$25,000-37,000

€23,000-34,000

λ*331 WOLFGANG TILLMANS (B. 1968)

Silver 5

signed, titled, numbered and dated 'Silver 5 1998 1/1+1 Wolfgang Tillmans' (on the backing board)

chromogenic print mounted on Dibond, in artist's frame image: 89æ x 66√in. (228 x 170cm.)

overall: 93æ x 71¬in. (238 x 182cm.)

Executed in 1998, this work is number one from an edition of one plus one artist's proof

£35,000-55,000

US$44,000-68,000

€40,000-62,000

λ332

WILHELM SASNAL (B.1972)

USA

signed and dated 'WILHELM SASNAL 2010' (on the overlap)

oil and lacquer on canvas

15æ x 19√in. (40 x 50.5cm.)

Executed in 2010

£10,000-15,000

US$13,000-18,000

€12,000-17,000

*333

JOHN ARMLEDER (B. 1948)

Buphthalmum salicifolium

signed, titled and dated 'BUPHTHALMUN SALICIFOLIUM

John Armleder 2008' (on the overlap)

acrylic, glitter and enamel on canvas 78√ x 79in. (200.2 x 200.6cm.)

Executed in 2008

£18,000-25,000

US$23,000-31,000

€21,000-28,000

PROPERTY FROM A PRIVATE SWISS COLLECTION

*334

DIETER ROTH (1930-1998)

Mit Vogelkacke sich ernährender, bleicher Schleimbonbonschmeisser (Pale slime candy thrower feeding on bird poop)

signed, titled and dated 'Mit Vogelkacke sich ernährender, bleicher Schleimbonbonschmeisser Dieter Roth 74' (lower edge)

acrylic, glue and charcoal on screenprint mounted on board 19¬ x 27Ωin. (49.8 x 69.8cm.)

Executed in 1974

£3,000-5,000

US$3,700-6,200

€3,400-5,700

PROPERTY FROM A PRIVATE SWISS COLLECTION

*335

DIETER ROTH (1930-1998)

Selbstportrait als Doppelkopf (Self-portrait as a double head)

signed, titled and dated '"Selbsportrait als Doppelkopf" Dieter Roth 73' (lower edge) gouache, watercolour, graphite and brown paper tape on paper

13¬ x 18¬in. (34.5 x 47.2cm.)

Executed in 1973

£3,000-5,000

US$3,700-6,200

€3,400-5,700

λ336

PIOTR UKLANSKI (B. 1968)

Untitled (Ayanomiya)

signed, titled and dated ''UNTITLED (AYANOMIYA)', 2007

Piotr Uklanski' (on the reverse)

coloured pencil shavings on Plexiglas, in artist's box frame 14Ω x 14Ω x 2in. (36.7 x 36.7x 5.2cm.)

Executed in 2007

£7,000-10,000

US$8,700-12,000

€8,000-11,000

337

DAN COLEN (B. 1979)

JFK, 2008

chewing gum and wrappers on canvas 104√ x 67æin. (266.5 x 172cm.)

Executed in 2008

£25,000-35,000

US$31,000-43,000

€29,000-40,000

*338

SETH PRICE (B. 1973)

Crazy Outlook

UV-cured inkjet and car enamel on high-impact polystyrene vacuum-formed over rope 94√ x 47¬in. (241 x 121cm.)

Executed in 2009

£50,000-70,000

US$62,000-86,000

€57,000-79,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

*339

HAIM STEINBACH (B. 1944)

Untitled (Boba Fett)

signed with the artist’s initials and dated ‘HS 2012’ plywood, plastic laminate, glass box and plastic Boba Fett helmet

58¡ x 56æ x 23¡in. (148.3 x 133 x 59.4cm.)

Executed in 2012

£15,000-20,000

US$19,000-25,000

€17,000-23,000

340

STEPHANE GRAFF (B. 1965)

The Time Keeper signed, titled and dated twice 'The Time Keeper. Graff 18 2018' (on the overlap) oil on canvas

23√ x 31√in. (60.5 x 80.9cm.)

Painted in 2018

£8,000-12,000

US$9,900-15,000

€9,100-14,000

λ341

JOHN STEZAKER (B. 1949)

Covert Mask

(i) (ii) signed 'J. Stezaker' (on the reverse of the mount) (iii) signed and dated 'J. Stezaker 2009' (on the reverse of the mount)

photographic collage, in three parts (i) 10¿ x 8in. (25.7 x 20.4cm.)

(ii) (iii) 10 x 8¿in. (25.5 x 20.7cm.)

Executed in 2009

£4,000-6,000

US$5,000-7,400

€4,600-6,800

342

RICHARD PRINCE (B. 1949)

Untitled (SelfPortrait)

signed, numbered and dated 'R Prince 1980 ap' (on the reverse)

Ektacolor print image: 23¡ x 16in. (59.5 x 40.5cm.) sheet: 24 x 20in. (60.8 x 50.8cm.)

Executed in 1980, this work is an artist’s proof from an edition of ten, plus two artist’s proofs

£60,000-80,000

US$74,000-98,000

€68,000-90,000

*343

NOBUYOSHI ARAKI (B. 1940)

Tokyo Comedy signed 'nobuyoshi ARAKI' (on the reverse) gelatin silver print mounted on aluminium image/flushmount: 38 x 47¿in. (96.5 x 119.6cm.)

Executed in 1997

£20,000-30,000

US$25,000-37,000

€23,000-34,000

λ*344

JULIAN OPIE (B. 1958)

This is Shahnoza 40 signed 'Julian Opie' (on the overlap) vinyl on wooden stretcher 89¬ x 53ºin. (227.5 x 135.4cm.)

Executed in 2007

£30,000-50,000

US$37,000-62,000

€34,000-57,000

*345

ATANDA QUADRI ADEBAYO (B. 1999)

Imade

signed and dated 'Atanda Q.A 2021-22' (lower right); signed, titled, inscribed and dated twice 'Atanda Quadri Adebayo "Imade" - (Irin Ajo Imade) 2021–2022 Son of the Badlands 2022' (on the reverse)

acrylic and charcoal on canvas

83¬ x 71¬in. (212.4 x 182cm.)

Executed in 2021-2022

£15,000-20,000

US$19,000-25,000

€17,000-23,000

*346

ABOUDIA (B. 1983)

Untitled

signed ‘ABOUDIA’ (lower centre)

acrylic and oilstick on canvas

59¿ x 82æin. (150.2 x 210.2cm.)

Executed in 2014

£30,000-50,000

US$37,000-62,000

€34,000-57,000

*347

ABOUDIA (B. 1983)

Untitled

dated '2013' (right edge)

acrylic, oil stick and printed paper collage on canvas

23º x 34√in. (59.2 x 88.5cm.)

Executed in 2013

£15,000-20,000

US$19,000-25,000

€17,000-23,000

*348

OLUWOLE OMOFEMI (B. 1988)

Revelation 2

signed and dated 'Oluwole Omofemi 020' (lower right)

oil and acrylic on canvas

27 x 27in. (68.5 x 68.5cm.)

Painted in 2020

£15,000-20,000

US$19,000-25,000

€17,000-23,000

349

ROB PRUITT (B. 1964)

Alone Again, Naturally

glitter and enamel on canvas

60 x 80ºin. (152.4 x 203.7cm.)

Executed in 2011

£40,000-60,000

US$50,000-74,000

€46,000-68,000

PROPERTY OF A PRIVATE SWISS COLLECTOR

*350

JEAN TINGUELY (1925-1991)

Untitled No 4

signed 'Jean Tinguely' (lower right); dated '1989' (lower left)

acrylic, ink, felt-tip pen, marker, graphite, tape and paint tube collage on cardboard

19¬ x 39ºin. (50 x 99.7cm.)

Executed in 1989

£8,000-12,000

US$9,900-15,000

€9,100-14,000

*351

SAM FRANCIS (1923-1994)

Untitled signed ‘Sam Francis’ (on the reverse) acrylic on paper

8æ x 16¿in. (22.1 x 40.8cm.)

Executed in 1973

£18,000-25,000

US$23,000-31,000

€21,000-28,000

*352

ALEXANDER CALDER (1898-1976)

Spiral Galaxies signed and dated ‘Calder 63’ (lower right) ink and gouache on paper

29Ω x 42¡in. (75 x 107.5cm.)

Executed in 1963

£30,000-50,000

US$37,000-62,000

€34,000-57,000

λ*353 CALLUM INNES (B. 1962)

Exposed Painting Cadmium Red Deep signed twice, signed with the artist's initials, and dated twice 'Callum Innes CI 06 06 Callum Innes' (on the overlap); signed with the artist's initials and dated twice 'CI 6 06' (on the stretcher) oil on canvas

72º x 69Ωin. (184.8 x 176.5cm.)

Painted in 2006

£15,000-20,000

US$19,000-25,000

€17,000-23,000

PROPERTY OF A PRIVATE SWISS COLLECTOR

λ*354

THOMAS DEMAND (B. 1964)

Foto I

signed, numbered and dated 'Thomas Demand 1999 1/6' (on the backing board)

chromogenic print mounted on Diasec 18Ω x 20¡in. (47 x 51.7cm.)

Executed in 1999, this work is number one from an edition of six

£7,000-10,000

US$8,700-12,000

€8,000-11,000

PROPERTY OF A PRIVATE SWISS COLLECTOR

λ*355

ANISH KAPOOR (B. 1954)

Mountain acrylic on fibreboard

30æ x 57¿ x 23¬in. (78 x 145 x 60cm.)

Executed in 1996

£60,000-80,000

US$74,000-98,000

€68,000-90,000

356

PHILIP TSIARAS (B. 1952)

Astrologer (from Topology series)

signed and dated 'tsiáras '90' (upper right); signed, titled, numbered and dated ''tsiáras '90 "Topology, ATROLOLOgER". #7' (on the reverse)

acrylic, oil, resin and graphite on canvas

76º x 62√in. (193.6 x 157.3cm.)

Executed in 1990

£10,000-15,000

US$13,000-18,000

€12,000-17,000

357

LI TIANBING (B. 1974)

Envahisseurs dans mon atelier (Intruders in my Studio)

signed in Chinese and dated '2017' (lower left) oil on canvas

78¿ x 96in. (198.5 x 244cm.)

Painted in 2017

£30,000-50,000

US$37,000-62,000

€34,000-57,000

PROPERTY OF A PRIVATE SWISS COLLECTOR

JULIAN OPIE (B. 1958)

Woman Undressing continuous computer animation, LED monitor and media player

39 x 22√ x 3æin. (99 x 58 x 9.4cm.)

Executed in 2003, this work is from an edition of four, plus one artist’s prooff

£15,000-20,000

US$19,000-25,000

€17,000-23,000

IMPRESSIONIST AND MODERN ART DAY AND WORKS ON PAPER SALE

Friday, 3 March 2023, 1:00pm GMT 8 King Street, St. James’s London SW1Y 6QT

VIEWING

Wednesday 22 February 9.00am - 5.00pm

Thursday 23 February 9.00am - 8.00pm

Friday 24 February 9.00am - 5.00pm

Saturday 25 February 12.00pm - 5.00pm

Sunday 26 February 12.00pm - 5.00pm

Monday 27 February 9.00am - 5.00pm

Tuesday 28 February 9.00am - 5.00pm

Wednesday 1 March 9.00am - 5.00pm

Thursday 2 March 9.00am - 5.00pm

AUCTIONEERS

David Kleiweg de Zwaan, Hugh Creasy, Yü-Ge Wang & Veronica Scarpati

HEADS OF SALE

Imogen Kerr

Senior Specialist, Acting Head of Day Sale

+44 (0)20 7752 3177 ikerr@christies.com

Micol Flocchini

Head of Works on Paper Sale +44 (0)20 7389 2262 mflocchini@christies.com

CONDITIONS OF SALE

The sale for each lot is subject to the Conditions of Sale, Important Notices and Explanation of Cataloguing Practice, which are set out in this catalogue and on christies. com. Please note that the symbols and cataloguing for some lots may change before the auction. For the most up to date sale information for a lot, please see the full lot description, which can be accessed through the sale landing page on christies.com

In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.

SPECIALISTS

Katarina Stojanović Junior Specialist +44 (0)20 7389 2854 kstojanovic@christies.com

Olya Voronetskaya Cataloguer +44 (0)20 7389 2738 ovoronetskaya@christies.com

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as: ZEPHYR-21612

With special thanks to Arco Yu, William Payne Hardy, Rotem Porat and Olivia Williams for their assistance researching the sale.

Opposite: Lot 431, Camille Claudel, L’abandon, conceived in 1888 and cast in 1905

SALE COORDINATOR

Kalina Horton

+44 (0)20 7389 2989 khorton@christies.com

EXPERTISE COORDINATOR

Maria Morando

+44 (0)20 7752 3104 mmorando@christies.com

POST SALE SERVICES

Payment, Shipping and Collection

Tel: +44 (0)20 7752 3200 Fax: +44 (0)20 7752 3300

Email: PostSaleUK@christies.com

COPYRIGHT NOTICE

No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Christie’s.

© COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2023)

λ*401

PABLO PICASSO (1881-1973)

Visage barbu (Mon Ami Meyer)

signed and dated 'Picasso le 8.12.70' (lower right) and inscribed 'Mon Ami Meyer' (upper right) felt-tip pen on paper

10¬ x 18º in. (26.9 x 46.5 cm.)

Executed on 8 December 1970

£12,000-18,000

US$15,000-22,000

€14,000-20,000

λ*402

JOAN MIRÓ (1893-1983)

Sans titre

signed, dated and inscribed 'à Louis Broder, avec toute ma vieille amitié Miró. 22/XI/71.' (lower right)

wax crayon on paper

14 x 19¬ in. (35.5 x 50 cm.)

Executed on 22 November 1971

£18,000-25,000

US$23,000-31,000

€21,000-28,000

λ*403

PABLO PICASSO (1881-1973)

Visage (Pour le Docteur Noyer)

signed and dated 'le 26.8.70. Picasso' (lower right) and inscribed 'Pour le Docteur Noyer' (upper centre) coloured crayon on paper

12¬ x 9Ω in. (31.9 x 24.2 cm.)

Executed on 26 August 1970

£10,000-15,000

US$13,000-18,000

€12,000-17,000

MARC CHAGALL:

WORKS FORMERLY FROM THE ARTIST’S ESTATE

λ*404

MARC CHAGALL (1887-1985)

Variante des "Boulevards" sur fond rouge (recto); Paysage de Grèce (verso)

stamped 'Chagall' (recto, lower right)

gouache, brush and India ink and pencil on paper (recto); pencil on paper (verso)

7 x 10 in. (17.8 x 25.5 cm.)

Executed circa 1953 (recto)

Executed in 1952 (verso)

£15,000-20,000

US$19,000-25,000

€17,000-23,000

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST’S ESTATE

λ*405

MARC CHAGALL (1887-1985)

Esquisse pour Femme et coq à l'éventail

stamped 'Chagall' (lower right)

gouache, pastel, and paper collage on paper

12¬ x 12¡ in. (32 x 31.5 cm.)

Executed circa 1978

£15,000-20,000

US$19,000-25,000

€17,000-23,000

MARC CHAGALL:

WORKS FORMERLY FROM THE ARTIST’S ESTATE

λ*406

MARC CHAGALL (1887-1985)

Amoureux à la lune

stamped 'Chagall' (lower left)

gouache and brush and India ink on paper

10æ x 8º in. (27.2 x 21.1 cm.)

Executed in 1952

£20,000-30,000

US$25,000-37,000

€23,000-34,000

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST’S ESTATE

λ*407

MARC CHAGALL (1887-1985)

L'écuyère dans la nuit stamped 'Chagall' (lower left) pastel and wash on paper 10º x 13√ in. (26.2 x 35.2 cm.)

Executed circa 1926

£8,000-12,000

US$9,900-15,000

€9,100-14,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*408

MARC CHAGALL (1887-1985)

Couple sous l’arbre ou Les amoureux

signed ‘Marc Chagall’ (lower left) and signed again (lower centre) gouache and India ink on paper 20 x 197/8 in. (50.9 x 50.5 cm.)

Executed in Vulpera circa 1962-1963

£250,000-450,000

US$310,000-550,000

€290,000-510,000

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

λ*409

MARC CHAGALL (1887-1985)

Esquisse préparatoire pour la mise en page de la couverture de Franz Meyer Leben und Werk Cologne

signed 'Chagall' (at the centre) gouache, brush and India ink and pencil on paper 13 x 19√ in. (33 x 50.5 cm.)

Executed in 1961

£25,000-35,000

US$31,000-43,000

€29,000-40,000

*410

GEORGES BRAQUE (1882-1963)

Pichet et poisson

signed 'G Braque' (lower left) oil on paper laid down on canvas 19º x 24æ in. (49 x 63 cm.)

Painted in 1943

£120,000-180,000

US$150,000-220,000

€140,000-200,000

RAOUL DUFY (1877-1953)

La corrida

signed and dated 'Raoul Dufy. 1920' (lower right)

watercolour and pencil on paper 19¿ x 25¿ in. (48.7 x 63.7 cm.)

Executed in 1920

£50,000-70,000

US$62,000-87,000

€57,000-80,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*412

PABLO PICASSO (1881-1973)

Tripode (A.R. 125)

stamped ‘Edition Picasso / Madoura Plein Feu’ (underneath); numbered ‘65/75’ (on the left leg) white earthenware ceramic vase, partially engraved, with coloured engobe and glaze height: 29√ in. (76 cm.)

Conceived in 1951 and executed in a numbered edition of 75

£80,000-120,000

US$99,000-150,000

€91,000-140,000

λ*413

MARC CHAGALL (1887-1985)

Sur la table

stamped 'Marc Chagall' (lower left) oil on board

18¿ x 13 in. (46 x 33 cm.)

Painted circa 1975

£500,000-700,000

US$620,000-870,000

€570,000-790,000

PROPERTY FROM A PRIVATE COLLECTION

λ*414

HENRI MATISSE (1869-1954)

Le bouquet

signed and dated '27 Juin 44 H Matisse' (lower right) pen and India ink on paper

20º x 15æ in. (51.5 x 40 cm.)

Executed in Vence on 27 June 1944

£80,000-120,000

US$99,000-150,000

€91,000-140,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*415

PABLO PICASSO (1881-1973)

Grande vase aux femmes voilées (A.R. 116)

stamped, marked and numbered 'Madoura Plein Feu / Empreinte Originale de Picasso / 18' (inside the rim) terracotta vase, partially engraved, with coloured engobe height: 25¬ in. (65 cm.)

Conceived in 1950 and executed in a numbered edition of 25

£250,000-350,000

US$310,000-430,000

€290,000-400,000

THE PROPERTY OF A PRIVATE COLLECTOR

*416

GEORGES BRAQUE (1882-1963)

Le moulin à café

λ*417

GIORGIO MORANDI (1890-1964)

Natura morta

signed and dated 'Morandi 1954' (lower centre) pencil on paper

6¡ x 9æ in. (16.3 x 24 cm.)

Drawn in 1954

£22,000-28,000

US$28,000-34,000

€25,000-32,000

PROPERTY OF A PROMINENT PRIVATE EUROPEAN COLLECTION

λ*418

GIORGIO MORANDI (1890-1964)

Natura morta

signed and dated ‘Morandi 1941’ (lower right) oil on canvas

10æ x 18º in. (27.3 x 46.3 cm.)

Painted in 1941

£600,000-800,000

US$740,000-980,000

€680,000-900,000

PROPERTY FROM AN ITALIAN PRIVATE COLLECTION

λ*419

PABLO PICASSO (1881-1973)

Verre

pencil on paper

9Ω x 6¿ in. (24 x 15.5 cm.)

Drawn in 1915 in Paris

£8,000-12,000

US$9,900-15,000

€9,100-14,000

PROPERTY FROM A PRIVATE AMERICAN COLLECTION

λ420

HENRI LAURENS (1885-1954)

Tête

signed and dated 'LAURENS 1915' (on the reverse) gouache, chalk and pencil on board

23¬ x 15æ in. (60 x 39.9 cm.)

Executed in 1915

£250,000-350,000

US$310,000-430,000

€290,000-400,000

*421

JUAN GRIS (1887-1927)

Portrait de jeune fille

signed and dated 'Juan Gris 1922' (lower right) oil on canvas

25º x 21º in. (64 x 54 cm.)

Painted in 1922

£200,000-300,000

US$250,000-370,000

€230,000-340,000

PROPERTY FROM A PRIVATE COLLECTION, LONDON

λ422

BALTASAR LOBO (1910-1993)

Contemplative

signed 'Lobo' (on the elbow at the reverse)

Carrara marble length: 8¬ in. (22 cm.)

Conceived in 1969; this work is unique

£25,000-35,000

US$31,000-43,000

€29,000-40,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ423

HENRI MATISSE (1869-1954)

Femme assise, bras croisés

signed and dated 'H. Matisse 44' (lower right)

pen and India ink on paper

20Ω x 15æ in. (52 x 39.8 cm.)

Executed in 1944

£100,000-150,000

US$130,000-180,000

€120,000-170,000

PROPERTY FROM A NEW JERSEY COLLECTION

°λ*424

MARINO MARINI (1901-1980)

Cavallo e giocoliere

signed 'MM Marino' (lower right); bears the date and inscription 'MARINO 1958-80' (on the reverse) oil on canvas

59 x 45 in. (150 x 114.3 cm.)

Painted in 1958-1980

£250,000-350,000

US$310,000-430,000

€290,000-400,000

λ*425

HENRI LAURENS (1885-1954)

Femme couchée

bronze with brown patina length: 16¡ in. (41.5 cm.)

Conceived in 1929, and cast in bronze during the artist's lifetime

£40,000-60,000

US$50,000-74,000

€46,000-68,000

FORMERLY IN THE COLLECTION OF LOUIS AND EVELYN FRANCK

λ426

OSSIP ZADKINE (1888-1967)

Torse de femme

inscribed with initials 'O.Z' (on the artist's base) carved wood, on the artist's marble base height (including the artist's base): 9æ in. (24.7 cm.)

Carved circa 1955

£40,000-70,000

US$50,000-87,000

€46,000-80,000

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

*427 GEORGES BRAQUE (1882-1963)

Petit nu allongé

signed and dated 'G Braque 26' (lower right) oil and sand on canvas

7¬ x 13 in. (19.2 x 33 cm.)

Painted in 1926

£30,000-60,000

US$38,000-74,000

€35,000-68,000

PROPERTY FROM THE SERGE AND VALLY SABARSKY COLLECTION

*428

GUSTAV KLIMT (1862-1918)

Auf dem Bauch liegender Akt nach rechts with the Nachlass stamp (Lugt 1575; on the reverse) blue pencil on simili-Japan paper

14Ω x 21 in. (36.7 x 53.2 cm.)

Drawn in 1910

£120,000-180,000

US$150,000-220,000

€140,000-200,000

PROPERTY FROM THE LATE JOHN JEROME STONBOROUGH WITTGENSTEIN COLLECTION

429

GUSTAV

KLIMT (1862-1918)

Stehend von vorne mit kleiner Wendung nach links (Margaret Stonborough-Wittgenstein) with the Nachlass stamp (Lugt 1575; lower right) pencil on paper

21¬ x 13æ in. (55 x 35 cm.)

Drawn circa 1904-1905

£60,000-80,000

US$75,000-99,000

€69,000-91,000

430

EGON SCHIELE (1890-1918)

Weiblicher Akt (recto); Bildnis des Pianisten Roderick Mackey (verso)

signed and dated 'Egon Schiele 1913' (recto; lower right); with the Nachlass stamp (verso) pencil on paper

12¡ x 18√ in. (31.5 x 47.8 cm.)

Drawn in 1913

£250,000-350,000

US$310,000-430,000

€290,000-400,000

THE PROPERTY OF A GENTLEMAN

*431

CAMILLE CLAUDEL (1864-1943)

L'Abandon

signed 'Claudel' (on the base); stamped with the foundry mark and numbered 'EUG.BLOT PARIS 13' (on the base)

bronze with dark brown patina height: 16√ in. (42.8 cm.)

Conceived in 1888 and cast in bronze by Eugène Blot, Paris, in 1905

£350,000-500,000

US$440,000-620,000

€400,000-570,000

PROPERTY FROM A PRESTIGIOUS PRIVATE COLLECTION

*432

AUGUSTE RODIN (1840-1917)

Éternelle idole, grand modèle

signed 'A. Rodin' (on the right front of the base) and inscribed with the foundry mark 'ALEXIS RUDIER. Fondeur Paris.' (on the right side of the base); signed 'A.Rodin' (a raised signature in the interior) and inscribed '42A' (in the interior)

bronze with rich dark brown patina and green highlights height: 28Ω in. (72.4 cm.)

Conceived in 1889, this example cast by Alexis Rudier in 1927

£500,000-800,000

US$620,000-980,000

€570,000-900,000

THE PROPERTY OF A DISTINGUISHED PRIVATE COLLECTOR

*433

AUGUSTE RODIN

(1840-1917)

Baiser, 2ème réduction

signed 'Rodin' (on the side of the rock); inscribed with the foundry mark 'F.BARBEDIENNE.FONDEUR.' (at the lower edge of the base); marked '17' (on the inside); stamped 'K' (on the edge underneath)

bronze with dark brown patina height: 23¬ in. (60 cm.)

Conceived in 1886; this reduction in 1904; this example cast in bronze by Leblanc-Barbedienne between circa 1914 and 1918

£400,000-600,000

US$500,000-740,000

€460,000-680,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ434

PABLO PICASSO (1881-1973)

Deux danseurs

signed 'Picasso' (upper right) pen and ink on paper 24¬ x 18√ in. (62.7 x 48 cm.)

Executed in 1925

£80,000-120,000

US$99,000-150,000

€91,000-140,000

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION, SOLD TO BENEFIT A CHARITABLE FOUNDATION

λ*435

JEAN COCTEAU (1889-1963)

La machine infernale

signed 'Jean Cocteau' (upper center) and inscribed 'La machine infernale' (lower left); marked 'Edition originale de/ Jean Cocteau/Atelier Madeline-Jolly/exemplaire d'auteur' (underneath)

white earthenware plate with black engobe and coloured glaze diameter: 12¡ in. (31.2 cm.)

Conceived in 1957 and executed in a numbered edition of 20; this is an exemplaire d'auteur from outside of the standard edition

£1,500-2,500

US$1,900-3,100

€1,800-2,800

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION, SOLD TO BENEFIT A CHARITABLE FOUNDATION

λ*436

JEAN COCTEAU (1889-1963)

Le cercle de famille

signed 'Jean Cocteau' (lower right), marked and numbered 'Edition originale de/Jean Cocteau/Atelier Madeline-Jolly/8/20' (underneath)

partially glazed terracotta plate with oxide crayons diameter: 14 in. (35.5 cm.)

Conceived in 1963 and executed in a numbered edition of 20

£1,500-2,500

US$1,900-3,100

€1,800-2,800

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION, SOLD TO BENEFIT A CHARITABLE FOUNDATION

λ*437

JEAN COCTEAU

(1889-1963)

Marrakech

signed 'Jean Cocteau' (lower left); marked 'Edition originale de/Jean Cocteau/Atelier Madeline-Jolly/15/25' (underneath)

white earthenware ceramic plate with black engobe, oxide crayon and coloured glaze diameter: 14 in. (35.5 cm.)

Conceived in 1959 and executed in a numbered edition of 25

£2,000-3,000

US$2,500-3,700

€2,300-3,400

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION, SOLD TO BENEFIT A CHARITABLE FOUNDATION

λ*438

JEAN COCTEAU

(1889-1963)

Scène d'intérieur (le Satiricon), Encolpe et Giton

signed and dated 'Jean Cocteau 60' (lower left); marked and numbered 'Edition originale/de Jean Cocteau/Atelier Madeline-Jolly/15/15' (underneath)

terracotta plate with coloured glaze diameter: 13º in. (35.3 cm.)

Conceived in 1960 and executed in a numbered edition of 15

£3,500-5,500

US$4,400-6,800

€4,000-6,300

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION, SOLD TO BENEFIT A CHARITABLE FOUNDATION

λ*439

JEAN COCTEAU (1889-1963)

Visage ovale

signed, dated and inscribed 'Villefranche/Jean Cocteau 58' (along the lower edge), marked and numbered 'Edition originale/de Jean Cocteau/Atelier Madeline-Jolly/8/15' (underneath)

terracotta plate with coloured ceramic crayons length: 15 in. (38 cm.)

Conceived in 1958 and executed in a numbered edition of 15

£2,000-3,000

US$2,500-3,700

€2,300-3,400

λ*440

SONIA DELAUNAY (1885-1979)

Marché au Minho, Portugal

oil and encaustic on canvas

44Ω x 54√ in. (113 x 139.5 cm.)

Painted circa 1915-1916

£700,000-1,000,000

US$870,000-1,200,000

€800,000-1,100,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*441

SONIA DELAUNAY (1885-1979)

Projet pour la revue d'art allemande Der Ararat

signed 'Sonia Delaunay' (lower right); numbered 'N5105' (on the reverse)

watercolour and India ink on paper

11º x 7Ω in. (28.6 x 19.2 cm.)

Executed in 1917

£5,000-8,000

US$6,200-9,900

€5,700-9,100

PROPERTY FROM A DISTINGUISHED PRIVATE SWISS COLLECTION

*442

FRANTIŠEK KUPKA (1871-1957)

Étude pour "Conte de Pistils et d'étamines"

signed 'Kupka' (lower left)

gouache and watercolour on paper

15Ω x 12Ω in. (39.3 x 31 cm.)

Executed circa 1922-1925

£65,000-95,000

US$81,000-120,000

€74,000-110,000

PROPERTY FROM A SWISS PRIVATE COLLECTION

λ*443

GINO SEVERINI (1883-1966)

Danse de l’ours

signed and dated ‘G. Severini 1913’ (lower right) oil on paper laid down on canvas

14¡ x 10¬ in. (36.5 x 27 cm.)

Painted in 1913-1914

£500,000-800,000

US$620,000-980,000

€570,000-900,000

PROPERTY FROM A PRIVATE ITALIAN COLLECTION

*444

LÁSZLÓ MOHOLY-NAGY (1895-1946)

Composition aux cercles symétriques

signed ‘Moholy-Nagy’ (lower right) gouache and brush and India ink on paper

15¬ x 11æ in. (39.8 x 29.8 cm.)

Executed in 1932

£40,000-60,000

US$50,000-74,000

€46,000-68,000

*445

LÁSZLÓ MOHOLY-NAGY (1895-1946)

Composition G4

signed, dated and inscribed 'Moholy=Nagy zu Galalithbild G4 (26)' (on the reverse of the paper); signed again, dated and inscribed 'MOHOLY=NAGY G26' (on the backboard) oil on red Galalith over India ink and wash on paper

15æ x 19¬ in. (40 x 49.6 cm.)

Executed in 1926

£400,000-600,000

US$500,000-740,000

€460,000-680,000

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

λ446

GEER VAN VELDE

(1898-1977)

La dame au balcon

signed indistinctly with initials 'GvV.' (lower right) oil on canvas

25 x 7√ in. (63.5 x 20 cm.)

Painted circa 1936

£7,000-10,000

US$8,700-12,000

€8,000-11,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*447

AUGUSTE HERBIN (1882-1960)

Chêne-liège

signed 'Herbin' (lower right) oil on canvas

15 x 18¿ in. (38 x 46 cm.)

Painted in 1913

£50,000-80,000

US$62,000-99,000

€57,000-91,000

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

λ*448

HENRY MOORE

(1898-1986)

Upright Internal/External Form: Flower

signed and numbered 'Moore 3/6' (on the left side of the base)

bronze with brown patina height (excluding base): 25¬ in. (65 cm.)

Conceived in 1951 and cast in bronze in 1965, in a numbered edition of 6

£150,000-250,000

US$190,000-310,000

€180,000-280,000

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

λ*449

SALVADOR DALÍ (1904-1989)

Première apparition du spectre du père d'Hamlet (Acte I, scène 1)

signed with monogram and dated 'Gala Dalí 1967' (lower centre)

watercolour and pen and India ink on paper

15¿ x 11¿ in. (38.7 x 28.6 cm.)

Executed in 1967

£80,000-120,000

US$99,000-150,000

€91,000-140,000

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

λ*450

SALVADOR DALÍ (1904-1989)

Les comédiens jouant une scène d'assassinat (Acte III, scène 2)

signed with monogram 'Gala Dalí' (lower center)

watercolour and pen and India ink on paper

15º x 11¿ in. (38.5 x 28.5 cm.)

Executed in 1967

£30,000-50,000

US$38,000-62,000

€35,000-57,000

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

λ*451

SALVADOR DALÍ (1904-1989)

Altercation entre Laertes et Hamlet sur le tombeau d'Ophélia (Acte V, scène 2)

signed with monogram and dated 'Gala Dalí 1967' (lower left)

watercolour and pen and India ink on paper

15¿ x 11¿ in. (38.5 x 28.5 cm.)

Executed in 1967

£40,000-60,000

US$50,000-74,000

€46,000-68,000

λ*452

SALVADOR DALÍ (1904-1989)

Deux cavaliers

pen and ink on paper

6¬ x 10√ in. (16.8 x 27.7 cm.)

Executed circa 1938

£7,000-10,000

US$8,700-12,000

€8,000-11,000

THE PROPERTY OF A LONDON COLLECTOR

λ453

RENÉ MAGRITTE (1898-1967)

Dessin pour "Le sac à malice"

signed 'Magritte' (upper left)

ballpoint pen on paper

11√ x 8¬ in. (30.2 x 22 cm.)

Executed in 1964

£50,000-80,000

US$62,000-99,000

€57,000-91,000

λ*454

MAX ERNST (1891-1976)

Shell

signed ‘max ernst’ (lower right); signed and inscribed ‘al mio amigo EGIDIO max ernst’ (on the reverse) oil and grattage on panel

16¿ x 12√ in. (41 x 32.7 cm.)

Painted in 1965

£80,000-120,000

US$99,000-150,000

€91,000-140,000

THE PROPERTY OF A PRIVATE COLLECTOR

λ455

MARCEL DUCHAMP (1887-1968)

9 moules mâlic, étude

signed and dated 'marcel Duchamp 1938' (lower right)

gouache and collage on paper

8º x 12º in. (21 x 31.2 cm.)

Executed in Paris in 1938

£80,000-120,000

US$99,000-150,000

€91,000-140,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ456

FRANCIS PICABIA (1879-1953)

Composition

signed 'Francis Picabia' (lower left)

oil and pencil on paper on canvas

36º x 28æ in. (92 x 73 cm.)

Painted circa 1939

£150,000-250,000

US$190,000-310,000

€180,000-280,000

λ*457 JOAN MIRO (1893-1983)

Sans titre

signed 'Miró.' (lower centre)

oil and gouache over monotype on paper

18√ x 22¬ in. (48 x 57.5 cm.)

Executed in 1977

£80,000-120,000

US$100,000-150,000

€91,000-140,000

λ*458

GIORGIO DE CHIRICO (1888-1978)

Nudo

signed 'g. de Chirico' (upper right) oil on canvas

21¬ x 18¿ in. (55 x 46 cm.)

Painted in 1930

£80,000-120,000

US$99,000-150,000

€91,000-140,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*459

GIORGIO DE CHIRICO (1888-1978)

Archeologi (Oreste e Pilade)

signed 'G.de Chirico' (on the right side of the base); signed and indistinctly inscribed `Questa terracotta "Oreste e Pilade" é opera autentica da me eseguita e firmata Giorgio de Chirico...' (on the back of the base)

painted terracotta

height: 13 in. (33 cm.)

Conceived in 1940; this example executed circa 1960-1965

£30,000-50,000

US$38,000-62,000

€35,000-57,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTOR

λ*460

FRANCIS PICABIA (1879-1953)

Portrait de Pablo Picasso

signed 'Francis Picabia' (lower left)

watercolour and brush and ink on paper

13¬ x 10º in (34.5 x 26 cm.)

Executed circa 1920-1925

£60,000-80,000

US$75,000-99,000

€69,000-91,000

PROPERTY FROM A DISTINGUISHED PRIVATE SWISS COLLECTION

*461 MAN RAY (1890-1976)

Mains aux fesses

signed, dated and dedicated 'Man Ray à Benjamin Peret '11/12 1937' (lower right)

pen and India ink on card

13º x 9√ in. (33.5 x 25 cm.)

Executed on 11 December 1937

£60,000-80,000

US$75,000-99,000

€69,000-91,000

PROPERTY FROM A PRIVATE COLLECTION, BERLIN

λ*462 HANNAH HÖCH (1889-1978)

Der schöne Po

signed with initials ‘H.H.’ (lower right); signed, dated and inscribed ‘Der schöne Po Höch 1958’ (on the reverse) photomontage on paper

141/8 x 101/4 in. (35.9 x 26 cm.)

Executed in 1958

£50,000-80,000

US$62,000-98,000

€57,000-90,000

PROPERTY FROM A PRIVATE COLLECTION, BERLIN

λ*463 HANNAH HÖCH (1889-1978)

Ohne Titel (Duft)

signed with initials and dated 'H.H.37.' (lower right); signed, dated and inscribed 'Hannah Höch 37. Berlin.' (on the reverse)

oil on canvas

31Ω x 27Ω in. (80 x 70 cm.)

Painted in 1937

£100,000-150,000

US$130,000-180,000

€120,000-170,000

MEMORY OF A SURREAL JOURNEY: PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*464

MATTA (1911-2002)

Melodia-Melodio

signed 'MATTA' (lower left); titled 'Melodia-Melodio' (on the reverse)

oil and fluorescent paint on paper laid on canvas

59¬ x 46Ω in. (151.5 x 118.1 cm.)

Executed in 1996

£35,000-55,000

US$44,000-68,000

€40,000-62,000

MEMORY OF A SURREAL JOURNEY: PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*465

VICTOR BRAUNER (1903-1966)

Personnage dans un paysage surréaliste

oil on panel

30√ x 6æ in. (78.4 x 17.5 cm.)

Painted in 1935

£70,000-100,000

US$87,000-120,000

€80,000-110,000

MEMORY OF A SURREAL JOURNEY: PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*466

MATTA (1911-2002)

Phos-Femme

signed 'MATTA' (lower right); inscribed 'Phos-Femme' (on the reverse)

oil and fluorescent paint on canvas

25¬ x 18¬ in. (57.5 x 47.3 cm.)

Painted in 1986

£20,000-30,000

US$25,000-37,000

€23,000-34,000

MEMORY OF A SURREAL JOURNEY: PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

*467

GUNTHER GERZSO (1915-2000)

Ciudad desde arriba

signed and dated 'GERZSO 55' (lower right); signed and dated 'GERZSO 55' (on the reverse) oil on canvas

28æ x 21¡ in. (73.7 x 54.6 cm.)

Painted in 1955

£120,000-180,000

US$150,000-220,000

€140,000-200,000

MEMORY OF A SURREAL JOURNEY: PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*468

ÓSCAR

DOMÍNGUEZ (1906-1958)

Le minotaure amirale

signed and dated 'Dominguez 51' (lower right) oil on canvas

16¿ x 13 in. (40.9 x 33 cm.)

Painted in 1951

£40,000-70,000

US$50,000-86,000

€46,000-79,000

MEMORY OF A SURREAL JOURNEY: PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*469

JOAN MIRÓ (1893-1983)

Plaque. Tête

signed and inscribed 'Miro Artigas' (lower edge)

partially glazed and painted ceramic tile

19Ω x 14æ in. (49.6 x 36.8 cm.)

Executed in 1956

£50,000-80,000

US$62,000-99,000

€57,000-91,000

MEMORY OF A SURREAL JOURNEY: PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*470

WOLFGANG

PAALEN (1905-1959)

Projét pour un monument

wood height: 44√ in. (114 cm.)

Carved in 1948, this work is unique

£80,000-120,000

US$99,000-150,000

€91,000-140,000

MEMORY OF A SURREAL JOURNEY: PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*471

ANDRÉ MASSON (1896-1987)

Paysage matriarcal

signed and dated 'André Masson -41-' (lower left); dated and inscribed 'Paysage matriarcal 1941' (on the reverse) oil on canvas

20¡ x 24 in. (51.8 x 61 cm.)

Painted in 1941

£50,000-80,000

US$62,000-99,000

€57,000-91,000

MEMORY OF A SURREAL JOURNEY: PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

*472

LEONOR FINI (1907-1996)

Nebbia

signed 'Leonor Fini' (lower left) oil on canvas

39¡ x 32 in. (100 x 81.3 cm.)

Painted in 1982

£50,000-80,000

US$62,000-99,000

€57,000-91,000

MEMORY OF A SURREAL JOURNEY: PROPERTY FROM AN IMPORTANT SAN FRANCISCO BAY AREA COLLECTION

λ*473

STELLA SNEAD (1910-2006)

Ritual

signed, dated and inscribed '"RITUAL" Feb/92

Stella SNEAD' (on the stretcher) oil on canvas

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

Painted in February 1992

£10,000-15,000

US$13,000-19,000

€12,000-17,000

λ*474

REMEDIOS VARO (1908-1963)

Doctor Ignacio Chávez

pencil on tracing paper laid down on paper

33Ω x 25¿ in. (86.5 x 66 cm.)

Executed circa 1957

£20,000-30,000

US$25,000-37,000

€23,000-34,000

PROPERTY FROM A PRIVATE LONDON COLLECTION

λ475 MATTA (1911-2002)

The Adventures of a Biomorphic Couple

charcoal and white and red chalk on paper laid down on Masonite

29 x 35Ω in. (73.7 x 90.3 cm.)

Executed in 1944

£80,000-120,000

US$100,000-150,000

€91,000-140,000

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

*476

GEORGE GROSZ (1893-1959)

Broadway (recto); Havana cigars (verso)

signed and dated 'GROSZ 36' (recto, lower right) oil, gouache, watercolour, reed pen and pen and ink on paper (recto); pen and ink on paper (verso)

19æ x 15¡ in. (50.2 x 39.1 cm.)

Executed in 1936

£80,000-120,000

US$99,000-150,000

€91,000-140,000

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

*477

OTTO MUELLER (1874-1930)

Tänzerin mit Schleier, von einem Mann beobachtet

signed 'Otto Mueller' (lower left) tempera on canvas

47º x 35Ω in. (120.1 x 90.2 cm.)

Painted circa 1903

£250,000-400,000

US$310,000-490,000

€290,000-450,000

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

λ*478

OTTO DIX (1891-1969)

Liebespaar

signed, dated and numbered 'DIX 23/302' (lower right); inscribed 'Liebespaar' (on the reverse) gouache, watercolour, brush and India ink and coloured crayon on paper

25¡ x 19¬ in. (64.5 x 49.6 cm.)

Executed in 1923

£200,000-300,000

US$250,000-370,000

€230,000-340,000

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

λ*479

ERICH HECKEL (1883-1970)

Männerbildnis

woodcut printed in black, ochre, green and blue, 1919, on laid paper, signed in pencil printed by Voigt, Berlin, inscribed in pencil gedr. F. Voigt at lower left, from the unnumbered edition published by I. B. Neumann, Berlin Block 460 x 325 mm.

Sheet 611 x 500 mm.

£28,000-45,000

US$35,000-55,000

€32,000-51,000

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

λ*480

MAX PECHSTEIN (1881-1955)

Morgensonne

signed with initials and dated 'HMP 1929' (lower right); signed and inscribed 'HMPechstein Berlin W. 62. Kurfüstenstr. 126 -Morgensonne-' (on the reverse) oil on canvas

28º x 31¬ in. (71.8 x 80.4 cm.)

Painted in 1929

£550,000-800,000

US$680,000-980,000

€630,000-900,000

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

*481

MAX BECKMANN (1884-1950)

Self-Portrait, from: Day and Dream

lithograph with extensive hand-colouring in watercolour, 1946, on stiff wove paper, signed in pencil, numbered 18/90, inscribed with the plate number I one of probably only five impressions hand-coloured by the artist, from the edition of one hundred copies (ten were unnumbered and reserved for the artist), published by Curt Valentin, New York, 1946

Image 315 x 265 mm.

Sheet 400 x 300 mm.

£20,000-30,000

US$25,000-37,000

€23,000-34,000

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

*482

ALEXEJ VON JAWLENSKY (1864-1941)

Heilandsgesicht: Märtyrer

signed with initials and dated 'A.J. 19.' (lower left) oil on linen-finished paper laid down on cardboard 13 x 10 in. (32.9 x 25.3 cm.)

Painted in 1919

£300,000-500,000

US$370,000-620,000

€340,000-570,000

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

*483

GEORGE GROSZ (1893-1959)

Nach dem Verhör

signed and dated 'GROSZ 1935' (lower right)

gouache, watercolour, reed pen and pen and ink on paper 18Ω x 24¿ in. (47 x 61.1 cm.)

Executed in 1935

£25,000-40,000

US$31,000-49,000

€29,000-45,000

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

*484

GEORGE GROSZ (1893-1959)

Schlangenhaut und Pantinen

signed, dated, inscribed and numbered 'GROSZ 1927 Berlin No 11 Schlangenhaut und Pantinen' (lower left); inscribed 'Simpel' (on the reverse)

gouache, watercolour, reed pen and pen and ink on paper 18¿ x 23Ω in. (45.9 x 59.9 cm.)

Executed in Berlin in 1927

£40,000-60,000

US$50,000-74,000

€46,000-68,000

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

*485

WILLIAM GROPPER (1897-1977)

Tycoon

signed 'GROPPER' (lower right); inscribed 'Tycoon' (on the stretcher) oil on canvas

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

Painted in 1954

£5,500-8,000

US$6,800-9,800

€6,300-9,000

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

*486

WILLIAM GROPPER (1897-1977)

Untouchables

signed 'Gropper-' (lower left); inscribed 'Untouchables' (on the stretcher) oil on canvas

40 x 50 in. (101.6 x 127 cm.)

£5,500-8,000

US$6,800-9,800

€6,300-9,000

PROPERTY FROM THE COLLECTION OF DR JEROME AND MRS ELIZABETH LEVY

*487

WILLIAM GROPPER (1897-1977)

Opera Patrons

signed 'GROPPER-' (lower left); signed, dated and inscribed 'To Alda and Bernard With Best Wishes, Gropper-1974' (on the stretcher) oil on canvas

22 x 14 in. (56 x 35.5 cm.)

Painted in 1971

£4,000-6,000

US$5,000-7,400

€4,600-6,800

THE PROPERTY OF A DISTINGUISHED COLLECTOR

λ488

MARIE LAURENCIN

(1883-1956)

Jeune fille au gilet bleu

indistinctly stamped with initials (lower right) oil on canvas

28æ x 11√ in. (73 x 30 cm.)

£8,000-12,000

US$9,900-15,000

€9,100-14,000

λ*489

KEES VAN DONGEN (1877-1968)

Carrousel, Place Pigalle (Le manège de cochons)

signed with initials 'V.D.' (lower right) oil on canvas

18¿ x 21¬ in. (46 x 55 cm.)

Painted circa 1904-1905

£300,000-500,000

US$380,000-620,000

€350,000-570,000

PROPERTY FROM A PRIVATE COLLECTION, RIO DE JANEIRO

λ490

MARIE LAURENCIN

(1883-1956)

Les deux sœurs

signed 'Marie Laurencin' (lower right)

watercolour on paper

14√ x 11 in. (37.5 x 27.8 cm.)

£6,000-8,000

US$7,500-9,900

€6,900-9,100

PROPERTY FROM A PRIVATE COLLECTION, LONDON

λ491

NATALIA GONCHAROVA (1881-1962)

Costume design 'La Danseuse' for Tatiana Riabouchinska in 'Voyage d'une danseuse'

signed 'N. Gontcharova.' (lower right), inscribed with production details (upper left) and numbered 'N1' (upper right); inscribed with production details and numbered 'N1' (on the reverse)

gouache and watercolour, heightened with gold, on card

25Ω x 19æ in. (64.8 x 50.2 cm.)

Executed circa 1930s

£20,000-30,000

US$25,000-37,000

€23,000-34,000

PROPERTY FROM A PRIVATE COLLECTION, GERMANY

*492

PAVEL TCHELITCHEW (1898-1957)

Head

signed 'P Tchelitchew' (lower right) oil on canvas

32¿ x 23 in. (81.5 x 58.5 cm.)

£30,000-50,000

US$38,000-62,000

€35,000-57,000

λ*493

KEES VAN DONGEN (1877-1968)

Ariane

signed 'van Dongen.' (upper centre); signed 'van Dongen' (on the stretcher) oil on canvas

18¿ x 10¬ in. (46 x 27 cm.)

Painted circa 1935

£100,000-150,000

US$130,000-190,000

€120,000-170,000

PROPERTY FROM A PRIVATE ENGLISH COLLECTION

λ494

MOÏSE KISLING (1891-1953)

Renée Kisling

signed 'Kisling' (lower left) and dedicated indistinctively oil on canvas

18¿ x 13¿ in. (46.2 x 33.4 cm.)

Painted circa 1928

£30,000-50,000

US$38,000-62,000

€35,000-57,000

THE PROPERTY OF AN ENGLISH COLLECTOR

λ495

MOÏSE KISLING (1891-1953)

Provence

signed 'Kisling' (lower left) oil on canvas

18¿ x 21¬ in. (46 x 55 cm.)

Painted circa 1937

£30,000-50,000

US$38,000-62,000

€35,000-57,000

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

λ*496

JEAN SOUVERBIE (1891-1981)

L’Enlèvement d’Europe

signed 'Souverbie' (lower right) gouache on cardboard

16¿ x 20 in. (41 x 50.7 cm.)

Executed circa 1926

£2,000-3,000

US$2,500-3,700

€2,300-3,400

THE PROPERTY OF A LADY 497

ALFRED SISLEY (1839-1899)

Les bords du Loing près de Moret

signed and dated 'Sisley. 90' (lower left) oil on canvas

16¡ x 13 in. (41.7 x 33 cm.)

Painted in 1890

£200,000-300,000

US$250,000-370,000

€230,000-340,000

THE PROPERTY OF A EUROPEAN COLLECTOR *498

MAXIMILIEN LUCE (1858-1941)

Voiliers au large de Kermouster

signed 'Luce' (lower right) oil on canvas

10 x 14 in. (25.4 x 35.5 cm.)

Painted circa 1914-1915

£15,000-20,000

US$19,000-25,000

€18,000-23,000

PROPERTY FROM A DISTINGUISHED FRENCH COLLECTION *499

GUSTAVE LOISEAU (1865-1935)

Falaises

signed 'G Loiseau' (lower right) oil on canvas

25æ x 36º in. (65.4 x 92 cm.)

Painted circa 1904-1905

£150,000-250,000

US$190,000-310,000

€180,000-280,000

PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

500

MAXIMILIEN LUCE (1858-1941)

Paris, le Pont de l'Archevêché

signed and dated 'Luce 96' (lower right) oil on canvas

22√ x 27æ in. (58.2 x 70.5 cm.)

Painted in 1896

£400,000-600,000

US$500,000-740,000

€460,000-680,000

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

*501

MAXIMILIEN LUCE (1858-1941)

Scène de rue en hiver

signed 'Luce' (lower left) oil on panel

18º x 14√ in. (46.2 x 37.8 cm.)

Painted circa 1915

£20,000-30,000

US$25,000-37,000

€23,000-34,000

PROPERTY FROM A DISTINGUISHED BRITISH COLLECTION

502

BERTHE MORISOT (1841-1895)

Jeanne Pontillon au chapeau

stamped with the signature 'Berthe Morisot' (Lugt 1826; lower right)

pastel on paper

19√ x 17Ω in. (50.4 x 44.5 cm.)

Executed in 1893

£120,000-180,000

US$150,000-220,000

€140,000-200,000

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

503

EDGAR DEGAS (1834-1917)

Femme tenant un chapeau

stamped with the signature 'Degas' (Lugt 658; lower left) pastel and charcoal on paper

17æ x 23º in. (45.2 x 59 cm.)

Executed circa 1885

£250,000-350,000

US$310,000-430,000

€290,000-400,000

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

*504

HENRI LE SIDANER (1862-1939)

Le Grand Canal, Venise

signed 'Le Sidaner' (lower left) oil on canvas

26 x 32¿ in. (66 x 81.5 cm.)

Painted in 1914

£150,000-250,000

US$190,000-310,000

€180,000-280,000

THE PROPERTY OF A EUROPEAN COLLECTOR

*505

HENRI MARTIN (1860-1943)

Jeune fille en rose sous une voûte de feuillage

signed 'Henri Martin.' (lower left) oil on canvas

37√ x 22 in. (96.2 x 56 cm.)

Painted circa 1895

£30,000-50,000

US$38,000-62,000

€35,000-57,000

PROPERTY FROM A PRIVATE COLLECTION, HUNGARY

*506

PIERRE-AUGUSTE RENOIR (1841-1919)

Paysage à Saint-Chamas

signed 'Renoir.' (lower right) oil on canvas

6º x 9√ in. (16 x 25.2 cm.)

Painted circa 1895

£30,000-50,000

US$37,000-62,000

€34,000-57,000

PROPERTY FROM AN IMPORTANT PRIVATE ENGLISH COLLECTION

507

PIERRE-AUGUSTE RENOIR (1841-1919)

Paysage d'Essoyes (Paysage avec une maison)

signed 'Renoir' (lower left) oil on canvas

11 x 12Ω in. (28 x 31.8 cm.)

Painted circa 1900-1903

£150,000-250,000

US$190,000-310,000

€180,000-280,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

Le verger

signed and dated 'Luce 95' (lower right) oil on board

10 x 15Ω in. (25.5 x 39 cm.)

Painted in 1895

£12,000-18,000

US$15,000-22,000

€14,000-20,000

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

509

EDGAR DEGAS (1834-1917)

Paysage

signed 'Degas' (lower right) pastel over monotype on paper

11æ x 15√ in. (30 x 40.3 cm.)

Executed circa 1890-1893

£200,000-300,000

US$250,000-370,000

€230,000-340,000

510

ARMAND GUILLAUMIN (1841-1927)

Village sur le Coteau, Vallée de Chevreuse

signed and dated 'Guillaumin. 85' (lower right) oil on canvas

35º x 45¬ in. (89.4 x 116 cm.)

Painted circa 1885

£30,000-50,000

US$38,000-62,000

€35,000-57,000

THE PROPERTY OF A EUROPEAN COLLECTOR

*511

ALFRED SISLEY (1839-1899)

La falaise de Penarth

signed and dated 'Sisley.97' (lower right) oil on canvas

21º x 25¬ in. (54 x 65 cm.)

Painted in 1897

£250,000-300,000

US$310,000-370,000

€290,000-340,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

*512

GUSTAVE LOISEAU (1865-1935)

Maison à la campagne

signed 'G.Loiseau' (lower right) oil on canvas

16¿ x 13 in. (41 x 33 cm.)

Painted circa 1900

£10,000-15,000

US$13,000-19,000

€12,000-17,000

PROPERTY FROM A NEW JERSEY COLLECTION

°*513

ALFRED SISLEY (1839-1899)

La Machine de Marly et le barrage, Bougival signed and dated 'Sisley. 75.' (lower right) oil on canvas

15¿ x 18º in. (38.3 x 46.3 cm.)

Painted in 1875

£250,000-350,000

US$310,000-430,000

€290,000-400,000

PROPERTY FROM A PRIVATE COLLECTION, HONG KONG

*514

HENRY MORET (1856-1913)

Chemin dans la Lande, Bretagne signed and dated 'Henry Moret 1904' (lower right); inscribed 'Chemin dans la lande, Bretagne' (on the stretcher) oil on canvas

19√ x 25¬ in. (50.5 x 65.4 cm.)

Painted in 1904

£50,000-70,000

US$62,000-87,000

€57,000-80,000

PROPERTY FROM AN IMPORTANT JAPANESE PRIVATE COLLECTION

*515

EUGÈNE BOUDIN (1824-1898)

La maison du fermier, environs de Dunkerque

signed and dated 'E. Boudin -89.' (lower left) oil on canvas

18¿ x 25æ in. (46.1 x 65.4 cm.)

Painted in 1889

£30,000-50,000

US$38,000-62,000

€35,000-57,000

PROPERTY FROM AN IMPORTANT JAPANESE PRIVATE COLLECTION

*516

EUGÈNE BOUDIN (1824-1898)

Environs de Brest, embouchure de l'Élorn

signed and dated 'E. Boudin -73.' (lower left) oil on canvas

21æ x 35¡ in. (55.2 x 90 cm.)

Painted in 1873

£30,000-50,000

US$38,000-62,000

€35,000-57,000

THE PROPERTY OF A EUROPEAN COLLECTOR

*517

GEORGES D'ESPAGNAT (1870-1950)

Bord de la Seine à Meulan signed with initials 'GdE' (lower left) oil on canvas

19¬ x 25¬ in. (49.7 x 65.2 cm.)

Painted between 1898-1899

£6,000-8,000

US$7,500-9,900

€6,900-9,100

PROPERTY FROM A PRIVATE ENGLISH COLLECTION

λ518

MAURICE DE VLAMINCK (1876-1958)

Le village de la moisson

signed 'Vlaminck' (lower right) oil on canvas

15 x 18º in. (38.2 x 46.5 cm.)

Painted circa 1931

£30,000-50,000

US$37,000-62,000

€34,000-57,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*519

CHARLES CAMOIN (1879-1965)

Nature morte aux pommes et aux raisins

signed 'Ch Camoin' (lower left) oil on canvas

13√ x 20º in. (35.1 x 51.6 cm.)

Painted circa 1905-1910

£10,000-15,000

US$13,000-19,000

€12,000-17,000

PROPERTY FROM A NEW JERSEY COLLECTION

°λ*520

RAOUL

Le Havre

DUFY

(1877-1953)

signed 'R. Dufy' (lower right) oil on canvas

23¬ x 28æ in. (60 x 73 cm.)

Painted in 1906-1907

£180,000-250,000

US$230,000-310,000

€210,000-280,000

THE PROPERTY OF A PRIVATE SWISS COLLECTOR

λ*521

MAURICE DE VLAMINCK (1876-1958)

Le village au bord de l'eau

signed 'Vlaminck' (lower right) oil on canvas

25¬ x 31√ in. (65 x 81 cm.)

£100,000-150,000

US$130,000-180,000

€120,000-170,000

PROPERTY FROM AN IMPORTANT AMERICAN COLLECTION

λ*522

GEORGES ROUAULT (1871-1958)

Nu

signed 'G Rouault' (lower left) oil on canvas

32 x 23æ in. (81.2 x 60.3 cm.)

Painted circa 1925

£160,000-250,000

US$200,000-310,000

€190,000-280,000

THE PROPERTY OF A PRIVATE COLLECTOR

λ523

GEORGES ROUAULT (1871-1958)

L'homme au pince-nez (Le conférencier)

signed, dated and indistinctly inscribed 'le conférencier...le professeur du...G. Rouault - 1913' (lower centre right) oil and gouache on paper laid down on canvas

24 x 15æ in. (61 x 40 cm.)

Painted in 1913

£30,000-50,000

US$37,000-62,000

€34,000-57,000

THE PROPERTY OF A PRIVATE ITALIAN COLLECTOR

λ*524

OSKAR KOKOSCHKA (1886-1980)

Stilleben mit Zentaur (Il ratto della bella Elena)

signed with initials and dated 'OK 1948' (on the reverse) oil on canvas

20¿ x 24 in. (51 x 61 cm.)

Painted in London in early 1949

£80,000-120,000

US$100,000-150,000

€91,000-140,000

PROPERTY FROM A DISTINGUISHED PRIVATE EUROPEAN COLLECTION

*525

ALBERT BLOCH (1882-1961)

Kniende Gestalten

signed with initials 'AB' (lower right); dated 'FEBR'YMARCH 1914' (on the reverse) oil on canvas

54 x 40 in. (137.2 x 101.6 cm.)

Painted in 1914

£50,000-70,000

US$62,000-87,000

€57,000-79,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

*526

ALEXANDRE IACOVLEFF (1887-1938)

Wrestler

signed, dated and inscribed 'A. Jacovleff./Paris 1922.' (lower left); signed 'A. Jacovleff.' (on the reverse) oil on canvas

31Ω x 25º in. (80 x 64 cm.)

Painted in Paris in 1922

£20,000-30,000

US$25,000-37,000

€23,000-34,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

λ

527

OTTO DIX (1891-1969)

Soldat mit Tabakspfeife

signed and dated 'DIX 18' (upper right) gouache on paper

15Ω x 15º in. (39.5 x 38.7 cm.)

Executed in 1918

£200,000-300,000

US$250,000-370,000

€230,000-340,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

λ528

OTTO DIX (1881-1969)

Hertha

signed and dated 'DIX 1920' (lower right) and inscribed 'Hertha.' (upper right) pencil on paper

17º x 12Ω in. (44 x 32 cm.)

Drawn in 1920

£18,000-25,000

US$23,000-31,000

€21,000-28,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

λ529

WALTER DEXEL (1890-1973)

1923 III

signed and dated 'WDEXEL 23' (lower centre); signed, dated and inscribed 'Vorsicht! Glasbild! Walter Dexel- 1923 III-' (on the reverse of the backing board) hinterglasbild, oil on glass in the artist's frame image: 10æ x 5¡ in. (27.4 x 13.7 cm.)

artist's frame: 13Ω x 8¿ in. (34.2 x 20.5)

Executed in 1923

£15,000-25,000

US$19,000-31,000

€17,000-28,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

λ530

AUGUSTE HERBIN (1882-1960)

Composition paysage à Céret

signed and dated 'Herbin nov. 1919' (lower left) oil on canvas

36¿ x 25¬ in. (91.7 x 65 cm.)

Painted in November 1919

£70,000-100,000

US$87,000-120,000

€80,000-110,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

λ531

AUGUSTE HERBIN (1882-1960)

Composition sur le nom Herbin

signed and dated 'Herbin 1942' (lower right) oil on canvas

34√ x 45¬ in. (88.5 x 116 cm.)

Painted in 1942

£60,000-80,000

US$75,000-99,000

€69,000-91,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

532

GEORGE GROSZ (1893-1959)

Boudoir

signed 'GROSZ' (lower right) and inscribed 'Boudoir' (on the reverse)

pen and ink and coloured crayon on paper

18 x 13¬ in. (45.7 x 34.7 cm.)

Executed in 1915

£25,000-35,000

US$31,000-43,000

€29,000-40,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

533

GEORGE

GROSZ (1893-1959)

Gedicht und Gesänge

signed 'GROSZ' (lower right)

pen and India ink on paper

17¡ x 12¡ in. (44.2 x 31.3 cm.)

Executed in 1915

£10,000-15,000

US$13,000-19,000

€12,000-17,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

534

JOSEPH KÖLSCHBACH

(1892-1947)

Schachspieler (recto); Studie über zwei Frauen (verso)

oil on canvas (recto); crayon and oil on canvas (verso)

20Ω x 23¬ in. (52 x 60 cm.)

Painted circa 1917-1918

£12,000-18,000

US$15,000-22,000

€14,000-20,000

PROPERTY FROM THE DEUTSCHE BANK COLLECTION

535

KURT SCHWITTERS (1887-1948)

Ohne Titel (Contramerk.)

paper collage on cardboard

5º x 4¬ in. (13.3 x 11 cm.)

Executed in 1923

£60,000-80,000

US$75,000-99,000

€69,000-91,000

PROPERTY FROM THE DEUTSCHE BANK COLLECTION

*536

JEAN (HANS) ARP (1886-1966)

Sans titre

signed 'Arp' (lower right)

lithographic ink on paper

14æ x 10º in. (37.5 x 26 cm.)

Executed in 1963

£2,000-3,000

US$2,500-3,700

€2,300-3,400

PROPERTY FROM THE DEUTSCHE BANK COLLECTION

*537

PAUL KLEE

(1879-1940)

Kleines Tiergespenst

signed 'Klee' (lower left); dated, numbered and inscribed '1929. "3. H. 7" Kleines Tiergespenst' (on the artist's mount) and 'S.Cl' (on the artist's mount)

watercolour and pen and ink with Spritztechnik on paper laid down on the artist's mount image: 12º x 9 in. (31 x 22.9 cm.)

artist's mount: 20¿ x 15æ in. (51.3 x 40 cm.)

Executed in 1929

£50,000-80,000

US$62,000-99,000

€57,000-91,000

PROPERTY FROM THE DEUTSCHE BANK COLLECTION

λ*538

OTTO DIX (1891-1969)

Großstadt (Entwurf zu Großstadttriptychon)

coloured pencil and pencil on paper 12æ x 16√ in. (32.4 x 43 cm.)

Executed in 1926

£20,000-30,000

US$25,000-37,000

€23,000-34,000

PROPERTY FROM THE DEUTSCHE BANK COLLECTION

λ539

ERICH HECKEL (1883-1970)

Narzissen

signed, dated and inscribed 'Heckel 26 - Narzissen -' (lower right)

gouache, watercolour and black crayon on paper

23¬ x 18º in. (60 x 46.5 cm.)

Executed in 1926

£5,000-7,000

US$6,200-8,700

€5,700-8,000

PROPERTY FROM THE DEUTSCHE BANK COLLECTION

λ*540

EMIL NOLDE (1857-1956)

Schlepper im Hafen

signed 'Nolde.' (lower left)

watercolour and brush and ink on Japan paper

11 x 15√ in. (27.9 x 40.5 cm.)

Executed in 1910

£18,000-25,000

US$23,000-31,000

€21,000-28,000

PROPERTY FROM THE DEUTSCHE BANK COLLECTION

λ*541

ERICH HECKEL (1883-1970)

Kleiner Bergsee

signed, dated and inscribed '-Kleiner Bergsee - Heckel54' (lower right)

watercolour and crayon on paper

19¿ x 24æ in. (48.7 x 63 cm.)

Executed in 1954

£4,000-6,000

US$5,000-7,400

€4,600-6,800

PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION

λ*542

MAX PECHSTEIN

(1881-1955)

Rotes Zelt mit weiblichem Akt: Danae

signed and dated 'Pechstein 1911' (lower left) oil on canvas

27æ x 31æ in. (70.5 x 80.5 cm.)

Painted in Nidden in 1911

£400,000-600,000

US$500,000-740,000

€460,000-680,000

PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION

λ*543

EMIL NOLDE (1867-1956)

Blumen

signed 'Nolde.' (lower right)

watercolour on paper

18 x 12 in. (45.7 x 30.4 cm.)

Executed circa 1925-1930

£40,000-60,000

US$50,000-74,000

€46,000-68,000

PROPERTY FROM A PRIVATE COLLECTION, BOLOGNA

λ•*544

OTTO DIX (1891-1969)

Knabenkopf

signed and dated 'Dix 26' (lower right) pencil on paper

8√ x 13 in. (22.5 x 33 cm.)

Drawn in 1926

£2,000-3,000

US$2,500-3,700

€2,300-3,400

545

LYONEL FEININGER (1871-1956)

Architectural Composition I signed 'Feininger' (lower right); signed, dated and inscribed 'Lyonel Feininger 1940 Architectural Composition I' (on the stretcher)

oil on canvas

24 x 36¿ in. (61.2 x 92 cm.)

Painted in 1940

£250,000-350,000

US$310,000-430,000

€290,000-400,000

PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION *546

LYONEL FEININGER (1871-1956)

Kirche von Treptow an der Rega I signed, dated and inscribed 'Feininger Kirche von Treptow a. d. Rega I 11.7.26' (along the lower edge), and inscribed ‘ ’ (lower left)

watercolour and pen and ink on paper

11º x 16¿ in. (28.5 x 41 cm.)

Executed on 11 July 1926

£15,000-20,000

US$19,000-25,000

€18,000-23,000

PROPERTY OF AN IMPORTANT PRIVATE COLLECTION

547

BERNARD BOUTET DE MONVEL (1881-1949)

Étude pour le portrait de S. A. le Maharadjah d'Indore en habit du soir; Études de mains pour le portrait de S. A. le Maharadjah d’Indore en costume traditionnel with the estate stamp (lower left)

pencil on paper

S. A. le Maharadjah d’Indore en habit du soir: 25¡ x 16Ω in. (64.5 x 42 cm.); S. A. le Maharadjah d’Indore en costume traditionnel: 10Ω x 15º in. (26.8 x 38.8 cm.)

S. A. le Maharadjah d’Indore en habit du soir: Executed in 1929; S. A. le Maharadjah d’Indore en costume traditionnel: Executed in 1933 (2)

£1,500-2,500

US$1,900-3,100

€1,800-2,800

*548

ALEXEJ VON JAWLENSKY (1864-1941)

Helle Erscheinung

signed 'A. Jawlensky.' (lower left); bears the date and inscription '1916 N.6' (on the reverse; by the artist's son) oil on paper laid down on board 19√ x 12æ in. (50.4 x 32.5 cm.)

Painted in St. Prex in 1916

£150,000-250,000

US$190,000-310,000

€180,000-280,000

THE PROPERTY OF AN IMPORTANT PRIVATE COLLECTOR

*549

MAX BECKMANN (1884-1950)

Adam und Eva

stamped with foundry mark ‘ROMAN BRONZE WORKS INC. N.Y.’ (on the right side of the base)

bronze with dark brown and green patina height: 33º in. (84.4 cm.)

Conceived in 1936 and cast after 1958 in an edition of 5

£150,000-250,000

US$190,000-310,000

€180,000-280,000

THE PROPERTY OF AN IMPORTANT PRIVATE COLLECTOR

*550

MAX BECKMANN (1884-1950)

Tanzerin

bronze with dark brown patina length: 28Ω in. (72.3 cm.)

Conceived circa 1935 and cast at a later date in an edition of 5

£80,000-120,000

US$100,000-150,000

€91,000-140,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

λ*551

CONRAD FELIXMÜLLER (1897-1977)

Kornpuppen in trüber Landschaft (Klotzsche) signed and dated 'felixmüller 25' (lower right); signed, dated and numbered 'Cfelixmüller 1925. No 355.' (on the reverse) oil on canvas

29Ω x 23¬ in. (75 x 60 cm.)

Painted in 1925

£30,000-50,000

US$38,000-62,000

€35,000-57,000

*552

ALEXEJ VON JAWLENSKY (1864-1941)

Madame Sid signed ‘A. Jawlensky’ (upper right); dated ‘1906’ (on the reverse) oil on board

20æ x 19Ω cm. (52.8 x 49.6 cm.)

Painted in 1906

£300,000-400,000

US$380,000-500,000

€350,000-450,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

*553

FELIX NUSSBAUM (1904-1944)

Netzflicker

signed, dated and inscribed 'Felix Nussbaum Belgien 1928' (lower left) oil on canvas

21æ x 15√ in. (55.3 x 40.3 cm.)

Painted in 1928

£40,000-60,000

US$50,000-74,000

€46,000-68,000

THE PROPERTY OF A PRIVATE FRENCH COLLECTOR

*554

ARTHUR SEGAL (1875-1944)

Selbstportrait

signed indistinctly 'A. Segal' (lower right) oil on canvas laid down on panel 15º x 14¡ in. (38.5 x 36.6 cm.)

Painted circa the 1930s

£6,000-8,000

US$7,500-9,900

€6,900-9,100

λ*555 RUDOLF SCHLICHTER (1890-1955)

Junge Engländerin

signed 'R. Schlichter' (lower right) watercolour on paper 24º x 19Ω in. (61.6 x 49.5 cm.)

Executed in 1953

£8,000-12,000

US$10,000-15,000

€9,100-14,000

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

*556

GEORGE GROSZ (1893-1959)

Ein Dichter ist er

signed and dated 'GROSZ 34' (lower right); with the Nachlass stamp and numbered '1 99 4' (on the reverse) gouache, watercolour, reed pen and pen and ink on paper 18º x 23º in. (46 x 59 cm.)

Executed in 1934

£25,000-35,000

US$31,000-43,000

€29,000-40,000

THE PROPERTY OF A PRIVATE SWISS COLLECTOR

*557

KURT SCHWITTERS (1887-1948)

Ohne Titel (Bild mit schiefer Ebene)

signed with initials and dated 'KS 39' (lower left) oil on panel on board

10Ω x 8¬ in. (26.8 x 21.9 cm.)

Painted in 1939

£18,000-25,000

US$23,000-31,000

€21,000-28,000

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION, SOLD TO BENEFIT A CHARITABLE FOUNDATION

λ*558

JOAN MIRÓ (1893-1983)

Sans titre. Epreuve rehaussée pour l’album ‘Femmes’

signed 'Miró.' (lower right) gouache over woodcut on paper

22 x 17æ in. (56 x 45 cm.)

Executed in 1968

£25,000-35,000

US$31,000-43,000

€29,000-40,000

λ559

ROBERT MARC (1943-1993)

Untitled (9578)

signed 'ROBERT MARC' (lower right) oil on canvas

63æ x 38º in. (162.2 x 97 cm.)

£8,000-12,000

US$10,000-15,000

€9,100-14,000

560

LOUIS HAYET (1864-1940)

Remorquer, quai Bucherel, Pontoise; Les Becs de gaz

Remorquer: numbered '19' (lower right); Les Becs de gaz: numbered '16' (lower right) watercolour on paper

Remorquer: 4¬ x 7º in. (11.8 x 18.3 cm.); Les Becs de gaz: 7º x 4¬ in (18.3 x 11.8 cm.)

Remorquer: Executed circa 1883-1884; Les Becs de gaz: Executed circa 1885-1887 (2)

£2,000-3,000

US$2,500-3,700

€2,300-3,400

THE PROPERTY OF A PRIVATE COLLECTOR

λ561

ROBERT MARC (1943-1993)

Composition cubiste

signed 'ROBERT MARC' (lower centre) oil on canvas

76¬ x 51 in. (194.6 x 129.5 cm.)

Painted in 1985

£18,000-25,000

US$23,000-31,000

€21,000-28,000

PROPERTY FROM A PRIVATE BRITISH COLLECTION

λ562

BERNARD BUFFET (1928-1999)

Le Pouldu

signed and dated 'Bernard Buffet 63' (upper centre)

watercolour, pen and brush and India ink on paper

19Ω x 25æ in. (49.5 x 65.5 cm.)

Executed in 1963

£18,000-25,000

US$23,000-31,000

€21,000-28,000

PROPERTY FROM A PRIVATE NEW YORK COLLECTION 563

MAX LIEBERMANN (1847-1935)

Straßenszene mit Figuren

signed 'M Liebermann' (lower right)

charcoal on paper

4¡ x 7¿ in. (10.9 x 18 cm.)

Executed circa 1905

£2,000-3,000

US$2,500-3,700

€2,300-3,400

THE PROPERTY OF A DISTINGUISHED COLLECTOR

λ564

PABLO PICASSO (1881-1973)

Amazone

signed 'Picasso' (lower right) pencil on paper

5¿ x 6º in. (13 x 16 cm.)

Drawn circa 1920

£7,000-10,000

US$8,700-12,000

€8,000-11,000

PROPERTY FROM A PRIVATE COLLECTOR, UNITED KINGDOM

λ565

GEORGES MANZANA-PISSARRO (1871-1961)

A group of eight portrait sketches: Self-Portrait; Vincent Van Gogh; Gustave Loiseau; Paul Gauguin; Gilbert White; Henri de ToulouseLautrec; Ambroise Vollard; and Paul Signac

the first signed, dated and inscribed 'mon portrait manzana 1906.' (lower left)

Self-portrait: charcoal on paper

Self-portrait: 8 x 5¿ in. (20.2 x 13.1 cm.)

Executed in 1906 (8)

£5,000-7,000

US$6,200-8,700

€5,700-8,000

PROPERTY FROM A PRIVATE COLLECTION

λ566

BERNARD BUFFET (1928-1999)

Nature morte aux vases de Moustiers

signed and dated 'Bernard Buffet 63' (lower right); inscribed '2' (on the reverse) oil on canvas

35 x 51º in. (89 x 130 cm.)

Painted in 1963

£60,000-80,000

US$75,000-99,000

€69,000-91,000

PROPERTY FROM A DISTINGUISHED BRITISH COLLECTION

λ567

BERNARD BUFFET (1928-1999)

Bouquet de prunus

signed and dated 'Bernard Buffet 51' (upper right) oil and pencil on paper laid down on canvas

19¬ x 25¬ in. (49.7 x 65 cm.)

Painted in 1951

£30,000-50,000

US$38,000-62,000

€35,000-57,000

λ*568

BALTHUS (1908-2001)

Nature morte au chapeau bernois oil on canvas

23æ x 28Ω in. (60.3 x 72.5 cm.)

Painted in 1928

£60,000-80,000

US$75,000-99,000

€69,000-91,000

PROPERTY FROM A PRIVATE COLLECTION

λ569

BALTHUS (1908-2001)

Légumes dans un bol et huilier

signed with artist's monogram 'Bs' (lower right)

watercolour and pencil on paper

25¿ x 27Ω in. (63.8 x 69.8 cm.)

Executed in 1970

£20,000-30,000

US$25,000-37,000

€23,000-34,000

PROPERTY FROM A PRIVATE AMERICAN COLLECTION

*570

LOUIS VALTAT (1869-1952)

Bouquet à la cruche marron et aux pommes

signed with initials 'LV' (lower left)

oil on canvas

23√ x 29 in. (60.5 x 73.7 cm.)

Painted circa 1944

£40,000-60,000

US$50,000-74,000

€46,000-68,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

*571

LOUIS VALTAT (1869-1952)

Corbeille en porcelaine aux raisins et à la poire

signed with initials 'L.V' (lower right) oil on canvas laid down on board

11¿ x 14 in. (28.2 x 35.5 cm.)

Painted circa 1904

£4,000-6,000

US$5,000-7,400

€4,600-6,800

λ*572

MAURICE DE VLAMINCK (1876-1958)

Péniche à quai

signed 'Vlaminck' (lower left) oil on canvas

25¬ x 32√ in. (65 x 81 cm.)

Painted circa 1910

£100,000-150,000

US$130,000-180,000

€120,000-170,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

*573

MAURICE DENIS (1870-1943)

Dorades et moules

signed and dated 'MAV.DENIS 1908' (upper right) oil on board

12 x 17¬ in. (30.5 x 45 cm.)

Painted in 1908

£7,000-10,000

US$8,700-12,000

€8,000-11,000

THE PROPERTY OF A GENTLEMAN

λ574

MAURICE DE VLAMINCK (1876-1958)

Rue de village sous la neige

signed 'Vlaminck' (lower left) oil on canvas

21º x 25¬ in. (54 x 65.2 cm.)

£40,000-60,000

US$50,000-74,000

€46,000-68,000

THE PROPERTY OF A GENTLEMAN

λ575

MAURICE DE VLAMINCK (1876-1958)

Après l'orage

signed 'Vlaminck' (lower left) oil on canvas on cradled panel

23æ x 31Ω in. (60.3 x 80 cm.)

£30,000-50,000

US$37,000-62,000

€34,000-57,000

*576

ARISTIDE MAILLOL (1861-1944)

Femme vétue, marchant (La Parisienne)

stamped with the artist's monogram (at the edge of the base)

height: 9¡ in. (20.8 cm.)

bronze with dark brown patina with golden undertones

Conceived circa 1896, and cast in 1928 by Alexis Rudier

£15,000-20,000

US$19,000-25,000

€18,000-23,000

PROPERTY FROM A PRIVATE COLLECTION

Δ577

EDOUARD VUILLARD (1868-1940)

Madame Jean Bloch et ses enfants

stamped with the signature 'E. Vuillard' (Lugt 2497a; lower right)

distemper on canvas

76æ x 68√ in. (195 x 175 cm.)

Painted in 1927

£80,000-120,000

US$100,000-150,000

€91,000-140,000

THE PROPERTY OF A EUROPEAN COLLECTOR

*578

MAURICE UTRILLO (1883-1955)

Le Lapin Agile à Montmartre

signed 'Maurice.Utrillo.' (lower right) oil and sand on board on cradled panel

19¡ x 23√ in. (49.2 x 60.8 cm.)

Painted circa 1912

£60,000-80,000

US$75,000-99,000

€69,000-91,000

PROPERTY FROM A PRESTIGIOUS PRIVATE COLLECTION, LONDON

579

MAURICE UTRILLO (1883-1955)

Vue d'église

signed ‘Maurice, Utrillo V,’ (lower right) oil on canvas

28æ x 23¬ in. (73 x 60 cm.)

£25,000-35,000

US$31,000-43,000

€29,000-40,000

THE PROPERTY OF A EUROPEAN COLLECTOR

*580

ARMAND GUILLAUMIN

(1841-1927)

Madame Guillaumin à l'éventail

signed 'Guillaumin' (lower left) oil on canvas

36º x 28.3.4 in. (92.2 x 73.1 cm.)

Painted circa 1888

£25,000-35,000

US$31,000-43,000

€29,000-40,000

THE PROPERTY OF A PRIVATE BELGIAN COLLECTOR

λ•581

LÉON DE SMET (1881-1966)

Fleurs et coquillages (recto); Nu (verso) signed and dated 'LÉON DE SMET 1941' (lower right) oil on canvas

35¬ x 43¡ in. (90.5 x 110.2 cm.)

Painted in 1941

£8,000-12,000

US$9,900-15,000

€9,100-14,000

THE PROPERTY OF A EUROPEAN COLLECTOR

*582

MAXIME MAUFRA (1861-1918)

Printemps - Champigny-sur-Marne signed and dated 'Maufra 1902.' (lower right); inscribed 'Printemps (Champigny s/ Marne)' (on the stretcher) oil on canvas

21º x 25Ω in. (54 x 65 cm.)

Painted in 1902

£10,000-15,000

US$13,000-19,000

€12,000-17,000

THE PROPERTY OF A PRIVATE LONDON COLLECTOR

λ583

MAURICE DE VLAMINCK (1876-1958)

Le Village

signed 'Vlaminck' (lower right) gouache, watercolour and pen and India ink on paper

18 x 21æ in. (45.8 x 55 cm.)

£8,000-12,000

US$9,900-15,000

€9,100-14,000

*584

GUSTAVE CARIOT (1872-1950)

Vue de Paris

signed and dated 'G. Cariot 1936' (lower right) oil on canvas

24¿ x 35¿ in. (61.2 x 89.2 cm.)

Painted in 1936

£18,000-25,000

US$23,000-31,000

€21,000-28,000

*585 GUSTAVE CARIOT (1872-1950)

Falaise en Bretagne

signed and dated 'G. Cariot 1907' (lower right); signed, dated and indistinctly inscribed 'g. Cariot 1907 ...' (on the reverse) oil on canvas

12√ x 18¿ in. (32.8 x 46 cm.)

Painted in 1907

£6,000-8,000

US$7,500-9,900

€6,900-9,100

*586

GUSTAVE CARIOT (1872-1950)

Le Jardin

signed and dated 'G. Cariot 1908' (lower left) oil on canvas

15 x 18º in. (38.2 x 46.2 cm.)

Painted in 1908

£12,000-18,000

US$15,000-22,000

€14,000-20,000

THE PROPERTY OF A EUROPEAN COLLECTOR

λ*587

ALBERT ANDRÉ (1869-1954)

L'heure du bain à Dieppe

signed 'Al. André' (lower right) oil on paper laid down on board

14æ x 17√ in. (37.5 x 45.4 cm.)

Painted circa 1895

£10,000-15,000

US$13,000-19,000

€12,000-17,000

THE PROPERTY OF A EUROPEAN COLLECTOR *588 STANISLAS

LÉPINE (1835-1892)

Caen. Le Bassin de Saint-Pierre

signed 'S.Lépine' (lower left) oil on canvas

28Ω x 36º in. (72.5 x 92.2 cm.)

Painted circa 1875-1880

£25,000-35,000

US$31,000-43,000

€29,000-40,000

THE PROPERTY OF A EUROPEAN COLLECTOR

*589

JEAN-FRANÇOIS RAFFAËLLI (1850-1924)

La promenade à marée basse signed 'JRAFFAËLLI' (lower right) oil on paper mounted on canvas

28æ x 36º in. (73 x 92.2 cm.)

£30,000-50,000

US$38,000-62,000

€35,000-57,000

λ590

CARLOS NADAL (1917-1998)

La plage à Nice

signed 'cNadal' (lower right); signed, inscribed and with the atelier stamp 'LA PLAGE A NICE cNadal no 15' (on the reverse)

oil and acrylic on canvas

21¡ x 25æ in. (54.2 x 65.2 cm.)

£15,000-25,000

US$19,000-31,000

€18,000-28,000

λ*591

CHARLES MALLE (B. 1935)

Canal de L'Ourcq

signed 'C.MALLE.' (lower left); inscribed 'Canal de l'Ourcq (quai de la Marne)' (on the reverse) oil on canvas

28æ x 39º in. (73 x 99.8 cm.)

Painted in 2019

£3,000-5,000

US$3,800-6,200

€3,500-5,700

λ*592

CHARLES MALLE (B. 1935)

Passerelle Bichat, canal Saint-Martin

signed 'C.MALLE.' (lower left); inscribed 'Passerelle au Canal St Martin (Paris)' (on the stretcher) oil on canvas

28æ x 39¡ in. (73 x 100 cm.)

Painted in 2015

£3,000-5,000

US$3,800-6,200

€3,500-5,700

PROPERTY FROM A PRIVATE LONDON COLLECTION

λ593

SALVADOR DALÍ (1904-1989)

Noir enlaçant une blanche

signed and dated 'Dalí 1966' (lower right) gouache, watercolour and felt-tip pen on paper 14√ x 11 in. (38 x 27.8 cm.)

Executed in 1966

£30,000-50,000

US$37,000-62,000

€34,000-57,000

FIRST OPEN: POST-WAR & CONTEMPORARY ART ONLINE

Thursday 23 February, 1:00pm GMT - Thursday 9 March, 1:00pm GMT 2023

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

SELECTED HIGLIGHTS

A selection of highlights will be on display at Christie's King Street. To arrange an in-person or virtual viewing please contact Stephanie Garcia. Selected highlights will be on view at Christie's King Street:

Wednesday 22 February 9:00am - 5:00pm

Thursday 23 February 9:00am - 8:00pm

Friday 24 February 9:00am - 5:00pm

Saturday 25 February 12:00pm - 5:00pm

Sunday 26 February 12:00pm - 5:00pm

Monday 27 February 9:00am - 5:00pm

Tuesday 28 February 9:00am - 5:00pm

Wednesday 1 March 9:00am - 5:00pm

Thursday 2 March 9:00am - 5:00pm

Friday 3 March 9:00am - 5:00pm

HEAD OF SALE

Stephanie Garcia

+44 (0)207 389 2407 sgarcia@christies.com

CONDITIONS OF SALE

The sale for each lot is subject to the Conditions of Sale, Important Notices and Explanation of Cataloguing Practice, which are set out for online sales on christies.com. Please note that the symbols and cataloguing for some lots may change before the auction.  For the most up to date sale information for a lot, please see the full lot description, which can be accessed through the sale landing page on christies.com

In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Please check Conditions of Sale on christies.com

CATALOGUER AND SALE COORDINATOR

Stan D’ Angelin +44 (0)207 752 3089 sdangelin@christies.com

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as: STAN-21893

With special thanks to Jemima Terry for her assistance researching this sale.

Opposite: Caroline Walker, Oasis, 2015 (detail)

christies.com

POST SALE SERVICES

Payment, Shipping and Collection

Tel: +44 (0)20 7752 3200

Fax: +44 (0)20 7752 3300

Email: PostSaleUK@christies.com

COPYRIGHT NOTICE

No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Christie’s.

© COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2023)

AUBREY LEVINTHAL (B. 1986)

Window Shopper

signed 'LEVINTHAL' (lower right); signed, titled and dated 'A. LEVINTHAL 2022 WINDOW SHOPPER' (on the reverse)

oil on panel

30 x 24in. (76.3 x 61.1cm.)

Executed in 2022

£5,000-7,000

US$6,200-8,600

€5,700-8,000

SARAH BALL (B. 1965)

Vagrant

signed, titled and dated ‘Vagrant Sarah Ball 2012’ (on the reverse)

oil on panel, in artist's frame

7¬ x 5æin. (19.5 x 14.5cm.)

Executed in 2012

£18,000-25,000

US$23,000-31,000

€21,000-28,000

DEBORAH SEGUN (B. 1994)

The Confusion

signed and dated 'D. SEGUN 2021' (on the reverse)

acrylic on canvas

60 x 48¿in. (152.3 x 122.1cm.)

Painted in 2021

£4,000-6,000

US$5,000-7,400

€4,600-6,800

DORON LANGBERG (B. 1985)

Nir

signed with the artist's initials and dated 'D. L 2015' (on the overlap)

oil on linen

24¿ x 18¿in. (61.3 x 46.2cm.)

Painted in 2015

£20,000-30,000

US$25,000-37,000

€23,000-34,000

CAROLINE WALKER (B. 1982)

Oasis

signed, titled and dated ''Oasis' Caroline Walker 2015' (on the reverse)

oil on canvas paper

18Ω x 14¬in. (47 x 37.2cm.)

Executed in 2015

£25,000-35,000

US$31,000-43,000

€29,000-40,000

COLOUR AND LIGHT: IMPORTANT WORKS BY EILEEN AGAR FROM A PRIVATE BRITISH COLLECTION

EILEEN AGAR (1899-1991)

Siren

signed 'AGAR' (lower right); signed and dated 'AGAR 1972' (on the backing board) oil and graphite on canvas

20 x 30¿in. (50.9 x 76.5cm.)

Executed in 1972

£8,000-12,000

US$9,900-15,000

€9,100-14,000

AARON JOHNSON (B. 1975)

Nothing Comes From Nowhere

signed, titled and dated 'AARON JOHNSON 2018 NOTHING COMES FROM NOWHERE' (on the reverse)

acrylic on canvas

78¿ x 66¿in. (198.5 x 168cm.)

Painted in 2018

£20,000-30,000

US$25,000-37,000

€23,000-34,000

JENNA GRIBBON (B. 1978)

Tatiana Holding Pearls

signed and dated ‘Jenna Gribbon ’18’ (on the overlap) oil on linen

12 x 12in. (30.6 x 30.3cm.)

Painted in 2018

£8,000-12,000

US$9,900-15,000

€9,100-14,000

MEQUITTA AHUJA (B. 1976)

Bound

signed and dated 'Mequitta A. 2019/2020' (lower left) oil on mylar

31 x 24in. (78.7 x 60.9cm.)

Executed in 2019-2020

£6,000-8,000

US$7,500-9,900

€6,900-9,100

MICHAEL ARMITAGE (B. 1984)

Untitled

oil on board, in two parts each: 11√ x 11√in. (30.2 x 30.2cm.)

Executed in 2010

£10,000-15,000

US$13,000-19,000

€12,000-17,000

ABOUDIA (B. 1983)

Avec Mon Personnel (With My Personnel)

signed ‘ABOUDIA’ (lower right) acrylic, oil stick and collage on canvas, in artist's frame

47º x 47ºin. (120 x 120cm.)

Painted in 2021

£20,000-30,000

US$25,000-37,000

€23,000-34,000

WOLE LAGUNJU (B. 1966)

Urban Kings

signed and dated 'WOLE '19' (lower right) oil on canvas

69Ω x 71¿in. (176.5 x 181.7cm.)

Painted in 2019

£15,000-20,000

US$19,000-25,000

€18,000-23,000

ADJEI TAWIAH (B. 1983)

Yellow Punk

signed 'Tawiah' (centre right)

oil and sponge on paper

39¡ x 29√in. (100 x 76cm.)

Executed in 2021

£4,000-6,000

US$5,000-7,400

€4,600-6,800

CLAIRE TABOURET (B. 1981)

The Small Boat (Pink) monotype on paper

20¿ x 14¬in. (51 x 37cm.)

Executed in 2017

£4,000-6,000

US$5,000-7,400

€4,600-6,800

SHARA HUGHES (B. 1981)

Playground

signed, numbered and dated '1/1 SHARA HUGHES 2018' (lower edge)

oil-based ink and monotype on paper

18 x 14¬in. (45.8 x 37cm.)

Executed in 2018

£8,000-12,000

US$9,900-15,000

€9,100-14,000

EDGAR PLANS (B. 1977)

Sun Lorenzo

signed and dated ‘Plans 07’ (lower right); titled and dated ‘SUN LORENZO 07’ (upper right)

acrylic on canvas

39¬ x 78√in. (100.8 x 200.3cm.)

Painted in 2007

£20,000-30,000

US$25,000-37,000

€23,000-34,000

ROB PRUITT (B. 1964)

Happy Family

signed, titled and dated 'Happy Family Rob Pruitt 2015' (on the stretcher)

acrylic, enamel and glitter on canvas

72 x 96¿in. (183 x 244.2cm.)

Executed in 2015

£35,000-55,000

US$44,000-68,000

€40,000-62,000

JORDY KERWICK (B. 1982)

Iggy Pop

signed and dated 'JORDY 2019' (on the reverse)

oil, acrylic, enamel and painted canvas collage on canvas, in artist's frame

29√ x 24in. (76 x 61cm.)

Executed in 2019

£15,000-20,000

US$19,000-25,000

€18,000-23,000

PROPERTY OF A PRIVATE GERMAN COLLECTION

PETER DOIG (B. 1959)

Study for English Garden

signed with the artist’s initials 'PMD’ (on the reverse) pastel on paper

9√ x 7√in. (25 x 20cm.)

Executed in 1997

£50,000-70,000

US$62,000-86,000

€57,000-79,000

ALEXANDER CALDER (1898-1976)

Big Butterfly

signed and dated 'Calder 68' (lower right) gouache and ink on paper

22æ x 30æin. (57.7 x 78.1cm.)

Executed in 1968

£15,000-20,000

US$19,000-25,000

€18,000-23,000

TRACEY

EMIN (B. 1963)

Purple Virgin V

signed and titled 'Tracey Emin Purple Virgin V' (lower edge)

acrylic on paper

23 x 31√in. (58.5 x 81cm.)

Executed in 2004

£12,000-18,000

US$15,000-22,000

€14,000-20,000

PROPERTY FROM A PRIVATE COLLECTION, DUBAI GEORGE CONDO (B. 1957)

Untitled

signed and dated 'Condo 88' (upper left)

pastel on paper

40º x 29in. (102.2 x 73.6cm.)

Executed in 1988

£25,000-35,000

US$31,000-43,000

€29,000-40,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION ANDY WARHOL (1928-1987)

Female Fashion Figure

stamped with the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc. stamps and numbered '340.012' (on the reverse) ink and watercolour on paper

23 x 17¿in. (58.4 x 43.4cm.)

Executed in 1960

£10,000-15,000

US$13,000-19,000

€12,000-17,000

THIERRY NOIR (B. 1958)

A Certain Degree of Mystery Surrounds The Way I Do My Hair

signed 'NOIR' (lower left); signed, titled and dated 'THIERRY NOIR SEPTEMBER 08 2020 A CERTAIN DEGREE OF MYSTERY SURROUNDS THE WAY I DO MY HAIR' (on the overlap)

acrylic on canvas

59¿ x 47¡in. (150.2 x 120.4cm.)

Painted in 2020

£15,000-20,000

US$19,000-25,000

€18,000-23,000

CHRISTIE’S ONLINE AUCTIONS – HOW TO BUY ONLINE

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2. How do I bid in the sale?

To bid in the sale go to https://www.christies.com/en/auction/first-open-post-war-and-contemporary-art-online21893-cks/. You can begin bidding onThursday 23rd February 2023 at 1:00 PM (GMT). Lots will begin closing in lot order starting Thursday 9th March 2023 1:00 PM (GMT). Once you have registered, go to your desired lot’s page and click either the ‘Next Bid’ or ‘Max Bid’ button. If you submit a Max Bid, Christie’s will automatically update your offer in response to competing bids using the lowest possible winning amount at or below your maximum (similar to an absentee bid). When you bid you agree to be bound by your online only terms and conditions, which may be accessed online at https://www.christies.com/pdf/onlineonly/ecommerceconditionsofsale-london10jun22.pdf.

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4. How do I find out more about the works that interest me?

A detailed description of every work in this sale is available online at https://www.christies.com/en/auction/ first-open-post-war-and-contemporary-art-online-21893-cks/, along with high-resolution images and condition reports. You can also zoom in on lots to examine condition and quality for yourself.

In addition, our specialists are always on hand to help. Feel free to contact Stephanie Garcia at sgarcia@christies.com or +44 (0)20 7 389 2407

5. What is the final cost of my purchase?

For your convenience, Christie’s will calculate all costs associated with your purchase before you bid. Simply click the “Estimated Cost Calculator” link on any lot detail page, and the total will include estimated shipping, sales, tax, VAT, duties and any additional fees.

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COPYRIGHT NOTICE

No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Christie’s.

© COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2023)

BEN NICHOLSON, O.M. (1894-1982)

Le Petit Provençal

signed and dated 'Ben Nicholson 1933' (on the reverse) oil, collage and pencil on canvas 18Ω x 16Ω in. (47 x 41.9 cm.) Painted in 1933.

£400,000-600,000

DAME BARBARA HEPWORTH (1903-1975)

Small Oval

alabaster, on a slate base, unique 8Ω in. (21.6 cm.) long, excluding base Carved in 1963.

£300,000-500,000

agranlund@christies.com

Tel: +44 (0) 207 752 3240

EUAN UGLOW (1932-2000)

Striding Nude, Blue Dress oil on canvas

59æ x 43Ω in. (152 x 110.5 cm.) Painted in 1978-1981.

£300,000-500,000

SIR FRANK BOWLING, R.A. (B. 1934)

Untitled (Cathedral Painting)

signed, dedicated and dated 'FOR MY/ ESTEEMED/& LOYAL FRIEND/RONALD ALLEY/FRANK BOWLING/SPRING 1986' (on the reverse)

acrylic, acrylic gel, metallic paint and sponges on canvas

74 x 33 in. (187.9 x 83.8 cm.)

Painted in 1986.

£100,000-200,000

CONTACT | ANGUS GRANLUND

agranlund@christies.com

Tel: +44 (0) 207 752 3240

PAULINE BOTY (1938-1966)

BUM

pencil, ink, watercolour, gouache and collage on paper

19¬ x 16 in. (50 x 40.6 cm.)

Executed in 1966.

£60,000-80,000

DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937)

A Glass Table with Still Life

signed with initials, inscribed and dated ‘a glass table with still life/DH 1969’ (lower right)

pencil and coloured crayon on paper 14 x 17 in. (35.5 x 43 cm.)

Executed in 1969.

£80,000-120,000

CELIA

PAUL (B. 1959)

My Mother Looking Away oil on canvas

48 x 54 in. (121.9 x 137.2 cm.)

Painted in 1996.

£15,000-25,000

DAME BARBARA HEPWORTH (1903-1975)

Two Forms (Domino)

signed, numbered, dated and stamped with foundry mark 'Barbara Hepworth 1969 0/9' (on the side of the base) polished and painted bronze, on a bronze base 9º in. (23.5 cm.) high, including base Conceived in 1969 and cast by Morris Singer Founders, London.

This work is recorded as BH 486.

£40,000-60,000

LAURENCE

STEPHEN LOWRY, R.A. (1887-1976)

The Lake signed and dated 'L.S. LOWRY 1971' (lower right) oil on canvas

18 x 24 in. (45.7 x 61 cm.)

Painted in 1971.

£100,000-150,000

CONTACT | PIPPA JACOMB

pjacomb@christies.com

Tel: +44 (0) 20 7389 2293

WILLIAM TURNBULL (1922-2012) 15-1963

signed, inscribed and dated '15-1963 Turnbull' (on the canvas overlap), signed again, inscribed again and dated again 'Turnbull 15-1963 15-63' (on the stretcher) oil on canvas

98 x 98 in. (248.9 x 248.9 cm.)

Painted in 1963.

£50,000-70,000

PROPERTY FROM A LONDON ESTATE

DAME ELISABETH FRINK, R.A. (1930-1993)

Goggle Head II (Teeth)

signed and numbered 'Frink 1/6' (on the reverse) bronze with a dark brown and polished patina

25Ω in. (64.8 cm.) high

Conceived in 1969.

£60,000-100,000

CRAGIE AITCHISON, R.A. (1926-2009)

Crucifixion 8 oil on canvas

87 x 74 in. (221 x 188 cm.)

Painted in 1985-86.

£100,000-150,000

PABLO PICASSO (1881-1973)

Buste de femme d'après Cranach le Jeune

linocut in colours, 1958, on Arches paper, a very good impression of this highly important print, the colours fresh and bright, signed in blue crayon, numbered 31/50, published by galerie Louise Leiris, Paris Image 650 x 533 mm. Sheet 765 x 570 mm.

£400,000-600,000

US$490,000-720,000

€460,000-680,000

ANDY WARHOL (1928-1987)

Marilyn

screenprint in colours, 1967, on wove paper, signed in pencil on the reverse, stamp-numbered 164/250 (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York Image & Sheet 914 x 914 mm.

£180,000-250,000

US$230,000-310,000

€210,000-280,000

Tel: +44 (0) 207 752 3109

VIEWING: 8-16 March 2023

BRIDGET RILEY (B. 1931)

Carnival

screenprint in colours, 2000, on wove paper, signed, dated, titled and numbered 71/75 in pencil, printed and published by Artizan Editions, Hove

Image 555 x 756 mm.

Sheet 727 x 910 mm.

£5,000-7,000

US$6,200-8,600

€5,700-7,900

BANKSY

Kate Moss: Red, Hair Lime Green

screenprint in colours, 2005, on wove paper, signed and dated in pencil, numbered 16/20, published by Pictures on Walls, London Image 530 x 530 mm. Sheet 700 x 700 mm.

£120,000-180,000

US$150,000-220,000

€140,000-200,000

This lot is offered with the new Certificate of Authenticity from Pest Control.

CONTACT: James Baskerville jbaskerville@christies.com

Tel: +44 (0) 207 752 3385

VIEWING: 8-14 March 2023

IMAGE CREDITS

FRONT COVER

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 16, Pablo Picasso, Femme dans un rocking-chair (Jacqueline), 1956 (detail)

Artwork: © Succession Picasso/DACS, London 2023.

FRONTISPIECE 1

THE ART OF THE SURREAL

Lot 118, René Magritte, Le retour circa 1950 (detail)

FRONTISPIECE 2

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 11, Lucian Freud, Scillonian Beachscape, 1945-1946 (detail)

FRONTISPIECE 3

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 9, Liu Ye, The Goddess, 2018 (detail)

FRONTISPIECE 4

THE ART OF THE SURREAL

Lot 119, René Magritte, Le masque de la foudre, 1965 or 1966 (detail)

FRONTISPIECE 5

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 29, Edgar Degas, Trois Danseuses, circa 1880 (detail)

FRONTISPIECE 6

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 28, Pierre-August Renoir, Jeune fille endormie (La dormeuse), circa 1880 (detail)

FRONTISPIECE 7

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 46, Pablo Picasso, Mousquetaire I (Espagnol du XVllème siècle), 1967 (detail)

FRONTISPIECE 8

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 46, George Condo, Easter Sunday, 2011 (detail)

FRONTISPIECE 9

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 10, Tracey Emin, I told you don’t try to find me, 2007 (detail)

FRONTISPIECE 10

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 17, Cecily Brown, Make it Rain, 2014 (detail)

FRONTISPIECE 11

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 16, Pablo Picasso, Femme dans un rocking-chair (Jacqueline), 1956 (detail)

FRONTISPIECE 12

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 43, Pablo Picasso, Femme assise dans un fauteuil tressé, en gris (Françoise), 1953 (detail)

FRONTISPIECE 13

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 34, Lucio Fontana, Concetto spaziale, Attese, 1961 (detail)

FRONTISPIECE 14

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 32, Lucio Fontana, Il Guerriero (The Warrior), 1948

FRONTISPIECE 15

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 19, Georg Baselitz, Frau Paganismus (Mrs Paganism), 1994 (detail)

FRONTISPIECE 16

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 20, Georg Baselitz, Elke I, 1975 (detail)

FRONTISPIECE 17

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 51, Gustav Klimt, Dame en face mit plisiertem Kleid (Damenbilden en face), circa 1898 (detail)

FRONTISPIECE 18

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 52, Chaïm Soutine, Femme assise dans un fauteuil, circa 1919 (detail)

FRONTISPIECE 19

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 12, Lucian Freud, Garden from the Window, 2002 (detail)

FRONTISPIECE 20

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 55, Marc Chagall, Le soleil à la guirlande ou Le paysage vert ou Soleil à Saint Jean, 1949 (detail)

FRONTISPIECE 21

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 18, Gerhard Richter, Abstraktes Bild (704-2), 1989 (detail)

FRONTISPIECE 22

THE ART OF THE SURREAL

Lot 124, Max Ernst, Don Juan et Faustroll, 1951 (detail)

FRONTISPIECE 23

THE ART OF THE SURREAL

Lot 125, Wolfgang Paalen, Pays interdit, 1936-1937 (detail)

FRONTISPIECE 24

THE ART OF THE SURREAL

Lot 112, Oscar Dominguez, Machine à coudre électro-sexuelle, 1934-1935 (detail)

FRONTISPIECE 25

POST-WAR AND CONTEMPORARY ART DAY SALE

Lot 238, Lynette Yiadom-Boakye, Wishes Above Needs, 2011 (detail)

FRONTISPIECE 26

POST-WAR AND CONTEMPORARY ART DAY SALE

Lot 222, David Hockney, Armchair, Table and Lamp, 1972 (detail)

FRONTISPIECE 27

POST-WAR AND CONTEMPORARY ART DAY SALE

Lot 232, Karin Mamma Andersson, On Tenterhooks, 2005 (detail)

FRONTISPIECE 28

POST-WAR AND CONTEMPORARY ART DAY SALE

Lot 227, David Hockney, Celia, 1973 (detail)

FRONTISPIECE 29

POST-WAR AND CONTEMPORARY ART DAY SALE

Lot 240, Marlene Dumas, Bondage, 1993 (detail)

FRONTISPIECE 30

POST-WAR AND CONTEMPORARY ART DAY SALE

Lot 259, Yoshitomo Nara, The Girl with a Knife, 1998 (detail)

FRONTISPIECE 31

IMPRESSIONIST AND MODERN ART DAY AND WORKS ON PAPER SALE

Lot 420, Henri Laurens, Tête, 1915 (detail)

FRONTISPIECE 32

IMPRESSIONIST AND MODERN ART DAY AND WORKS ON PAPER SALE

Lot 440, Sonia Delaunay, Marché au Minho, Portugal, circa 1915-1916 (detail)

FRONTISPIECE 33

IMPRESSIONIST AND MODERN ART DAY AND WORKS ON PAPER SALE

Lot 431, Camille Claudel, L’abandon, conceived in 1888 and cast in 1905

FRONTISPIECE 34

IMPRESSIONIST AND MODERN ART DAY AND WORKS ON PAPER SALE

Lot 500, Maximilien Luce, Paris, le Pont de l’Archevêché, 1896 (detail)

FRONTISPIECE 35

FIRST OPEN: POST-WAR AND CONTEMPORARY ART ONLINE

Caroline Walker, Oasis, 2015 (detail)

FRONTISPIECE 36

FIRST OPEN: POST-WAR AND CONTEMPORARY ART ONLINE

Peter Doig, Study for English Garden, 1997 (detail)

INDEX

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 27, Vincent van Gogh, Kop van een vrouw (Gordina de Groot) (Head of a Woman [Gordina de Groot]), 1885 (detail)

BACK COVER

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 19, Georg Baselitz, Frau Paganismus (Mrs Paganism), 1994

Artwork: © Georg Baselitz 2023.

CONDITIONS OF SALE • BUYING AT CHRISTIE’S

CONDITIONS OF SALE

These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms, so you should read them carefully before doing so. You will find a glossary at the end explaining the meaning of the words and expressions coloured in bold Unless we own a lot (Δ symbol), Christie’s acts as agent for the seller.

A BEFORE THE SALE

1 DESCRIPTION OF LOTS

(a) Certain words used in the catalogue description have special meanings. You can find details of these on the page headed ‘Important Notices and Explanation of Cataloguing Practice’ which forms part of these terms. You can find a key to the Symbols found next to certain catalogue entries under the section of the catalogue called ‘Symbols Used in this Catalogue’.

(b) Our description of any lot in the catalogue, any condition report and any other statement made by us (whether orally or in writing) about any lot, including about its nature or condition, artist, period, materials, approximate dimensions or provenance are our opinion and not to be relied upon as a statement of fact. We do not carry out in-depth research of the sort carried out by professional historians and scholars. All dimensions and weights are approximate only.

2 OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a lot apart from our authenticity warranty contained in paragraph E2 and to the extent provided in paragraph I below.

3 CONDITION

(a) The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Their nature means that they will rarely be in perfect condition Lots are sold ‘as is’, in the condition they are in at the time of the sale, without any representation or warranty or assumption of liability of any kind as to condition by Christie’s or by the seller.

(b) Any reference to condition in a catalogue entry or in a condition report will not amount to a full description of condition and images may not show a lot clearly. Colours and shades may look different in print or on screen to how they look on physical inspection. Condition reports may be available to help you evaluate the condition of a lot Condition reports are provided free of charge as a convenience to our buyers and are for guidance only. They offer our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our staff are not professional restorers or conservators. For that reason they are not an alternative to examining a lot in person or taking your own professional advice. It is your responsibility to ensure that you have requested, received and considered any condition report.

4 VIEWING LOTS PRE-AUCTION

(a) If you are planning to bid on a lot, you should inspect it personally or through a knowledgeable representative before you make a bid to make sure that you accept the description and its condition We recommend you get your own advice from a restorer or other professional adviser.

(b) Pre-auction viewings are open to the public free of charge. Our specialists may be available to answer questions at pre-auction viewings or by appointment.

5 ESTIMATES

Estimates are based on the condition, rarity, quality and provenance of the lots and on prices recently paid at auction for similar property. Estimates can change. Neither you, nor anyone else, may rely on any estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium or any applicable taxes.

6 WITHDRAWAL

Christie’s may, at its option, withdraw any lot at any time prior to or during the sale of the lot. Christie’s has no liability to you for any decision to withdraw.

7 JEWELLERY

(a) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to improve their look, through methods such as heating and oiling. These methods are accepted by the international jewellery trade but may make the gemstone less strong and/or require special care over time.

(b) All types of gemstones may have been improved by some method. You may request a gemmological report for any item which does not have a report if the request is made to us at least three weeks before the date of the auction and you pay the fee for the report.

(c) We do not obtain a gemmological report for every gemstone sold in our auctions. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports will be described in the catalogue. Reports from American gemmological laboratories will describe any improvement or treatment to the gemstone. Reports from European gemmological laboratories will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.

(d) For jewellery sales, estimates are based on the information in any gemmological report or, if no report is available, assume that the gemstones may have been treated or enhanced.

8 WATCHES & CLOCKS

(a) Almost all clocks and watches are repaired in their lifetime and may include parts which are not original. We do not give a warranty that any individual component part of any watch or clock is authentic Watchbands described as ‘associated’ are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights or keys.

(b) As collectors’ watches and clocks often have very fine and complex mechanisms, a general service, change of battery or further repair work may be necessary, for which you are responsible. We do not give a warranty that any watch or clock is in good working order. Certificates are not available unless described in the catalogue.

(c) Most watches have been opened to find out the type and quality of movement. For that reason, watches with water resistant cases may not be waterproof and we recommend you have them checked by a competent watchmaker before use.

Important information about the sale, transport and shipping of watches and watchbands can be found in paragraph H2(g).

B REGISTERING TO BID

1 NEW BIDDERS

(a) If this is your first time bidding at Christie’s or you are a returning bidder who has not bought anything from any of our salerooms within the last two years you must register at least 48 hours before an auction to give us enough time to process and approve your registration. We may, at our option, decline to permit you to register as a bidder. You will be asked for the following: (i) for individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of your current address (for example, a current utility bill or bank statement).

(ii) for corporate clients: Your Certificate of Incorporation or equivalent document(s) showing your name and registered address together with documentary proof of directors and beneficial owners; and (iii) for trusts, partnerships, offshore companies and other business structures, please contact us in advance to discuss our requirements.

(b) We may also ask you to give us a financial reference and/or a deposit as a condition of allowing you to bid. For help, please contact our Credit Department on +44 (0)20 7839 9060.

2 RETURNING BIDDERS

We may at our option ask you for current identification as described in paragraph B1(a) above, a financial reference or a deposit as a condition of allowing you to bid. If you have not bought anything from any of our salerooms in the last two years or if you want to spend more than on previous occasions, please contact our Credit Department on +44 (0)20 7839 9060.

3 IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion you do not satisfy our bidder identification and registration procedures including, but not limited to completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller.

4 BIDDING ON BEHALF OF ANOTHER PERSON

(a) As authorised bidder. If you are bidding on behalf of another person who will pay Christie’s directly, that person will need to complete the registration requirements above before you can bid, and supply a signed letter authorising you to bid for him/her. (b) As agent for a principal: If you register in your own name but are acting as agent for someone else (the “ultimate buyer(s)”) who will put you in funds before you pay us, you accept personal liability to pay the purchase price and all other sums due. We will require you to disclose the identity of the ultimate buyer(s) and may require you to provide documents to verify their identity in accordance with paragraph E3(b).

5 BIDDING IN PERSON

If you wish to bid in the saleroom you must register for a numbered bidding paddle at least 30 minutes before the auction. You may register online at www.christies.com or in person. For help, please contact the Credit Department on +44 (0)20 7839 9060.

6 BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

(a) Phone Bids

Your request for this service must be made no later than 24 hours prior to the auction. We will accept bids by telephone for lots only if our staff are available to take the bids. If you need to bid in a language other than in English, you must arrange this well before the auction. We may record telephone bids. By bidding on the telephone, you are agreeing to us recording your conversations. You also agree that your telephone bids are governed by these Conditions of Sale.

(b) Internet Bids on Christie’s Live™

For certain auctions we will accept bids over the Internet. For more information, please visit https://www.christies.com/buyingservices/buying-guide/register-and-bid/ As well as these Conditions of Sale, internet bids are governed by the Christie’s LIVE™ Terms of Use which are available on https://www.christies. com/LiveBidding/OnlineTermsOfUse.aspx

(c) Written Bids

You can find a Written Bid Form at the back of our catalogues, at any Christie’s office or by choosing the sale and viewing the lots online at www.christies.com. We must receive your completed Written Bid Form at least 24 hours before the auction. Bids must be placed in the currency of the saleroom. The auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the reserve. If you make a written bid on a lot which does not have a reserve and there is no higher bid than yours, we will bid on your behalf at around 50% of the low estimate or, if lower, the amount of your bid. If we receive written bids on a lot for identical amounts, and at the auction these are the highest bids on the lot we will sell the lot to the bidder whose written bid we received first.

C CONDUCTING THE SALE

1 WHO CAN ENTER THE AUCTION

We may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid.

2 RESERVES

Unless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without a reserve with the symbol • next to the lot number. The reserve cannot be more than the lot’s low estimate unless the lot is subject to a third party guarantee

and the irrevocable bid exceeds the printed low estimate. In that case, the reserve will be set at the amount of the irrevocable bid. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º♦

3 AUCTIONEER’S DISCRETION

The auctioneer can at his sole option:

(a) refuse any bid;

(b) move the bidding backwards or forwards in any way he or she may decide, or change the order of the lots;

(c) withdraw any lot;

(d) divide any lot or combine any two or more lots;

(e) reopen or continue the bidding even after the hammer has fallen; and

(f) in the case of error or dispute related to bidding and whether during or after the auction, to continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot. If you believe that the auctioneer has accepted the successful bid in error, you must provide a written notice detailing your claim within 3 business days of the date of the auction. The auctioneer will consider such claim in good faith. If the auctioneer in the exercise of his or her discretion under this paragraph, decides after the auction is complete, to cancel the sale of a lot, or reoffer and resell a lot he or she will notify the successful bidder no later than by the end of the 7th calendar day following the date of the auction. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way prejudice Christie’s ability to cancel the sale of a lot under any other applicable provision of these Conditions of Sale, including the rights of cancellation set forth in section B(3), E(2)(i), F(4) and J(1).

4 BIDDING

The auctioneer accepts bids from: (a) bidders in the saleroom; (b) telephone bidders, and internet bidders through ‘Christie’s LIVE™ (as shown above in Section B6); and (c) written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction.

5 BIDDING ON BEHALF OF THE SELLER

The auctioneer may, at his or her sole option, bid on behalf of the seller up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders. The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve. If lots are offered without reserve the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot. If no bid is made at that level, the auctioneer may decide to go backwards at his or her sole option until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold.

6 BID INCREMENTS

Bidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at his or her sole option where the bidding should start and the bid increments. The usual bid increments are shown for guidance only on the Written Bid Form at the back of this catalogue.

7 CURRENCY CONVERTER

The saleroom video screens (and Christies LIVETM) may show bids in some other major currencies as well as sterling. Any conversion is for guidance only and we cannot be bound by any rate of exchange used. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

8 SUCCESSFUL BIDS

Unless the auctioneer decides to use his or her discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by post and/or email after the auction, we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges.

9 LOCAL BIDDING LAWS

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

D THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

1 THE BUYER’S PREMIUM

In addition to the hammer price the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge 26% of the hammer price up to and including £700,000, 20% on that part of the hammer price over £700,000 and up to and including £4,500,000, and 14.5% of that part of the hammer price above £4,500,000. VAT will be added to the buyer’s premium and is payable by you. For lots offered under the VAT Margin Scheme or Temporary Admission VAT rules, the VAT may not be shown separately on our invoice because of tax laws. You may be eligible to have a VAT refund in certain circumstances if the lot is exported. Please see the “VAT refunds: what can I reclaim?” section of ‘VAT Symbols and Explanation’ for further information.

2 TAXES

The successful bidder is responsible for all applicable tax including any VAT, sales or compensating use tax or equivalent tax wherever such taxes may arise on the hammer price and the buyer’s premium VAT charges and refunds depend on the particular circumstances of the buyer. It is the buyer’s responsibility to ascertain and pay all taxes due. VAT is payable on the buyer’s premium and, for some lots, VAT is payable on the hammer price. EU and UK VAT rules will apply on the date of the sale.

Brexit: If the UK withdraws from the EU without an agreed transition deal relating to the import or export of property, then UK VAT and Customs rules only will apply. If your purchased lot has not been shipped before the UK withdraws from the EU, your invoiced VAT position may retrospectively change and additional import tariffs may be due on your purchase if imported into the EU. Further information can be found in the ‘VAT Symbols and Explanation’ section of our catalogue.

For lots Christie’s ships to the United States, sales or use tax may be due on the hammer price buyer’s premium and/or any other charges related to the lot, regardless of the nationality or citizenship of the purchaser. Christie’s will collect sales tax where legally required. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped. Successful bidders claiming an exemption from sales tax must provide appropriate documentation to Christie’s prior to the release of the lot For shipments to those states for which Christie’s is not required to collect sales tax, a successful bidder may be required to remit use tax to that state’s taxing authorities. Christie’s recommends you obtain your own independent tax advice with further questions.

3 ARTIST’S RESALE ROYALTY

In certain countries, local laws entitle the artist or the artist’s estate to a royalty known as ‘artist’s resale right’ when any lot created by the artist is sold. We identify these lots with the symbol λ next to the lot number. If these laws apply to a lot you must pay us an extra amount equal to the royalty. We will pay the royalty to the appropriate authority on the seller’s behalf.

The artist’s resale royalty applies if the hammer price of the lot is 1,000 euro or more. The total royalty for any lot cannot be more than 12,500 euro. We work out the amount owed as follows: Royalty for the portion of the hammer price (in euros)

4% up to 50,000

3% between 50,000.01 and 200,000

1% between 200,000.01 and 350,000

0.50% between 350,000.01 and 500,000 over 500,000, the lower of 0.25% and 12,500 euro. We will work out the artist’s resale royalty using the euro to sterling rate of exchange of the European Central Bank on the day of the auction.

E WARRANTIES

1 SELLER’S WARRANTIES

For each lot the seller gives a warranty that the seller:

(a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot, or the right to do so in law; and

(b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses. The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded.

2 OUR AUTHENTICITY WARRANTY

We warrant, subject to the terms below, that the lots in our sales are authentic (our ‘authenticity warranty’). If, within five years of the date of the auction, you give notice to us that your lot is not authentic subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The terms of the authenticity warranty are as follows:

(a) It will be honoured for claims notified within a period of five years from the date of the auction. After such time, we will not be obligated to honour the authenticity warranty

(b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the ‘Heading’). It does not apply to any information other than in the Heading even if shown in UPPERCASE type

(c) The authenticity warranty does not apply to any Heading or part of a Heading which is qualified. Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. For example, use of the term ‘ATTRIBUTED TO…’ in a Heading means that the lot is in Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and a lot’s full catalogue description before bidding.

(d) The authenticity warranty applies to the Heading as amended by any Saleroom Notice

(e) The authenticity warranty does not apply where scholarship has developed since the auction leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the sale or drew attention to any conflict of opinion.

(f) The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot

(g) The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest or restriction by anyone else. The benefit of this authenticity warranty may not be transferred to anyone else.

(h) In order to claim under the authenticity warranty, you must:

(i) give us written notice of your claim within five years of the date of the auction. We may require full details and supporting evidence of any such claim;

(ii) at Christie’s option, we may require you to provide the written opinions of two recognised experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic. If we have any doubts, we reserve the right to obtain additional opinions at our expense; and

(iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.

(i) Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, in any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses.

(j) Books. Where the lot is a book, we give an additional warranty for 14 days from the date of the sale that if on collation any lot is defective in text or illustration, we will refund your purchase price subject to the following terms:

(a) This additional warranty does not apply to:

(i) the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of the text or illustration;

(ii) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals;

(iii) books not identified by title;

(iv) lots sold without a printed estimate;

(v) books which are described in the catalogue as sold not subject to return; or

(vi) defects stated in any condition report or announced at the time of sale.

(b) To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 14 days of the date of the sale.

(k) South East Asian Modern and Contemporary Art and Chinese Calligraphy and Painting.

In these categories, the authenticity warranty does not apply because current scholarship does not permit the making of definitive statements. Christie’s does, however, agree to cancel a sale in either of these two categories of art where it has been proven the lot is a forgery. Christie’s will refund to the original buyer the purchase price in accordance with the terms of Christie’s authenticity warranty, provided that the original buyer notifies us with full supporting evidence documenting the forgery claim within twelve (12) months of the date of the auction. Such evidence must be satisfactory to us that the lot is a forgery in accordance with paragraph E2(h)(ii) above and the lot must be returned to us in accordance with E2h(iii) above. Paragraphs E2(b), (c), (d), (e), (f) and (g) and (i) also apply to a claim under these categories.

(l) Chinese, Japanese and Korean artefacts (excluding Chinese, Japanese and Korean calligraphy, paintings, prints, drawings and jewellery).

In these categories, paragraph E2 (b) – (e) above shall be amended so that where no maker or artist is identified, the authenticity warranty is given not only for the Heading but also for information regarding date or period shown in UPPERCASE type in the second line of the catalogue description (the “Subheading”). Accordingly, all references to the Heading in paragraph E2 (b) – (e) above shall be read as references to both the Heading and the Subheading 3 YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activity, including tax evasion, and you are neither under investigation, nor have you been charged with or convicted of money laundering, terrorist activities or other crimes.

(b) where you are bidding as agent on behalf of any ultimate buyer(s) who will put you in funds before you pay Christie’s for the lot(s) you warrant that:

(i) you have conducted appropriate customer due diligence on the ultimate buyer(s) and have complied with all applicable anti-money laundering, counter terrorist financing and sanctions laws;

(ii) you will disclose to us the identity of the ultimate buyer(s) (including any officers and beneficial owner(s) of the ultimate buyer(s) and any persons acting on its behalf) and on our request, provide documents to verify their identity;

(iii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes;

(iv) you do not know, and have no reason to suspect that the ultimate buyer(s) (or its officers, beneficial owners or any persons acting on its behalf) are on a sanctions list, are under investigation for, charged with or convicted of money laundering, terrorist activities or other crimes, or that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion; and

(v) where you are a regulated person who is supervised for antimoney laundering purposes under the laws of the EEA or another jurisdiction with requirements equivalent to the EU 4th Money Laundering Directive, and we do not request documents to verify the ultimate buyer’s identity at the time of registration, you consent to us relying on your due diligence on the ultimate buyer, and will retain their identification and verification documents for a period of not less than 5 years from the date of the transaction. You will make such documentation available for immediate inspection on our request.

F PAYMENT

1 HOW TO PAY

(a) Immediately following the auction, you must pay the purchase price being:

(i) the hammer price; and

(ii) the buyer’s premium; and

(iii) any amounts due under section D3 above; and

(iv) any duties, goods, sales, use, compensating or service tax or VAT.

Payment is due no later than by the end of the seventh calendar day following the date of the auction (the ‘due date’).

(b) We will only accept payment from the registered bidder. Once

issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name. You must pay immediately even if you want to export the lot and you need an export licence.

(c) You must pay for lots bought at Christie’s in the United Kingdom in the currency stated on the invoice in one of the following ways:

(i) Wire transfer

You must make payments to:

Lloyds Bank Plc, City Office, PO Box 217, 72 Lombard Street, London EC3P 3BT. Account number: 00172710, sort code: 30-0002 Swift code: LOYDGB2LCTY. IBAN (international bank account number): GB81 LOYD 3000 0200 1727 10.

(ii) Credit Card.

We accept most major credit cards subject to certain conditions. You may make payment via credit card in person. You may also make a ‘cardholder not present’ (CNP) payment by calling Christie’s Post-Sale Services Department on +44 (0)20 7752 3200 or for some sales, by logging into your MyChristie’s account by going to: www.christies.com/mychristies. Details of the conditions and restrictions applicable to credit card payments are available from our Post-Sale Services Department, whose details are set out in paragraph (e) below.

If you pay for your purchase using a credit card issued outside the region of the sale, depending on the type of credit card and account you hold, the payment may incur a cross-border transaction fee. If you think this may apply to, you, please check with your credit card issuer before making the payment.

Please note that for sales that permit online payment, certain transactions will be ineligible for credit card payment.

(iii) Cash

We accept cash subject to a maximum of £5,000 per buyer per year at our Cashier’s Department Department only (subject to conditions).

(iv) Banker’s draft

You must make these payable to Christie’s and there may be conditions.

(v) Cheque

You must make cheques payable to Christie’s. Cheques must be from accounts in pounds sterling from a United Kingdom bank.

(d) You must quote the sale number, lot number(s), your invoice number and Christie’s client account number when making a payment. All payments sent by post must be sent to: Christie’s, Cashiers Department, 8 King Street, St James’s, London, SW1Y 6QT.

(e) For more information please contact our Post-Sale Service Department by phone on +44 (0)20 7752 3200 or fax on +44 (0)20 752 3300.

2. TRANSFERRING OWNERSHIP TO YOU

You will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price even in circumstances where we have released the lot to the buyer.

3 TRANSFERRING RISK TO YOU

The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following:

(a) When you collect the lot; or

(b) At the end of the 30th day following the date of the auction or, if earlier, the date the lot is taken into care by a third party warehouse as set out on the page headed ‘Storage and Collection’, unless we have agreed otherwise with you in writing.

4 WHAT HAPPENS IF YOU DO NOT PAY

(a) If you fail to pay us the purchase price in full by the due date, we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights or remedies we have by law):

(i) to charge interest from the due date at a rate of 5% a year above the UK Lloyds Bank base rate from time to time on the unpaid amount due;

(ii) we can cancel the sale of the lot. If we do this, we may sell the lot again, publicly or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale;

(iii) we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue you for such amounts;

(iv) we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law;

(v) we can take what you owe us from any amounts which we or any company in the Christie’s Group may owe you (including any deposit or other part-payment which you have paid to us);

(vi) we can, at our option, reveal your identity and contact details to the seller;

(vii) we can reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;

(viii) to exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and (ix) we can take any other action we see necessary or appropriate.

(b) If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other part-payment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction.

(c) If you make payment in full after the due date, and we choose to accept such payment we may charge you storage and transport costs from the date that is 30 calendar days following the auction in accordance with paragraphs Gd(i) and (ii). In such circumstances paragraph Gd(iv) shall apply.

5 KEEPING YOUR PROPERTY

If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law. We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe. However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us.

G COLLECTION AND STORAGE

(a) You must collect purchased lots within thirty days from the auction (but note that lots will not be released to you until you have made full and clear payment of all amounts due to us)

(b) Information on collecting lots is set out on the Storage and Collection page and on an information sheet which you can get from the bidder registration staff or Christie’s Post-Sale Services Department on +44 (0)20 7752 3200.

(c) If you do not collect any lot within thirty days following the auction we can, at our option:

(i) charge you storage costs at the rates set out at www.christies. com/storage.

(ii) move the lot to another Christie’s location or an affiliate or third party warehouse and charge you transport costs and administration fees for doing so and you will be subject to the third party storage warehouse’s standard terms and to pay for their standard fees and costs.

(iii) sell the lot in any commercially reasonable way we think appropriate.

(d) The Storage Conditions which can be found at www.christies. com/storage will apply.

H TRANSPORT AND SHIPPING

1 TRANSPORT AND SHIPPING

We will enclose a transport and shipping form with each invoice sent to you. You must make all transport and shipping arrangements. However, we can arrange to pack, transport and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate especially for any large items or items of high value that need professional packing before you bid. We may also suggest other handlers, packers, transporters or experts if you ask us to do so. For more information, please contact Christie’s Art Transport on +44 (0)20 7839 9060. See the information set out at www.christies.com/shipping or contact us at arttransport_ london@christies.com. We will take reasonable care when we are handling, packing, transporting and shipping a lot. However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act or neglect.

2 EXPORT AND IMPORT

Any lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries. Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of any lot you purchase.

(a) You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot. We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one.

For more information, please contact Christie’s Art Transport Department on +44 (0)20 7839 9060. See the information set out at www.christies.com/shipping or contact us at arttransport_ london@christies.com.

(b) You alone are responsible for any applicable taxes, tariffs or other government-imposed charges relating to the export or import of the lot. If Christie’s exports or imports the lot on your behalf, and if Christie’s pays these applicable taxes, tariffs or other governmentimposed charges, you agree to refund that amount to Christie’s.

(c) Lots made of protected species

Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol in the catalogue. This material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to import the lot into another country. Several countries refuse to allow you to import property containing these materials, and some other countries require a licence from the relevant regulatory agencies in the countries of exportation as well as importation. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age and you will need to obtain these at your own cost. If a lot contains elephant ivory, or any other wildlife material that could be confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory), please see further important information in paragraph (c) if you are proposing to import the lot into the USA. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of property containing such protected or regulated material.

(d) US import ban on African elephant ivory

The USA prohibits the import of ivory from the African elephant. Any lot containing elephant ivory or other wildlife material that could be easily confused with elephant ivory (for example,

mammoth ivory, walrus ivory, helmeted hornbill ivory) can only be imported into the US with results of a rigorous scientific test acceptable to Fish & Wildlife, which confirms that the material is not African elephant ivory. Where we have conducted such rigorous scientific testing on a lot prior to sale, we will make this clear in the lot description. In all other cases, we cannot confirm whether a lot contains African elephant ivory, and you will buy that lot at your own risk and be responsible for any scientific test or other reports required for import into the USA at your own cost. If such scientific test is inconclusive or confirms the material is from the African elephant, we will not be obliged to cancel your purchase and refund the purchase price

(e) Lots of Iranian origin

Some countries prohibit or restrict the purchase and/or import of Iranian-origin ‘works of conventional craftsmanship’ (works that are not by a recognised artist and/or that have a function, for example: carpets, bowls, ewers, tiles, ornamental boxes). For example, the USA prohibits the import of this type of property and its purchase by US persons (wherever located). Other countries only permit the import of this property in certain circumstances. As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). It is your responsibility to ensure you do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to you.

(f) Gold

Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’.

(g) Jewellery over 50 years old

Under current laws, jewellery over 50 years old which is worth £39,219 or more will require an export licence which we can apply for on your behalf. It may take up to eight weeks to obtain the export jewellery licence.

(h) Watches

Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol ψ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its discretion, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within one year of the date of the sale. Please check with the department for details on a particular lot

For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots

I OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties

(b) (i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these Conditions of Sale; or

(ii) We do not give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) In particular, please be aware that our written and telephone bidding services, Christie’s LIVE™, condition reports, currency converter and saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission or breakdown in these services.

(d) We have no responsibility to any person other than a buyer in connection with the purchase of any lot

(e) If, in spite of the terms in paragraphs (a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

J OTHER TERMS

1 OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel a sale of a lot if: (i) any of your warranties in paragraph E3 are not correct; (ii) we reasonably believe that completing the transaction is or may be unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2 RECORDINGS

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law. However, we may, through this process, use or share these recordings with another Christie’s Group company and marketing partners to analyse our customers and to help us to tailor our services for buyers. If you do not want to be videotaped, you may make arrangements to make a telephone or written bid or bid on Christie’s LIVE™ instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3 COPYRIGHT

We own the copyright in all images, illustrations and written material produced by or for us relating to a lot (including the contents of our catalogues unless otherwise noted in the catalogue). You cannot use them without our prior written permission. We do not offer any guarantee that you will gain any copyright or other reproduction rights to the lot

4 ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as being deleted and the rest of this agreement will not be affected.

5 TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer your rights or responsibilities under these terms on the contract of sale with the buyer unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6 TRANSLATIONS

If we have provided a translation of this agreement, we will use this original version in deciding any issues or disputes which arise under this agreement.

7 PERSONAL INFORMATION

We will hold and process your personal information and may pass it to another Christie’s Group company for use as described in, and in line with, our privacy notice at www.christies.com/about-us/ contact/privacy and if you are a resident of California you can see a copy of our California Consumer Privacy Act statement at https:// www.christies.com/about-us/contact/ccpa.

8 WAIVER No failure or delay to exercise any right or remedy provided under these Conditions of Sale shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

9 LAW AND DISPUTES

This agreement, and any contractual or non-contractual dispute arising out of or in connection with this agreement, will be governed by English law. Before either you or we start any court proceedings and if you and we agree, you and we will try to settle the dispute by mediation in accordance with the CEDR Model Mediation Procedure. If the dispute is not settled by mediation, you agree for our benefit that the dispute will be referred to and dealt with exclusively in the English courts; however, we will have the right to bring proceedings against you in any other court.

10 REPORTING ON WWW.CHRISTIES.COM

Details of all lots sold by us, including catalogue descriptions and prices, may be reported on www.christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree to requests to remove these details from www.christies.com

K GLOSSARY

auctioneer: the individual auctioneer and/or Christie’s. authentic: a genuine example, rather than a copy or forgery of:

(i) the work of a particular artist, author or manufacturer, if the lot is described in the Heading as the work of that artist, author or manufacturer;

(ii) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture;

(iii) a work for a particular origin source if the lot is described in the Heading as being of that origin or source; or

(iv) in the case of gems, a work which is made of a particular material, if the lot is described in the Heading as being made of that material.

authenticity warranty: the guarantee we give in this agreement that a lot is authentic as set out in section E2 of this agreement. buyer’s premium: the charge the buyer pays us along with the hammer price catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice.

Christie’s Group: Christie’s International Plc, its subsidiaries and other companies within its corporate group.

condition: the physical condition of a lot

due date: has the meaning given to it in paragraph F1(a).

estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot

Heading: has the meaning given to it in paragraph E2.

Subheading: has the meaning given to it in paragraph E2. lot: an item to be offered at auction (or two or more items to be offered at auction as a group).

other damages: any special, consequential, incidental or indirect damages of any kind or any damages which fall within the meaning of ‘special’, ‘incidental’ or ‘consequential’ under local law.

purchase price: has the meaning given to it in paragraph F1(a).

provenance: the ownership history of a lot

qualified: has the meaning given to it in paragraph E2 and Qualified Headings means the section headed Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’.

reserve: the confidential amount below which we will not sell a lot saleroom notice: a written notice posted next to the lot in the saleroom and on www.christies.com which is also read to prospective telephone bidders and notified to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale, or before a particular lot is auctioned.

UPPER CASE type: means having all capital letters.

warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

Important Notice

The VAT liability in force on the date of the sale will be the rules under which we invoice you.

You can find the meanings of words in bold on this page in the glossary section of the Conditions of Sale.

VAT Payable

Symbol

No Symbol

† θ

We will use the VAT Margin Scheme in accordance with Section 50A of the VAT Act 1994 & SI VAT (Special Provisions) Order 1995. No VAT will be charged on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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

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

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

α The VAT treatment will depend on whether you have registered to bid with a UK address or non-UK address:

• If you register to bid with an address within the UK you will be invoiced under the VAT Margin Scheme (see No Symbol above).

• If you register to bid with an address outside of the UK you will be invoiced under standard VAT rules (see † symbol above)

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

VAT refunds: what can I reclaim?

Non-UK buyer

If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:

No symbol We will refund the VAT amount in the buyer’s premium

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

‡ (wine only)

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

* and Ω We will refund the Import VAT charged on the hammer price and the VAT amount in the buyer’s premium

1. We CANNOT offer refunds of VAT amounts or Import VAT to buyers who do not meet all applicable conditions in full. If you are unsure whether you will be entitled to a refund, please contact Client Services at the address below before you bid.

2. No VAT amounts or Import VAT will be refunded where the total refund is under £100.

3. To receive a refund of VAT amounts/Import VAT (as applicable) a non-UK buyer must:

a) have registered to bid with an address outside of the UK; and

b) provide immediate proof of correct export out of the UK within the

required time frames of: 30 days via a ‘controlled export’ but no later than 90 days from the date of the sale for * and Ω lots. All other lots must be exported within 90 days of the sale.

4. Details of the documents which you must provide to us to show satisfactory proof of export/shipping are available from our VAT team at the address below.

We charge a processing fee of £35.00 per invoice to check shipping/ export documents. We will waive this processing fee if you appoint Christie’s Shipping Department to arrange your export/shipping.

5. Following the UK’s departure from the EU (Brexit), private buyers will only be able to secure VAT-free invoicing and/or VAT refunds if they instruct Christie’s or a third party commercial shipper to export out of the UK on their behalf.

6. Private buyers who choose to export their purchased lots from the UK by hand carry will now be charged VAT at the applicable rate and will not be able to claim a VAT refund.

7. If you appoint Christie’s Art Transport or one of our authorised shippers to arrange your export/ shipping we will issue you with an

export invoice with the applicable VAT or duties cancelled as outlined above. If you later cancel or change the shipment in a manner that infringes the rules outlined above we will issue a revised invoice charging you all applicable taxes/charges.

If you export via a third party commercial shipper, you must provide us with sufficient proof of export in order for us to cancel the applicable VAT or duties outlined above.

8. If you ask us to re-invoice you under normal UK VAT rules (as if the lot had been sold with a † symbol) instead of under the Margin Scheme the lot may

become ineligible to be resold using the Margin Schemes. You should take professional advice if you are unsure how this may affect you.

9. All reinvoicing requests, corrections, or other VAT adjustments must be received within four years from the date of sale.

If you have any questions about VAT refunds please contact Christie’s Client Services on info@christies.com

Tel: +44 (0)20 7389 2886. Fax: +44 (0)20 7839 1611.

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

º

Christie’s has a direct financial interest in the lot. See Important Notices and Explanation of Cataloguing Practice.

Δ

Property in which Christie’s or another Christie’s Group company has an ownership or financial interest. See Important Notices and Explanation of Cataloguing Practice.

♦

Christie’s has a direct financial interest in the lot and has funded all or part of our interest with the help of someone else. See Important Notices and Explanation of Cataloguing Practice.

¤

A party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot

λ

Artist’s Resale Right. See Section D3 of the Conditions of Sale.

• Lot offered without reserve which will be sold to the highest bidder regardless of the pre-sale estimate in the catalogue.

∼ Lot incorporates material from endangered species which could result in export restrictions.

See Section H2(c) of the Conditions of Sale. ψ

Lot incorporates material from endangered species which is shown for display purposes only and is not for sale.

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

†, * , Ω, α, ‡ See VAT Symbols and Explanation.

■

See Storage and Collection Pages.

Accepting payment in certain cryptocurrencies for this lot, conditions apply. See Lot Page and Conditions of Sale for further information.

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

IMPORTANT NOTICES AND EXPLANATION OF CATALOGUING PRACTICE

CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION

Δ Property in which Christie’s has an ownership or financial interest

From time to time, Christie’s may offer a lot in which Christie’s has an ownership interest or a financial interest. Such property is identified in the catalogue with the symbol Δ next to its lot number. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest in the front of the catalogue.

º Minimum Price Guarantees

On occasion, Christie’s has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. Where Christie’s holds such financial interest we identify such lots with the symbol º next to the lot number.

º♦ Third Party Guarantees/Irrevocable bids

Where Christie’s has provided a Minimum Price Guarantee, it is at risk of making a loss, which can be significant if the lot fails to sell. Christie’s therefore sometimes chooses to share that risk with a third party who agrees prior to the auction to place an irrevocable written bid on the lot. If there are no other higher bids, the third party commits to buy the lot at the level of their irrevocable written bid. In doing so, the third party takes on all or part of the risk of the lot not being sold. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º♦

In most cases, Christie’s compensates the third party in exchange for accepting this risk. Where the third party is the successful bidder, the third party’s remuneration is based on a fixed financing fee. If the third party is not the successful bidder, the remuneration may either be based on a fixed fee or an amount calculated against the final hammer price. The third party may also bid for the lot above the irrevocable written bid.

Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not he or she has a financial interest in relation to the lot

¤ Bidding by parties with an interest

When a party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot, we will mark the lot with this symbol ¤. This interest can include beneficiaries of an estate that consigned the lot or a joint owner of a lot. Any interested party that successfully bids on a lot must comply with Christie’s Conditions of Sale, including paying the lot’s full Buyer’s Premium plus applicable taxes.

Post-catalogue notifications

In certain instances, after the catalogue has been published, Christie’s may enter into an arrangement or become aware of bidding that would have required a catalogue symbol. In those instances, a pre-sale or pre-lot announcement will be made.

Other Arrangements

Christie’s may enter into other arrangements not involving bids. These include arrangements where Christie’s has advanced money to consignors or prospective purchasers or where Christie’s has shared the risk of a guarantee with a partner without the partner being required to place an irrevocable written bid or otherwise participating in the bidding on the lot. Because such arrangements are unrelated to the bidding process they are not marked with a symbol in the catalogue.

EXPLANATION OF CATALOGUING PRACTICE FOR PICTURES, DRAWINGS, PRINTS AND MINIATURES

Terms used in this catalogue have the meanings ascribed to them below. Please note that all statements in this catalogue as to authorship are made subject to the provisions of the Conditions of Sale and Limited Warranty. Buyers are advised to inspect the property themselves. Written condition reports are usually available on request.

Name(s) or Recognised Designation of an Artist without any Qualification

In Christie’s opinion a work by the artist.

*“Attributed to …”

In Christie’s qualified opinion probably a work by the artist in whole or in part.

*“Studio of …”/“Workshop of …”

In Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision.

*“Circle of …”

In Christie’s qualified opinion a work of the period of the artist and showing his influence.

*“Follower of …”

In Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil.

*“Manner of …”

In Christie’s qualified opinion a work executed in the artist’s style but of a later date.

*“After …”

In Christie’s qualified opinion a copy (of any date) of a work of the artist.

“Signed …”/“Dated …”/ “Inscribed …”

In Christie’s qualified opinion the work has been signed/ dated/inscribed by the artist.

“With signature …”/“With date …”/ “With inscription …”

In Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist.

The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published.

*This term and its definition in this Explanation of Cataloguing Practice are a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the Limited Warranty shall not be available with respect to lots described using this term.

AA APPLICATION

1. These additional conditions of sale apply to lots where the item offered for sale at the auction is a Non-Fungible Token (NFT).

2. They apply in addition to, and should be read in conjunction with, the main London Conditions of Sale Buying at Christie’s.

3. To the extent there is a conflict between the “London Conditions of Sale Buying at Christie’s” and these “Additional Conditions of Sale – Non-Fungible Tokens”, the latter controls.

BB UNDERSTANDING WHAT YOU ARE BUYING

1. NFTs are a new form of asset arising out of the creation of the blockchain. Whilst they are capable of being bought and sold like other assets, they are very different from traditional items (such as original paintings) offered for sale at auction.

2. In particular, purchasing an NFT at auction does not mean that you are buying the digital asset (for example, the digital artwork) associated with the NFT. Whilst each NFT is associated with a digital asset they are separate and distinct, and you should check before bidding on an NFT what rights (if any) you are granted to use the digital asset by virtue of buying the NFT

3. Before you register to bid for an NFT at one of our auctions, you should make sure that you are familiar with NFTs and how they work and that you fully understand these additional conditions of sale relating to NFTs and in particular what they mean for you in terms of bidding for/buying an NFT and your responsibilities in relation to any purchase of an NFT

4. In particular, before bidding on an NFT you should carry out a thorough review of the NFT and its related smart contract including the rights (if any) in the digital asset granted to the buyer of the NFT, so that you fully understand what you are buying if you are the successful bidder.

5. If you feel you do not know enough about NFTs smart contracts and the blockchain to be able to make an informed decision about whether to buy an NFT at auction or if you are uncomfortable with any of the risks associated with buying this new form of asset, then we recommend that you do not register to bid, or bid, for an NFT at our auctions.

CC BEFORE THE SALE

1. Description of lots

(a) Our description of an NFT lot may specify certain information that you would not find in an ordinary lot description, including: the smart contract address; the NFT Token ID: the blockchain on which the NFT is stored; the server or network on which the digital asset is stored; and the NFT metadata You should review and confirm this information. We do not carry out any in-depth technical analysis of this information nor do we warrant its accuracy or completeness.

(b) Given the nature of NFTs and the capability the blockchain provides to you to check the provenance and authenticity of an NFT, we do not provide our authenticity warranty in relation to NFT lots. However, as a service to you as the potential buyer of an NFT our description of the NFT lot will alert you, if the terms of the smart contract, specify that (i) ongoing NFT payments are payable in respect of the NFT; (ii) restrictions on the resale of the NFT apply; and/or (iii) the NFT may expire, in each case to allow you as the potential buyer to carry out further due diligence into each of these matters to work out how they may impact the price you are willing to pay for the NFT lot

(c) Recognising that an NFT Lot is the sale of the NFT and not the sale of the digital asset to which it is associated, our description of the digital asset, and any other statement made by us (whether orally or in writing) about the digital asset, including about its nature or condition artist provenance technical details, security or integrity, are our opinion and not to be relied on as a statement of fact. We do not carry out any in-depth technical or legal analysis of any digital asset nor do we warrant its accuracy or completeness. In particular, you will need to review the smart contract to find out what, if any, rights to the digital asset you obtain by virtue of buying the NFT so that you can then factor those rights (if any) into the price you are willing to pay for the NFT lot

2. Our responsibility for our description of lots

Paragraph E2 does not apply to NFT lots andparagraphs A2 and I(a) are deemed amended accordingly. We do not provide any guarantee in relation to the nature of an NFT lot, and the fact that a lot may be stored on a blockchain should also not be interpreted as, or deemed to be, any guarantee.

3. Estimates

In addition to the factors on which estimates are based set out in paragraph A5, estimates for NFT lots also take into account any ongoing NFT payments to any party including the seller, any restrictions on the resale of the NFT as well as any potential expiry of the NFT

DD CHARGES TO YOU - TAXES, ONGOING NFT PAYMENTS

1. Taxes

For the sale of each lot Christie’s will determine whether any applicable tax may be required to be collected from the successful bidder in accordance with applicable law, including without limitation any sales or compensating use tax or their equivalent. Depending upon applicable law, an NFT will generally be deemed to be delivered to the successful bidder at the location of their tax domicile or, to the extent it can be determined, the location of the digital asset, unless otherwise agreed by Christie’s, with the resulting tax (if any) determined by the applicable tax rates and rules in that jurisdiction.

In addition to your standard responsibilities for paying all applicable taxes relating to your purchase of a lot (see paragraph D2 for details), in the event that your payment is made in cryptocurrency you will also be responsible for any income or other tax arising from your disposition of such cryptocurrency.

2. Ongoing NFT Payments

Whilst we look to alert you (where applicable) to the fact that ongoing NFT payments are payable in relation to an NFT lot you alone are responsible for determining the extent of any ongoing NFT payments, including any automated fees, commissions or royalties, in the NFT smart contract which may be due by you to the seller or other third party upon a subsequent transfer of the lot by you to a third party, and by purchasers of the NFT going forward. Christie’s is not responsible to you for any reason in connection with any ongoing NFT payments, including for making any disclosures to you in connection therewith other than alerting you to the fact that such payments are payable. Ongoing NFT payments that are triggered by the sale itself are deducted from the proceeds of sale

EE. WARRANTIES

1. Seller’s Warranties

(a) In respect of an NFT lot, the warranty given by the seller in paragraph E1(b) about the right to transfer ownership of the lot without any restrictions or claims by anyone else is made subject to the following disclosures about restrictions and claims: (i) any ongoing NFT payments that are payable in respect of the NFT; (ii) any restrictions on the resale of the NFT; and (iii) any potential expiration of the NFT, in each case as set out in the smart contract

(b) In respect of an NFT lot, the seller gives an additional warranty, which shall be added as a new paragraph E1(c), that if the seller has granted any rights to the digital asset in the smart contract, that the seller has the right to do so

2. Additional Buyer’s Acknowledgements and Representations for NFT Lots

(a) You acknowledge that your purchase of the lot means you have full ownership rights in the NFT itself, including the right to store, sell and transfer your NFT subject to (i) any ongoing NFT payments that are payable in respect of the NFT; (ii) any restrictions on the resale of the NFT; and (iii) any potential expiration of the NFT in each case as set out in the smart contract. Your purchase of the lot does not provide any rights, express or implied, in (including, without limitation, any copyrights or other intellectual property rights in and to) the digital asset underlying the NFT other than those rights (if any) expressly set out in the smart contract. For the avoidance of doubt, you do not have the right to distribute or otherwise commercialize the digital asset without the prior authorization of the seller (which, if given, will be found in the smart contract) or the party(ies) that holds such rights. Your rights and interest in the digital asset (if any) and the NFT provided by these Conditions of Sale will immediately terminate upon any subsequent sale, transfer, dispossession, burning or other relinquishment of the NFT

(b) You understand and accept that NFTs are minted by third parties unaffiliated with Christie’s, and not by Christie’s itself or on Christie’s behalf.

(c) You acknowledge and agree that there are risks associated with purchasing, holding, and using NFTs. By purchasing, holding and using an NFT you expressly acknowledge and assume all risks including, but not limited to: seller or buyer user error such as forgotten passwords, mistyped addresses, incorrectly constructed transactions, incorrectly programmed NFTs, mining attacks, cybersecurity attacks, weaknesses in our security; blockchain malfunctions or other technical errors, telecommunications failure, malicious software, unfavourable regulatory determinations or actions in one or more jurisdictions (including with respect to NFTs or cryptocurrencies), taxation of NFTs or cryptocurrencies, personal information disclosure, uninsured losses, unanticipated risks, volatility risks, server failure or data loss, corrupted or otherwise inaccessible digital wallets unauthorised access to applications, inability to access or transfer the NFT, inability to access or display the digital asset, risks arising from third-party providers, including thirdparty providers that may mint the NFT and/or store the digital asset, including without limitation such providers ceasing trade or terminating storage or any other services and any unauthorised third party activities, including without limitation the introduction use of viruses or other malicious code, the use of phishing, sybil attacks, 51% attacks, bruteforcing, changes to the protocol rules of the blockchain (i.e. “forks”), or other means of attack that affect, in any way, the NFT or digital asset. If you have any questions regarding these risks seek your own legal advice.

(d) You acknowledge that you have a sufficient understanding of the functionality, usage, storage, transmission mechanisms and other material characteristics of blockchain technology, NFTs digital assets digital wallets, and cryptocurrencies to understand these Conditions of Sale and to appreciate the risks and implications of purchasing NFTs. You acknowledge that you have obtained sufficient information to make an informed decision to purchase an NFT, including reviewing the code of the smart contract the NFT metadata, and the NFT as well as the storage system used for the digital asset, and fully understand and accept the functions of the same.

(e) You acknowledge that we do not guarantee that you will be able to receive, access or view the lot and/or digital asset. We do not provide any application, or other service to enable you to view, receive, access or view the lot and/or digital asset, and that it is your responsibility to procure a digital wallet or other means to allow us or the seller to transfer the lot to you and for you to access or view the digital asset upon such transfer.

(f) You acknowledge and represent that there is substantial uncertainty as to the characterization of NFTs and other digital assets under applicable law. You acknowledge that your purchase of an NFT complies with applicable laws and regulation in your jurisdiction.

FF PAYMENT 1. How to Pay

(a) Within 24 hours of the close of the auction, we will issue an invoice to you for the purchase price. You must pay the purchase price by the due date (no later than 24 hours after we issue you with an invoice in the case of payment made in cryptocurrency, or by the end of the seventh calendar day following the date of the auction for all other currencies).

(b) If Christie’s has stipulated that payment may be made in cryptocurrency for a lot then you may make the full payment in a cryptocurrency permitted by us. Such cryptocurrency payments must be made in accordance with the Terms for Payment by Buyers in Cryptocurrency set out in Appendix B.

2. Transferring Ownership to You

(a) Paragraph F2 does not apply to NFT lots with this paragraph FF2 applying instead.

(b) You will not own the lot and ownership of the lot will not pass to you until: (i) we have confirmed that you have met all bidder identification and registration procedures; (ii) we have received full, clear and undisputed payment of all amounts due, even in circumstances where we have already transferred the lot to you; and (iii) you have received the lot in the digital wallet that you have specified.

(c) If you have purchased a lot, then the seller will transfer the NFT to you after you have met the conditions in paragraphs FF2(b)(i) and (ii). The seller will transfer the NFT only to a digital wallet owned by you and that supports the NFT and you understand and accept that failure to ensure this may result in an inability to receive, transfer or access your NFT. If you bid on behalf of a company, then the digital wallet used to accept the NFT must be owned by the company. You agree that we may provide your digital wallet information to the seller in order to execute the transfer.

(d) If you have purchased a lot, you represent that the digital wallet to which Christie’s will transfer the NFT is not owned by or associated with (i) a citizen or resident of, or located in, a geographic area that is the target of sanctions or embargoes imposed by the European Union, the United Kingdom, the United Nations or the United States or (ii) an individual, or an individual employed by or associated with an entity, identified on the US Department of Commerce’s Denied Persons or Entity List, the US Department of Treasury’s Specially Designated Nationals or Blocked Persons Lists, or the US Department of State’s Debarred Parties List, or similar lists promulgated by the government of the European Union, the United Kingdom, or the United Nations.

3. Transferring risk to you

(a) Paragraph F3 does not apply to NFT lots, with this paragraph FF3 applying instead.

(b) The risk in and responsibility for the lot will transfer to you once the lot is received in the digital wallet that you have specified, which time may be determined at Christie’s discretion, including through observation of the transfer on the blockchain on which the NFT is stored.

(c) You are responsible for implementing reasonable measures for securing the digital wallet or other storage mechanism you use to receive and hold the NFT, including any requisite private key(s) or other credentials necessary to access such storage mechanism(s), and further you specifically acknowledge that the risk of acquiring the NFT from the seller, transferring the NFT to others, and holding or using the NFT or your digital wallet rests entirely with you. If your private key(s) or other access credentials are lost, you may lose access to your NFT We are not responsible for any such losses, including, but not limited to, losses arising from third-party service providers.

(d) We are not responsible if the digital asset becomes inaccessible to you for any reason, or for any modifications or changes to the digital asset, including the digital asset being deleted. You acknowledge that the artist or any third party could make additional copies of, and distribute, the digital asset, and could sell or otherwise assign the copyright or other intellectual property rights or economic rights in the digital asset

(e) We are not responsible for any uses you make of the NFT or for any future transfers you make of the NFT

GG OUR LIABILITY TO YOU

Please see below the additional limitations and exclusions on our liability that apply specifically to NFT lots in addition to the standard limitations and exclusions on our liability set out in the London Conditions of Sale Buying at Christie’s that apply to all lots (including NFT lots).

(a) Recognising that an NFT Lot is the sale of the NFT and not the sale of the digital asset to which it is associated, we are not responsible to you for, and we do not give any representation, warranty, or guarantee, or assume any liability of any kind, in respect of, the digital asset

(b) In particular, given the nature of digital assets you acknowledge and agree that (i) we are not in a position to verify if the seller has the right to grant the rights to the digital asset set out in the smart contract, (ii) you are relying on the warranty provided to you directly by the seller in relation to the rights in the digital asset granted to you and (iii) you will have no recourse against us should it transpire that the seller does not, in fact, have the right to grant the rights to the digital asset set out in the smart contract

(c) We cannot and do not represent, warrant, or guarantee that: (i) any lot or digital asset is error-free, meets your requirements, or that errors or defects in the lot or digital asset can or will be corrected; or (ii) the lot or the delivery mechanism for the lot is free of viruses or other harmful components. We cannot and do not represent, warrant, or guarantee the persistence, security, stability, integrity or continued existence of any digital asset

(d) To the fullest extent permitted by applicable law: in no event will we be liable for (i) any damages arising from failure to transfer the lot due to seller or buyer error such as forgotten passwords, mistyped addresses or incorrectly constructed transactions, incorrectly programmed NFTs, mining attacks, cybersecurity attacks, weaknesses in our security, blockchain malfunctions or other technical errors, telecommunications failure, unfavourable regulatory determinations or actions in one or more jurisdictions (including with respect to NFTs or cryptocurrencies), taxation of NFTs or cryptocurrencies, personal information disclosure, uninsured losses, unanticipated risks, volatility risks, server failure or data loss, corrupted or otherwise inaccessible digital wallets, unauthorised access to applications, inability to access or transfer the NFT, inability to access or display the digital asset risks arising from third-party providers, including third-party providers that may mint the NFT and/or store the NFT or the digital asset including without limitation such providers ceasing trade or terminating storage or any other services ; and (iii) any damages arising from any unauthorised third party activities, including without limitation the introduction of viruses or other malicious code, the use of phishing, sybil attacks, 51% attacks, bruteforcing, changes to the protocol rules of the blockchain (i.e. “forks”) or other means of attack that affect, in any way, the NFT or digital asset

HH GLOSSARY

artist: with respect to NFT lots, the individual or entity that created the digital asset

authentic: with respect to a digital asset, that the digital asset was directly created by the purported artist of the digital asset, and is not a copy of another file or digital asset by another third party.

blockchain: a distributed digital ledger of transactions maintained by a distributed peer-to-peer computer network that cryptographically validates transactions and records such transactions on the ledger.

digital asset: the digital work which the NFT identifies, and with which the NFT is associated.

digital wallet: a custodial or hosted software-based device, program, service, or hardware, that allows the owner to receive, store and transfer digital assets, including but not limited to, cryptocurrencies and NFTs, on a blockchain digital wallet address: a unique alphanumeric string of characters that is associated with and represents the on-chain address for a digital wallet

mint: to generate an NFT for a digital asset on a blockchain

NFT (or non-fungible token): a unique digital certificate that identifies (including through a pointer to, or hash of, the digital asset(s)) and is associated with one or more digital assets which is held and transferred on a blockchain

NFT metadata: information included within the NFT that includes at least: the name of the digital asset; a description of the digital asset; and the location of where the digital asset is stored or a hash of the digital asset itself (such as a content identifier).

ongoing NFT payments: any payments made in connection with the sale and any future payments, in each case that may be configured or programmed into the NFT smart contract, including any payments that are triggered when the NFT is transferred from one digital wallet address to another digital wallet address

owner: with respect to an NFT, the individual or entity that has the private key to the digital wallet that controls the ability to store

TERMS FOR PAYMENT BY BUYERS IN CRYPTOCURRENCY

1. Type of Cryptocurrency

(a) Except in the event you are a resident of Mainland China, you, the buyer, may make payment of the purchase price in Ether (ETH) or USD Coin (USD) via a digital wallet transfer to Christie’s if Christie’s has stipulated that payment may be made in cryptocurrency for that lot

(b) Christie’s reserves the right to specify that we will only accept a particular cryptocurrency or cryptocurrencies, in addition to, or in the alternative, to Ether (ETH or USD Coin (USD) , for an individual lot or auction at its sole discretion.

(c) If you offer to bid in a cryptocurrency not specified by Christie’s as acceptable to us for an individual lot or auction, we may refuse to register you to bid or permit your participation in the sale. Further, if you make a successful bid in such circumstances, Christie’s reserves the right, in our sole discretion, to cancel the contract for sale between you and the seller.

2. Digital Wallet(s)

(a) You must send payment of the purchase price directly to us from a digital wallet maintained with one of the following digital wallet providers: Coinbase Custody Trust; Coinbase, Inc.; Fidelity Digital Assets Services, LLC; Gemini Trust Company, LLC; Gemini Europe Limited; Gemini Europe Services Limited; Paxos Trust Company, LLC; Digivault Limited; Ziglu Limited; or Archax Ltd.

(b) Christie’s reserves the right to amend this list at its sole discretion and specify which further or alternative digital wallet providers your digital wallet must be maintained by.

(c) Only cryptocurrency payments sent from digital wallets hosted by the providers specified by Christie’s will be credited towards the purchase of a lot. We will not recognise payments from digital wallets hosted by other providers, or from selfhosted digital wallets

(d) If you do not have such a digital wallet maintained by a provider specified by Christie’s, we may refuse to register you to bid or permit your participation in the sale. Further, if you make a successful bid, Christie’s reserves the right, in our sole discretion, to cancel the contract for sale between you and the seller.

(e) You must be the owner of the digital wallet, or, if you registered a bid as a company, then the company must be the owner.

You agree, upon our request, to provide documentation confirming that the cryptocurrency payment was made from a digital wallet owned by you and maintained by one of the providers listed above.

For the avoidance of doubt, “Ownership” of a digital wallet means either you hold or have held on your behalf, or the company on whose behalf you are bidding holds, or has held on its behalf, the private keys associated with that digital wallet or that the provider of the digital wallet recognises you, or the company on whose behalf you are bidding, as owning the cryptocurrency associated with that digital wallet

(f) Partial payments of a single lot from multiple digital wallets will not be allowed. If you purchase multiple lots you may purchase one lot with payment from one digital wallet and another lot with payment from a different digital wallet, but this must be accomplished through two separate transactions paying the purchase price in full.

3. Time for Payment

Payment of the purchase price, if made in cryptocurrency, must be made to Christie’s in full within 24 hours of the issuance of the invoice for the respective lot to you.

4. Currency Conversion

(a) Where we determine that the purchase price is payable in cryptocurrency, our invoice to you will state the purchase price in the fiat currency of the sale (i.e. GBP) and a specified cryptocurrency or cryptocurrencies equivalent sum or sums.

(b) The respective cryptocurrency amount(s) will be calculated by us based on the following:

• For Ether: the USD/ETH hourly quoted CoinDesk Ether Price Index (ETX) at the start time of the auction. The USD/ETH rate will then be converted into GBP/ETH using the GBP/ USD exchange rate provided by our bank at the same time as the ETH/USD is quoted; or

For USD Coin: he GBP/USD exchange rate provided by our bank at the start time of the auction. or equivalent rates applicable to other cryptocurrency where we specify acceptance of this additional or alternative cryptocurrency, as determined by us at the time the invoice is issued and will be disclosed in the invoice.

(c) You understand that the price of cryptocurrencies can be volatile and subject to upward and downward movements. You undertake to pay the specified fiat currency amount or cryptocurrency amount set out in the invoice, regardless of whether the fiat currency to cryptocurrency or other conversion rate differs at the time of your payment to the rate used to calculate the cryptocurrency amount set out in the invoice.

(d) You understand that if you fail to make full payment within 24 hours of issuance of our invoice, in accordance with these Conditions of Sale, Christie’s will only accept payment of the purchase price in the specified fiat currency of the sale (i.e. GBP).

(e) Partial payment in cryptocurrency, in addition to fiat currency or another type of cryptocurrency, is not permitted.

5. Sanctions, Anti-Money Laundering (AML) and CounterTerrorist Financing (CTF) Measures

(a) Christie’s is committed to the fight against money laundering and terrorist financing and compliance with relevant sanctions laws. To this end, you undertake to comply with our request(s) for Know-Your-Client (KYC), source of funds, and other information and documentation fully, accurately, and promptly. We may require such information and/or documentation from you at our sole discretion in order for us to comply with our Sanctions, AML and CTF policies and our obligations under domestic and international law.

(b) If, in our absolute discretion, you do not satisfy our bidder identification and registration procedures, inclusive of, but not limited to (i) you being obstructive or misleading in response to our requests for KYC, source of funds or other information and/or documentation (ii) you failing to provide KYC, source of funds or other documentation requested by Christie’s at all or to the standard we require, to be determined at our sole discretion, and/or (iii) passing any sanctions and/or AML and/ or CTF checks to our satisfaction, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller.

(c) In addition to your warranties under clause E(3)(b) of these Conditions of Sale, you warrant that if you make payment in cryptocurrency to Christie’s from a digital wallet, the source of funds for the digital wallet is not attributable, either directly or indirectly, to:

a citizen or resident of, or located in, Iran, North Korea, Syria, Cuba or the Crimea region of Russia or any other geographic area that is the target of comprehensive sanctions or embargoes imposed by the European Union, the United Kingdom, the United Nations or the United States;

an individual, or an individual employed by or associated with an entity, identified on the US Department of Commerce’s Denied Persons or Entity List, the US Department of Treasury’s Specially Designated Nationals or Blocked Persons Lists, or the US Department of State’s Debarred Parties List, or similar lists promulgated by the government of the European Union, the United Kingdom, or the United Nations, and you accept that we, in our absolute discretion, can make such enquiry as we require to satisfy ourselves of the source of funds related to the transaction.

6. Ancillary

Please contact Christie’s Client Services for any questions relating to payments.

SPECIAL NOTICE:

Please note that non-fungible tokens (NFTs) are not regulated assets in the UK or protected by financial compensation schemes. The value of an NFT could go down as well as up. For tax purposes, including potential sales tax, NFTs may be considered a digital service or digital product and thus Christie’s may be required to collect relevant taxes dependent on local laws. Tax may be payable on profits from investing in an NFT. You may wish to consult an independent tax adviser.

Whilst each NFT is associated with a digital asset (for example, the digital artwork), they are separate and distinct. Purchasing a NFT does not mean that you are buying the digital asset associated with the NFT. You should check before bidding what rights to the digital asset you obtain by virtue of buying the NFT (if any). Please see the Conditions of Sale for further information.

Except in the event you are a resident of Mainland China, you may elect to make payment of the purchase price for this lot in the cryptocurrency Ether or USD Coin. Payment in Ether or USD Coin must be made to Christie’s via a digital wallet maintained with one of the following: Coinbase Custody Trust; Coinbase, Inc.; Fidelity Digital Assets Services, LLC; Gemini Trust Company, LLC; Gemini Europe Limited; Gemini Europe Services Limited; Paxos Trust Company, LLC; Digivault Limited; Ziglu Limited; or Archax Ltd. Only payments sent from digital wallets maintained at these platforms will be credited towards this lot purchase, and we will not recognise payments from digital wallets hosted at other exchanges or self-hosted wallets. The digital wallet must be registered to you, or, if you registered to bid as a company, then in the name of the company. You agree, upon our request, to provide documentation confirming that the payment was made from a digital wallet registered in your name and maintained at one of the platforms listed above. Partial payments of a lot from multiple digital wallets will not be allowed. The cryptocurrency amount will be calculated by us based on the following:

• For Ether: the USD/ETH hourly quoted CoinDesk Ether Price Index (ETX) at the start time of the auction. The USD/ETH rate will then be converted into GBP/ETH using the GBP/USD exchange rate provided by our bank at the same time as the ETH/USD is quoted; or

For USD Coin: the GBP/USD exchange rate provided by our bank at the start time of the auction.

You must pay the purchase price no later than 24 hours after we issue you with an invoice if you elect to pay for this lot in Ether or USD Coin, or by the end of the seventh calendar day following the auction for all other currencies. The relevant exchange rates will be disclosed in the invoice.

COLLECTION LOCATION AND TERMS

Please note that at our discretion some lots may be moved immediately after the sale to our storage facility at Momart Logistics Warehouse: Units 9-12, E10 Enterprise Park, Argall Way, Leyton, London E10 7DQ.

At King Street lots are available for collection on any weekday, 9.00am to 4.30pm.

We may charge fees for storage if your lot is not collected within thirty days from the sale. Please see paragraph G of the Conditions of Sale for further detail.

Collection from Momart is strictly by appointment only.

We advise that you inform our Christie's Client Service Collections Team cscollectionsuk@ christies.com at least 48 hours in advance of collection so that they can arrange with Momart. However, if you need to contact Momart directly: Tel: +44 (0)20 7426 3000 Email: pcandauctionteam@momart.co.uk.

PAYMENT OF ANY CHARGES DUE

Lots may only be released from Momart on production of the ‘Collection Order’ from Christie’s, 8 King Street, London SW1Y 6QT. The removal and/or storage by Momart of any lots will be subject to their standard Conditions of Business, copies of which are available from Christie’s, 8 King Street, London SW1Y 6QT. Lots will not be released until all outstanding charges due to Christie’s are settled.

SHIPPING AND DELIVERY

Christie’s Post-Sale Service can organise local deliveries or international freight. Please contact them on +44 (0)20 7752 3200 or PostSaleUK@ christies.com. To ensure that arrangements for the transport of your lot can be finalised before the expiry of any free storage period, please contact Christie’s Post-Sale Service for a quote as soon as possible after the sale.

Units 9-12, E10 Enterprise Park, Argall Way, Leyton, London E10 7DQ

Tel: +44 (0)20 7426 3000

Email: pcandauctionteam@momart.co.uk

IDENTITY VERIFICATION

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MARC CHAGALL (1887-1985)

L’Ange devant l’Opéra tempera, gouache, ink, pastel and pencil on paper

72.7 x 50.7 cm. (285/8 x 197/8 in.)

Executed in 1981

€180,000-200,000

US$200,000-220,000

£160,000-180,000

CHAGALL ET LA MUSIQUE

Online, March 27 – April 6, 2023

VIEWING

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9 Avenue Matignon

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© Adagp, Paris 2023

Property from a private collection, France CAMILLE CLAUDEL (1864-1943) Çacountala

charcoal and estompe on paper

33.1 x 23.8 cm. (13 x 93/8 in.)

Executed circa 1888

€50,000-70,000

US$55,000-76,000

£45,000-62,000

ART IMPRESSIONNISTE & MODERNE – ŒUVRES CHOISIES

Paris, 4 avril 2023

VIEWING

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9 Avenue Matignon

75008 Paris

CONTACT

Valérie Didier

vdidier@christies.com

+33 1 40 76 84 32

A

Aboudia 346, 347

Adebayo, A. 345

Adnan, E. 220

Agar, E. 244, 245

Agrela, Á. 324

Albers, J. 33

Anatsui, E. 292

Anderson, H. 229

Andersson, K. 232

André, A. 587

Araki, N. 343

Armleder, J. 333

Arp, J. 130, 536

Artschwager, R. 286

Auerbach, F. 13

B

Balincourt J. de 216

Ball, S. 249

Balthus 568, 569

Banban, C. 2

Barnes, E. 61, 267

Bas, H. 314

Baselitz, G. 19, 20, 70

Bayrle, T. 280

Beckmann, M. 71, 481, 549, 550

Bloch, A. 525

Boafo, A. 59, 239

Boetti, A. 293, 295

Bonnet, L. 5

Boudin, E. 515, 516

Bourgeois, L. 42

Bozó, S. 323

Bradford, K. 211

Braque, G. 410, 416, 427

Brauner, V. 465

Brown, C. 17

Buffet, B. 562, 566, 567

C

Calder, A. 36, 352

Camoin, C. 519

Cariot, G. 584, 585, 586

Carrington, L. 104, 107, 110, 129

Cezanne, P. 30

Chagall, M. 50, 55, 69, 404, 405, 406, 407, 408, 409, 413

Claudel, C. 431

Cocteau, J. 435, 436, 437, 438, 439

Colen, D. 337

Condo, G. 46, 268

Corte, A. Da 315

Cragg, T. 275

D

Dalí, S. 123, 449, 450, 451, 452, 593

de Chirico, G. 458, 459

De Monvel, B. 547

De Smet, L. 581

Degas, E. 29, 56, 503, 509

Delaunay, S. 440, 441

Delvaux, P. 113, 120, 131

Demand, T. 354

Denis, M. 573

d’Espagnat, G. 517

Dexel, W. 529

Dine, J. 282

Dix, O. 72, 478, 527, 528, 538, 544

Doig, P. 235

Domínguez, Ó. 112, 468

Dongen, K. van 489, 493

Dubuffet, J. 68

Duchamp, M. 128, 455

Dufy, R. 411, 520

Dumas, M. 240

E

Ekblad, I. 327

Emin, T. 10, 247

Ernst, M. 106, 124, 127, 454

F

Feininger, L. 545, 546

Felixmüller, C. 551

Fetting, R. 305

Figgis, G. 313

Fini, L. 472

Fontana, L. 32, 34, 294

Förg, G. 271, 296, 298

Francis, S. 39, 351

Freud, L. 11, 12, 251

G

Gauguin, P. 26

Gerzso, G. 467

Ghenie, A. 7, 242

Giacometti, A. 14, 15

Goncharova, N. 491

Gormley, A. 66

Graff, S. 340

Gribbon, J. 209

Gris, J. 421

Gropper, W. 485, 486, 487

Grosse, K. 278

Grosz, G. 73, 476, 483, 484, 532, 533, 556

Grotjahn, M. 270

Guillaumin, A. 510, 580

Guyton, W. 41

H

Hayet, L. 560

Heckel, E. 23, 479, 539, 541

Hein, J. 325

Henrot, C. 246

Herbin, A. 447, 530, 531

Hirst, D. 40

Hobbs, T. 76

Höch, H. 462, 463

Hockney, D. 48, 62, 222, 227, 228, 250, 256, 257

IIacovleff, A. 526

Innes, C. 353

J

Jawlensky, A. von 482, 548, 552

Judd, D. 38, 289

Juszkiewicz, E. 4, 248

K

Kagan, M. 262

Kahn, S. 25, 233, 234

Kapoor, A. 272, 301, 355

Katz, A. 224, 264

Kentridge, W. 241

Kerwick, J. 319

Kippenberger, M. 299

Kirchner, E. 21, 24

Kisling, M. 494, 495

Klee, P. 537

Klein, Y. 35

Klimt, G. 51, 428, 429

Kneffel, K. 303

Knoebel I. 276

Kokoschka, O. 524

Kolschbach, J. 534

Kovařík, V. 203

Krebber, M. 329

Kupka, F. 442

L Lam, W. 105

Lambie, J. 254

Langberg, D. 243

Laurencin, M. 488, 490

Laurens, H. 420, 425

Lawler L. 273

Le Sidaner, H. 504

Lee, A. 212

Lépine, S. 588

Lewis, A. 210

Lewitt, S. 287

Liebermann, M. 563

Lobo, B. 422

Loiseau, G. 499, 512

Long, R. 288

Lowman, N. 318

Luce, M. 498, 500, 501, 508

Lyons, K. 215

M

Macarrón, R. 320

Madsaki 260

Magritte, R. 102, 116, 118, 119, 453

Maillol, A. 576

Malle, C. 591, 592

Maloof, N. 316

Man, V. 330

Mangold, R. 284, 285

Manzana-Pissarro, G. 565

Marc, R. 559, 561

Marini, M. 424

Martin, H. 505

Martinez, E. 263

Masson, A. 109, 122, 471

Matisse, H. 414, 423

Matta, 126, 464, 466, 475

Maufra, M. 582

Maurer, D. 277

McCollum, A. 283

Merz, M. 307

Millares, M. 291

Miró, J. 117, 132, 402, 457, 558, 469

Miyajima, T. 279

Moholy-Nagy, L. 444, 445

Moore, M. 67, 448

Morandi, G. 31, 417, 418

Moret, H. 514

Morisot, B. 502

Morris, R. 290

Mueller, O. 22, 477

N

Nadal, C. 590

Nara, Y. 258, 259

Nava, R. 6, 261

Ness, R. 207

Nolde, E. 540, 543

Nussbaum, F. 553

O

Oehlen, A. 65

Omofemi, O. 348

Onslow-Ford, G. 115

Opie, J. 344, 358

Orchard, D. 208

P

Paalen, W. 101, 125, 470

Pechstein, M. 480, 542

Perry, G. 253, 255

Pettibon, R. 223

Picabia, F. 456, 460

Picasso, P. 16, 43, 44, 47, 49, 401, 403, 412, 415, 419, 434, 564

Pissarro, C. 75

Polke, S. 57, 306

Price, S. 338

Prince, R. 342

Pruitt, R. 349

R

Raffaëlli, J.-F. 589

Rapone, C. 204

Rauschenberg, R. 265

Ray, M. 461

Rego, P. 252

Renoir, P.-A. 28, 53, 506, 507

Richter, D. 304

Richter, G. 18, 274

Riley, B. 221

Rodin, A. 54, 432, 433

Roth, D. 308, 309, 334, 335

Roth, D. & Hamilton, R. 310

Rouault, G. 522, 523

Rouy, G. 202

Ruff, T. 326

S

Sasnal, W. 332

Schiele, E. 430

Schlichter, R. 555

Schütte, T. 312

Schwitters, K. 535, 557

Scully, S. 63, 230

Segal, A. 554

Severini, G. 443

Shaw, R. 317

Shimoyama, D. 201

Sisley, A. 497, 511, 513

Snead, S. 473

Soulages, P. 37

Soutine, C. 52

Souverbie, J. 496

Spiers, B. 205

Steinbach, H. 339

Stezaker, J. 341

STIK 321

Stingel, R. 58, 64

Strindberg, A. 74

T

Tabouret, C. 8

Tal, R. 328

Tanguy, Y. 111, 114

Tanning, D. 108, 121

Tchelitchew, P. 492

Thek, P. 217, 218, 219

Tianbing, L. 357

Tillmans, W. 297, 331

Tinguely, J. 350

Tsiaris, P. 356

U

Uklanski, P. 336

Utrillo, M. 578, 579

V

Valtat, L. 570, 571 van Gogh, V. 27

Varo, R. 103, 474

Velde, G. van 446

Vezzoli, F. 311

Vlaminck, M. de 518, 521, 572, 574, 575, 583

Voigt, J. 302

Vuillard, E. 577

W

Walker, C. 3, 231, 236, 237

Warhol, A. 266, 269

Weiner, L. 281

Wesselmann, T. 225

Whitney, S. 60

Wise, C. 213

Y

Yanai, G. 226

Ye, L. 9

Yearwood-Dan, M. 1

Yiadom-Boakye, L. 45, 238

Yukhnovich, F. 214

Z

Zadkine, O. 426