Issuu

LONDON EVENING SALE

Thursday 5 March 2026 at 5:30pm (GMT) 8 King Street, St. James’s, London SW1Y 6QT

VIEWING

Wednesday25 February10.00am - 5.00pm

Thursday26 February9.00am - 5.00pm

Friday 27 February9.00am - 5.00pm

Saturday28 February12.00pm - 5.00pm

Sunday 1 March 12.00pm - 5.00pm

Monday2 March 9.00am - 5.00pm

Tuesday3 March 9.00am -5.00pm

Wednesday4 March 9.00am -5.00pm

Thursday5 March 9.00am -2.00pm

AUCTIONEERS

Adrien Meyer and Yü-Ge Wang

IMPRESSIONIST AND MODERN ART

Michelle McMullan

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

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

ADMISSION

Admission to the evening 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

CONDITIONS OF SALE

The sale of 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.

POST-WAR AND CONTEMPORARY ART

Anna Touzin

Co-Head of Sale +44 (0)207 752 3064 atouzin@christies.com

Joseph Braka Associate Specialist +44 (0)207 389 2051 jbraka@christies.com

Martha Meshoulam Junior Specialist +44 (0)207 389 2017 mmeshoulam@christies.com

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as: HENRY-24180

With special thanks to Billy Jobling, Anna Campbell, Polina Epinatyeva, Jennifer Duignam, Annabel Matterson, Grace Linden, Jada Richard, Liam Redmond, Isla McIntyre, Samantha Moreno and Chiara Gallo.

SENIOR SALE COORDINATOR

Alexandra Anholt +44 (0)20 7389 2988 aanholt@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 PostSaleUK@christies.com

BUYER’S PREMIUM

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.

Principal Auctioneer: Adrien Meyer

LUCIAN FREUD (1922-2011)

charcoal and chalk on paper

19½ x 14in. (49.5 x 35.5cm.)

Executed circa 1983

£300,000-500,000

US$420,000-680,000

€350,000-570,000

PROVENANCE:

The Artist.

Acquired from the above by the present owner in 2000.

LITERATURE:

M. Gayford, Lucian Freud, vol. 2, London 2018, p. 295 (illustrated in colour, p. 106).

M. Gayford, Lucian Freud, London 2022, p. 613 (illustrated in colour, p. 418).

Lucian Freud: Drawing into Painting, exh. cat., London, National Portrait Gallery, 2026, no. 127 (illustrated in colour, p. 143).

This work has been requested for loan to Lucian Freud: Drawing into Painting at the Louisiana Museum of Modern Art, Humlebaek, from 10 June to 27 September 2026.

LUCIAN FREUD (1922-2011)

oil on board

6 x 9 v in. (15.3 x 24.5cm.)

Painted in 1946-1947

£600,000-800,000

US$830,000-1,100,000

€690,000-920,000

PROVENANCE:

Ian Gibson-Smith, London. Piccadilly Gallery, London (acquired from the above in 1969).

Marlborough Fine Art, London. Keith Lichtenstein, London. Simon Sainsbury, London (acquired from the above in 1971). Thence by descent to the present owner.

EXHIBITED:

London, London Gallery, Recent Paintings and Drawings by John Craxton and Lucian Freud, 1947, no. 33.

LITERATURE:

B. Bernard and D. Birdsall (eds.), Lucian Freud, New York 1996, p. 352, no. 55 (illustrated in colour, p. 83).

G. Aloi, Lucian Freud Herbarium, New York 2019, p. 98 (illustrated in colour, p. 99).

W. Feaver, The Lives of Lucian Freud: Youth 1922-1968, London 2019, pp. 240 and 250.

C. Lampert and T. Treves (eds.), Lucian Freud: Catalogue Raisonné of the Oil Paintings, vol. 2, London 2025, p. 112, no. 54 (illustrated in colour, p. 113).

LUCIAN FREUD (1922-2011)

The Birds of Olivier Larronde

oil on panel 14 x 9w in. (35.6 x 25cm.)

Painted in 1946

£800,000-1,200,000

US$1,100,000-1,600,000

€920,000-1,400,000

PROVENANCE:

Graham and Kathleen Sutherland, London (acquired directly from the artist in 1946).

Ernst and Lucie Freud, London. Victor Chandler, London. Simon Sainsbury, London.

Thence by descent to the present owner.

EXHIBITED:

London, London Gallery, Recent Paintings and Drawings by John Craxton and Lucian Freud, 1947, no. 30.

London, Institute of Contemporary Arts, London-Paris: New Trends in Painting and Sculpture, 1950, p. 13, no. 43 (incorrectly titled 'Birds').

London, Arthur Je ress Pictures, Contemporary British Painting and Sculpture: Some Unusual Juxtapositions, 1956, p. 5, no. 10 (incorrectly titled 'Parakeets in a Cage').

London, Marlborough Fine Art Ltd., Lucian Freud: Paintings, 1958, p. 4, no. 5 (incorrectly titled ‘Birds in a Cage’; incorrectly dated ‘1947’).

London, Hayward Gallery, Lucian Freud, 1974, no. 36 (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. Edinburgh, The Fruitmarket Gallery, Lucian Freud: Works on Paper, 1988.

London, Hazlitt Holland-Hibbert, Lucian Freud: Early Works 1940-1958, 2008, pp. 30 and 86, no. 15 (illustrated in colour, p. 31).

LITERATURE:

Lucian Freud: recent work, exh. cat., London, Whitechapel Art Gallery, 1993-1994, p. 14.

B. Bernard and D. Birdsall (eds.), Lucian Freud, New York 1996, p. 352, no. 54 (illustrated in colour, p. 82).

W. Feaver, Lucian Freud, New York 2007, p. 471, no. 45 (illustrated in colour, p. 81).

Lucian Freud: The Painter’s Etchings, exh. cat., New York, The Museum of Modern Art, 2008, p. 16.

M. Holborn (ed.), Lucian Freud on Paper, London 2008, p. 27.

Crossing the Channel: Friendships and Connections in Paris and London 1946-1965: Francis Bacon, Lucian Freud and Alberto Giacometti, exh. cat., London, Gagosian Gallery, 2010 (illustrated in colour, p. 12).

M. Gayford, Lucian Freud, London 2018, p. 608 ( illustrated in colour, p. 127).

M. Gayford, Lucian Freud, vol. 1, London 2018, p. 323 (illustrated in colour, p. 127).

W. Feaver, The Lives of Lucian Freud: Youth 1922-1968, London 2019, pp. 226 and 267.

D. Dawson and M. Gayford, Love Lucian: The Letters of Lucian Freud 1939-1954, London 2022, p. 244 (illustrated in colour, p. 245).

C. Lampert and T. Treves (eds.), Lucian Freud: Catalogue Raisonné of the Oil Paintings, vol. 2, London 2025, p. 94, no. 45 (illustrated in colour, p. 95).

PROPERTY FROM A DISTINGUISHED PRIVATE EAST COAST COLLECTION

SONIA DELAUNAY (1885-1979)

Rythme couleur

signed and dated ‘Sonia Delaunay 1946’ (lower right) oil on canvas

68w x 59 in. (175 x 150 cm.)

Painted in 1946

£1,000,000-1,500,000

US$1,400,000-2,100,000

€1,200,000-1,700,000

PROVENANCE:

Arthur A. Cohen & Elaine Lustig Cohen, New York, by whom acquired directly from the artist Tamar J. Cohen, New York, by descent from the above. Acquired from the above by the present owner on 10 March 2014.

EXHIBITED:

Bu alo, Albright-Knox Art Gallery, Sonia Delaunay: A Retrospective, February – March 1980, no. 20 (illustrated); this exhibition later travelled to Pittsburgh, Carnegie Institute, April – June 1980; Houston, The Museum of Fine Arts, June – August 1980; Atlanta, The High Museum of Art, September - October 1980; New York, The Grey Art Gallery, November – December 1980; Chicago, Art Institute, January – March 1981 and Montreal, Musée d’art contemporain, April – May 1981.

Urawa, The City Museum, Sonia Delaunay: La moderne, January – March 2002, no. 51, p. 71 (illustrated on the cover & p. 71); this exhibition later travelled to Hokkaido, Hakodate Museum of Art, April – May 2002; Iwaki, The City Art Museum, May – June 2002; Tokyo, Metropolitan Teien Art Museum, July – September 2002 and New Brunswick, Zimmerli Art Museum, Rutgers University, October – December 2002.

New York, Cooper-Hewitt, Smithsonian Design Museum, Colour Moves: Art & Fashion by Sonia Delaunay, MarchJune 2011, pp. 25 & 190 (illustrated ﬁg. 1, p. 24).

London, Tate Modern, Sonia Delaunay, October 2014February 2015, p. 276.

LITERATURE:

J. Damase, Sonia Delaunay, London, 1972 (illustrated pl. 269).

A. A. Cohen, Sonia Delaunay, New York, 1975, no. 172 (illustrated).

Richard Riss and Jean Louis Delaunay have conﬁrmed the authenticity of this work.

BRIDGET RILEY (B. 1931)

Arrest 4

signed and dated '1965 Riley.' (on the reverse) emulsion on canvas

75p x 73v in. (191.3 x 187cm.)

Painted in 1965

£3,500,000-5,500,000

US$4,800,000-7,500,000

€4,100,000-6,300,000

PROVENANCE:

Rowan Gallery, London. Sebastian de Ferranti, London. Peter and Luciana Moores, Liverpool (acquired from the above circa 1975).

Anon. sale, Phillips London, 5 March 1991, lot 57. Private Collection, UK.

Robert Sandelson Ltd, London. Acquired from the above by the present owner in 2000.

EXHIBITED:

Hanover, Kunstverein Hannover, Bridget Riley, 1970-1971, p. 96, no. 35 (illustrated, p. 60). This exhibition later travelled to Bern, Kunsthalle Bern; Dusseldorf, Städtische Kunsthalle Düsseldorf; Turin, Galleria civica d'arte moderna and London, Hayward Gallery.

Manchester, Whitworth Art Gallery University of Manchester, Bridget Riley: Paintings and Drawings 19611973, 1973-1974, p. 21, no. 38. This exhibition later travelled to She eld, Mappin Art Gallery; Durham, D.L.I Museum and Art Centre; Edinburgh, Scottish National Gallery of Modern Art; Birmingham, City Museum and Art Gallery; Letchworth, Museum and Art Gallery and Bristol, City Art Gallery and Arnolﬁni Gallery. Milan, Palazzo Reale, Arte inglese oggi 1960-1976, 1976, p. 178, no. 4 (illustrated, p. 179; medium incorrectly listed as 'emulsion on board').

Bu alo, Albright-Knox Art Gallery, Bridget Riley: Works 1959-78, 1978, p. 67, no. 23. This exhibition later travelled to Dallas, Museum of Fine Art.

London, Royal Academy of Arts, British Art in the 20th Century: The Modern Movement, 1987, pp. 357 and 416, no. 270 (illustrated in colour, p. 362).

London, Robert Sandelson Ltd, Bridget Riley Works, 1960's, 70's and 80's, 2000.

LITERATURE:

R. Kudielka, A. Tommasini and N. Naish (eds.), Bridget Riley: The Complete Paintings, Volume 1, 1959-1973, London 2018, p. 194, no. BR 81 (illustrated, p. 195).

Bridget Riley, exh. cat., Edinburgh, Scottish National Gallery, 2019-2020, no. 55 (installation view at Hayward Gallery in 1971 illustrated, p. 253).

PAULA REGO (1935-2022)

Dancing Ostriches from Walt Disney's 'Fantasia'

pastel on paper mounted on aluminium 59 x 59in. (150 x 150cm.)

Executed in 1995

£1,800,000-2,500,000

US$2,500,000-3,400,000

€2,100,000-2,900,000

PROVENANCE:

Marlborough Fine Art Inc., New York. Saatchi Collection, London.

Marlborough Fine Art Ltd., London (acquired from the above in 2008).

Acquired from the above by the present owner in 2017.

EXHIBITED:

London, Hayward Gallery, Spellbound: Art and Film, 1996 (illustrated in colour, p. 111).

New York, Marlborough Gallery Fine Art Inc., Paula Rego: New Work, 1996-1997, p. 7, no. 4 (illustrated in colour, p. 11).

Liverpool, Tate Gallery Liverpool, Paula Rego, 1997, p. 150, no. 67 (illustrated in colour, p. 106). This exhibition later travelled to Lisbon, Centro Cultural de Belém.

Madrid, Museo Nacional Centro de Arte Reina Sofía, Paula Rego, 2007-2008, p. 279 (illustrated in colour, p. 142). This exhibition later travelled to Washington, National Museum of Women in the Arts.

Cascais, Casa das Histórias Paula Rego, Paula Rego, 20092010, p. 24 (illustrated in colour, p. 25).

London, Marlborough Fine Art, Paula Rego: Dancing Ostriches, 2016, pp. 8 and 12, no. 2 (illustrated in colour on the front cover and p. 13).

LITERATURE:

S. Kent and J. McEwen, Paula Rego: The Dancing Ostriches from Disney’s ’Fantasia’, London 1996, p. 35 (studio view of work in progress illustrated, inside cover; illustrated in colour, p. 23).

J. McEwen, Paula Rego, London 1997, no. 215 (illustrated in colour, p. 226; studio view of work in progress illustrated, p. 229; illustrated in colour on the back cover).

F. Bradley, Paula Rego, London 2002, p.127, no. 64 (illustrated in colour, p. 77).

J. McEwen, Paula Rego: Behind the Scenes, London 2008, p. 214, no. 44 (studio view of work in progress illustrated, pp. 36-37; illustrated in colour, p. 39).

E. Booth-Clibborn (ed.), The History of the Saatchi Gallery, London 2011 (illustrated in colour, p. 429).

D. Rees-Jones, Paula Rego: The Art of Story, London 2019, p. 367 (illustrated in colour, p. 179).

LEARN MORE

PROPERTY

HENRY MOORE (1898-1986)

King and Queen

bronze with a dark green and brown patina

Height: 64q in. (164 cm.)

Conceived in 1952-53 and cast in 1952-53 by the Galizia Foundry, London, in an edition of four plus one artist's cast. Two subsequent bronzes cast speciﬁcally for the collections of the Tate Gallery, London (1957) and the Henry Moore Foundation, Much Hadham (1985)

£10,000,000-15,000,000

US$14,000,000-21,000,000

€12,000,000-17,000,000

PROVENANCE:

Acquired directly from the artist in 1954, and thence by descent to the present owner.

EXHIBITED:

Waddesdon, Waddesdon Manor, Henry Moore: From Paper to Bronze, June – October 2015.

LITERATURE:

R. Melville, ‘Henry Moore and the Siting of Public Sculpture’ in The Architectural Review, vol. 115, no. 686, February 1954, pp. 88, 89 & 91 (the Middelheim cast illustrated pp. 91 & 92, pls. 3-6).

D. Sylvester, ‘Henry Moore’s Sculpture’ in Britain Today, no. 215, March 1954, pp. 32–35.

Exh. cat., Henry Moore, New York, Curt Valentin, 1954 (the Hirshhorn cast illustrated on the front cover). J. Langser, The King and Queen by Henry Moore, Los Angeles, 1955 (the present cast illustrated).

H. Read, ed., Henry Moore, vol. II, Sculpture and Drawings, 1949-1954, London, 1955, no. 350, p. 28 (the present cast illustrated pls. 80b-80g; another cast illustrated pls. 80, 80a, 80h & 80i).

We are thankful to the Henry Moore Foundation for their assistance in cataloguing this work.

LITERATURE (CONTINUED):

‘Moorland sculpture’ in The Scotsman, 5 November 1955. E. Mundt, ‘Henry Moore’ in Art & Artist, Berkeley & Los Angeles, 1956, pp. 103-107 (the present cast illustrated).

F. Baumgart, Geschichte der Abendländischen Plastik: von den Anfängen bis zur Gegenwart, Cologne, 1957, pp. 168 & 169 (another cast illustrated p. 167).

P.A. Riedl, Henry Moore: König und Königin, Stuttgart, 1957, p. 16 (the present cast illustrated pls. 1-10).

J.P. Hodin, Moore, London, 1958, no. 21 (the present cast illustrated).

J. Read, ‘British Art and Artists - a Sculptor’s Landscape’ on BBC Television Archive, 29 June 1958 (the present cast shown from 21:14; www.bbc.co.uk/webarchive/ https%3A%2F%2Fwww.bbc.co.uk%2Farchive%2Fbritishart-and-artists--a-sculptors-landscape%2Fz4ppwty, accessed 4 February 2026).

E. Neumann, The Archetypal World of Henry Moore, London, 1959, pp. 14, 112 & 115 (the present cast illustrated pl. 90, p. 115; another cast illustrated pls. 85, 87 & 88, pp. 113 & 114).

Exh. cat., Henry Moore, Hamburg, Kunstverein, 1960 (the present cast and the Middelheim cast illustrated pls. 26).

Exh. cat., Henry Moore, Zurich, Kunsthaus, 1960 (the present cast and the Middelheim cast illustrated pls. 29).

W. Grohmann, The Art of Henry Moore, London, 1960, pp. 8 & 147 (the present cast illustrated pls.134 & 135, pp. 180 & 181).

B. Robertson, Henry Moore: Sculpture from 1950–1960, exh. cat., London, Whitechapel Art Gallery, 1960 (the present cast illustrated p. 20).

P. Bucarelli, Henry Moore, exh. cat., Rome, Galleria Nazionale d’Arte Moderna, 1961 (the present cast and the Middelheim cast illustrated pls. 24).

A. Neumeyer, Die Kunst in Unserer Zeit: Versuch einer Deutung, Stuttgart, 1961 (another cast illustrated).

H. Moore, ‘Sculpture in Landscape’ in Selections, Winchester, Autumn 1962 (the present cast illustrated).

A. Neumeyer, The Search for Meaning in Modern Art, Englewood Cli s, NJ, 1964 (the present cast illustrated).

A. Bowness, ed., Henry Moore, Complete Sculpture, vol. II, Sculpture 1949–1954, London, 1965, no. 350, p. 49 (the present cast illustrated pls. 128 & 129; another casts illustrated pls. 124-127 & 130-133 & p. 49).

H. Read, Henry Moore: A Study of his Life and Work, London, 1965, pp. 161 & 276 (the present cast illustrated pls. 176 & 177, pp. 192 & 193).

K. Anazawa, Modern World Art Series, 10: Modern Sculpture, Tokyo, 1965.

P. James, ed., Henry Moore on Sculpture, London, 1966, pp. 94, 106, 108, 139, 157, 241, 244, 246 (the present cast illustrated pls. 101 & 103, pp. 242 & 245; other casts illustrated pls. 30-32 & 102, pp. 106, 107 & 243).

D. Hall, Henry Moore: The Life and Work of a Great Sculptor, London, 1966, pp. 129–134 (the present cast illustrated p.130).

Exh. cat., Henry Moore, Mücsarnok, Budapest, 1967 (the present cast illustrated p. 12).

J.-E. Muller, L'Art au vingtième siècle, Paris, 1967 (another cast illustrated).

V.M. Hillyer & E.G. Huey, Sculpture, London, 1967 (another cast illustrated).

H. Read, Art Now: an Introduction to the Theory of Modern Painting and Sculpture, London, 1968 (the present cast illustrated on the dust jacket & pl. 21).

G. Bazin, The History of the World Sculpture, London, 1968 (another cast illustrated).

R. Goldwater, What is Modern Sculpture?, New York, 1969 (another cast illustrated).

J. Hedgecoe, ed. & H. Moore, Henry Moore, London, 1968, p. 221 (the present cast illustrated pp. 220 & 222; other casts and the plaster illustrated pp. 186, 187, 217-219 & 235).

D. Mitchinson, ed., 70 Years of Henry Moore, exh. cat., Otterlo, Rijksmuseum Kröller-Müller, 1968 (the present cast illustrated pp. 77, 78 & 148).

I. Jianou, Henry Moore, Paris, 1968, p. 43 (the present cast illustrated pl. 61; another cast illustrated pl. 62 & 63).

D. Sylvester, Henry Moore, exh. cat., London, Tate Gallery, 1968, p. 119 (another cast illustrated p. 123).

Exh. cat., Henry Moore, Exhibition in Japan, Tokyo, National Museum of Modern Art, 1969 (the present cast illustrated pl. 36).

R. Melville, Henry Moore: Sculpture and Drawings 1921–1969, London, 1970, pp. 24 & 211 (the present cast illustrated p. 24 & pls. 451 & 454; the Middelheim cast illustrated pl. 450).

G. Carandente, Henry Moore, exh. cat., Florence, Forte di Belvedere, 1972, p. 63 (another cast illustrated on the cover & p. 154).

'A Florence, un précurseur de la sculpture moderne: Henry Moore' in Jardin des Arts, Paris, May 1972 (the present cast illustrated on the cover).

J. Russell, Henry Moore, Harmondsworth, 1973, no. 63, pp. 148, 190, 251 & 267 (another cast illustrated p. 250).

E. Fezzi, Henry Moore, London, 1972.

G.S. Whittet, Lovers in Art, London, 1972 (another cast illustrated).

LITERATURE (CONTINUED):

G. Bazin, Zwanzigtausend Jahre Bildhauerkunst der Welt: vom Faustkeil bis zur Gegenwart, Freiburg, 1973 (another cast illustrated).

A. Schenck, Künstler Lexikon - Biographien der großen Maler, Bildhauer und Baumeister, Hamburg, 1973 (another cast illustrated).

G. Irving, 'An art gallery on the Scottish moors' in The Lady, 18 October 1973, London (the present cast illustrated).

H. Wærn & O.H. Moe, Henry Moore - Fem decennier: Skulptur, teckning, graﬁk, 1923-1975, exh. cat., Oslo, HenieOnstad Kunstsenter , 1975 (the present cast illustrated p. 48).

W. Grohmann & G. Müller, Henry Moore, exh. cat., Zurich, Zürcher Forum, 1976, p. 45 (the present cast illustrated pp. 47, 108 & 109, & detail illustrated p. 47; details of the plaster illustrated p. 46).

Exh. cat., Henry Moore Sculptures et dessins, Paris, Orangerie des Tuileries, 1977, p. 142 (the present cast illustrated p. 121).

H. Hibbard, Masterpieces of Western Sculpture: from medieval to modern, London, 1977 (the present cast illustrated).

D. Finn, Henry Moore: Sculpture and Environment, London, 1977, pp. 18, 298 & 302 (the present cast illustrated on the dustjacket, as a frontispiece & pp. 18, 299, 301, 303 -305; detail illustrated p. 298; another cast illustrated pp. 184-188 & 190).

S. Spender, Henry Moore: Sculptures in Landscape, London, 1978, p. 34 (illustrated pls. 9-11, pp. 50 & 51).

C. Wentinck, Modern and Primitive Art, Oxford, 1979 (another cast illustrated).

G. Hindley, ed., World Art Treasures, London, 1979 (another cast illustrated).

J. Read, Portrait of an Artist: Henry Moore, London, 1979, p. 110 (the present cast & another cast illustrated p. 111).

E. H. Teague, Henry Moore: Bibliography and Reproductions Index, North Carolina, 1981, p. 133 (the Hirshhorn cast illustrated pl. 5).

H. Moore, Henry Moore at the British Museum, London, 1981, pp. 38 & 126 (the present cast illustrated p. 9).

D. Mitchinson, ed., Henry Moore, Sculpture, London, 1981, p. 123 (the present cast illustrated pls. 245 & 247, p. 122; another cast illustrated pl. 246, p. 122).

The British Museum Society Bulletin, no. 38, November 1981, p. 23 (the present cast illustrated).

Exh. cat., Henry Moore: Sculptures, Drawings, Graphics 1921–1981, exh. cat., Madrid, Palacio de Velázquez, 1981, p. 311 (illustrated p. 122, pls. 245 & 247; another cast illustrated p. 122, pl. 246).

E. Lafuente Ferrari, ‘Henry Moore in Madrid’ in Pereodico de Exposiciones, Madrid, no. 10, 20 May 1981 (another cast illustrated pl. 7).

P. Cabanne, L'Art du vingtième siècle, Paris, 1982 (another cast illustrated).

W. S. Lieberman, Henry Moore: 60 Years of His Art, exh. cat., New York, Metropolitan Museum of Art, 1983 (the present cast illustrated pp. 72 & 73).

E. Park, Treasures of the Smithsonian, New York, 1983 (another cast illustrated).

L. Schneider, ‘A Note on the Iconography of Henry Moore’s “King and Queen”’ in Source: Notes in the History of Art, vol. 2, no. 4, Summer 1983, pp. 29–32 (another cast illustrated pp. 29 & 30).

W. Rubin, ed., Primitivism in Twentieth Century Art: A nity of the Tribal and the Modern, New York, 1984, p. 609 (details of another cast illustrated).

R. Berthoud, The Life of Henry Moore, London, 1987, pp. 181, 233, 238-240, 254, 293, 341, 372, 393, 399, 400, 418 & 419 (the present cast illustrated ﬁg. 105).

Exh. cat., Henry Moore and Landscape, Yorkshire Sculpture Park, 1987 (the Henry Moore Foundation cast illustrated on the front cover & p.17).

A. G. Wilkinson, Henry Moore Remebered: The collection at the Art Gallery of Ontario in Toronto, Toronto, 1987, p. 140 (the maquette illustrated).

A. Elliot & D. Mitchinson, eds., Henry Moore: Sculptures, Drawings and Graphics, 1922 to 1984, exh. cat., New Delhi, National Gallery of Modern Art, 1987, p. 18 (the present cast illustrated pl. 55).

S. Compton, ed., Henry Moore, exh. cat., London, Royal Academy of Arts, 1988, pp. 232 & 233 (the present cast illustrated no. 126, p. 95; the Tate cast illustrated p. 232).

A. Garrould, Henry Moore, Drawings, London, 1988, no. 153, pp. 139 & 260 (the present cast illustrated p. 139).

A. Pivi, Henry Moore, exh, cat., Milan, Castello Sforzesco, 1989, p. 23 & 130 (another cast illustrated pp. 18 & 19).

D. Mitchinson, ed., Henry Moore, exh. cat., Martigny, Fondation Pierre Gianadda, 1989 (the present cast illustrated pp. 172-173 & 174).

A. Elliot & D. Mitchinson, Henry Moore: The Human Dimension, London, 1991, p. 97 (the present cast illustrated p. 96).

P.E. Jodidio, ed., Connaissance des Arts: Moore, special edition, Paris, June 1992, p. 60 (the present cast illustrated on the front cover & p. 61).

Exh. cat., Henry Moore 1898–1986, Sydney, Art Gallery of New South Wales, Sydney, 1992, pp. 12, 111 & 125 (another cast illustrated p. 124).

LITERATURE (CONTINUED):

T. Trimm, Henry Moore Intime, exh. cat., Paris, Didier Imbert Fine Arts, 1992 (the present cast illustrated p. 54).

J. McEwen & J. Haddington, Glenkiln, Edinburgh, 1993, pp. 19, 45, 46, 48, 51 & 52 (the present cast illustrated pp. 18, 44, 47-50-55 & 70).

N. Penny, ‘Best of British’ in London Review of Books, vol. 15, no. 23, 2 December 1993. L. Schneider Adams, Art and Psychoanalysis, New York, 1994, p. 78 & 79 (another cast illustrated p. 78).

C. Allemand-Cosneau, M. Fath & D. Mitchinson, eds., Henry Moore, From the Inside Out: Plasters, Carvings and Drawings, Munich, 1996, p. 126 (the present cast illustrated ﬁg. 20).

J. Gi ord , The Buildings of Scotland: Dumfries and Galloway, London, 1996, pp. 56 & 323.

C. Allemand-Cosneau, M. Fath & D. Mitchinson, eds., Henry Moore, Ursprung und Vollendung, Gipsplastiken, Skulpturen in Holz und Stein, Zeichnungen, exh. cat., Nantes, Musée des Beaux-Arts, 1996, p. 126 (the present cast illustrated ﬁg. 20).

A. Dyer, ed., Henry Moore: Friendship and Inﬂuence, exh. cat., Norwich, Sainsbury Centre for Visual Arts, 1998, p. 12 (another cast illustrated p. 11).

Exh. cat., A sense of form: Henry Moore at the British Museum, London, British Museum, 1998 (another cast illustrated on the cover).

J. Putnam, ‘Egyptian Homage to Henry Moore’ in British Museum Magazine, London, no. 31, Summer 1998, p. 32 (another cast illustrated).

Exh. cat., Henry Moore: Sculptures, Drawings, Antwerp, Museum van Hedendaagse Kunst, 1999 (the Middelheim cast illustrated on the cover, pp. 8 & 28).

Exh. cat., Henry Moore: In the Light of Greece, Andros, Museum of Contemporary Art, 2000, pp. 65 & 67 (the present cast illustrated p. 66).

A. Dyer, ed., Moore in China, exh. cat., Beijing, Beihai Park, 2000, p. 38 (another cast illustrated).

D. Kosinski, Henry Moore: Sculpting the 20th Century, exh. cat., Dallas, Museum of Art, 2001, pp. 178, 269, 292 & 293 (another cast illustrated pp. 201 & 292).

A. Wilkinson, ed., Henry Moore: Writings and Conversations, Aldershot, 2002, pp. 119, 220, 234, 246, 249, 262 & 281-283 (the present cast illustrated ﬁg. 122, p. 281).

Exh. cat., Henry Moore, rétrospective, Saint-Paul-deVence, Fondation Maeght, 2002, p. 150 (another cast illustrated pp. 150 & 151).

M. Lambraki-Plaka, ed., Six Leading Sculptors and the Human Figure: Rodin, Bourdelle, Maillol, Brancusi, Giacometti, Moore, exh. cat., Athens, National Gallery, 2004, p. 433 (another cast illustrated pp. 400 & 433).

D. Mitchinson, ed., Henry Moore, Sculpture in the open air at Perry Green, Much Hadham, 2005 (another cast illustrated ﬁg. 7, p. 11).

M. Lluisa Borras, A. Feldman Bennet & T. Treves, Henry Moore, exh. cat., Barcelona, Fundació ‘la Caixa’, Barcelona, 2006 (the present cast illustrated p. 27; another cast illustrated p. 141).

D. Mitchinson, ed., Celebrating Moore: Works from the Collection of the Henry Moore Foundation, London, 2006, pp. 15, 38, 40, 44, 53, 55, 59, 238, 241, 242 & 278 (another cast illustrated pp. 240 & 241).

D. Mitchinson & R. Tolson, Henry Moore: War and Utility, exh. cat., London, Imperial War Museum, 2006, p. 48 (another cast illustrated).

A. Feldman, ‘An Art of the Open Air’ in Moore at Kew, exh. cat., Kew, 2007, p. 13.

J. Lewison, Henry Moore, Cologne, 2007 (another cast illustrated p. 50).

N. Schiefelbein, Lexikon, vol. II, Mannheim, 2007 (the present cast illustrated).

C. Lichtenstern, Henry Moore: Work-Theory-Impact, London, 2008 pp. 52, 141, 192, 193, 195-197, 200, 277, 354 & 414 (the present cast illustrated ﬁgs. 231-233, pp. 192-194).

C. Stephens, ed., Henry Moore, exh. cat., London, Tate Britain, 2010, London, p. 84.

S. Pisano, ed., Henry Moore at Perry Green, London, 2011 (another cast illustrated on the front cover & p. 54).

F. Althaus & M. Sutcli e, eds., Blitz and Blockade: Henry Moore at the Hermitage, exh. cat., St Petersburg, The State Hermitage Museum, 2011, p. 41 (another cast illustrated ﬁg. 34).

C. Barbillon & S. Mouquin, Écrire la sculpture - De l'Antiquité à Louise Bourgeois, Paris, 2011 (another cast illustrated p. 499).

S. Eustace, Moore at Hatﬁeld, exh. cat., Hatﬁeld House, 2011, p. 30 (the present cast illustrated p. 17; another cast illustrated pp. 31-33).

Exh. cat., Keith Coventry: Black Bronze, White Slaves, Salisbury, New Art Centre, 2012, p. 16 (casts of the heads illustrated pp. 18 & 19).

J. Blanc, ed., Paroles d'artistes: De la Renaissance à Sophie Calle, Paris, 2012, p. 416 (the present cast illustrated pp. 416 & 417).

R. Calvocoressi, M. Harrison & F. Warner, Francis Bacon / Henry Moore: Flesh and Bone, exh. cat., Oxford, Ashmolean Museum, 2013, p. 89 (another cast illustrated p. 88).

C. Weidemann & C. Nippe, 50 Modern Artists You Should Know, Munich, 2017 (the present cast illustrated p. 95).

A. Parsons, L. Macfarlane & L. Arnould, Cambridge International AS & A Level Art & Design: Student's Book, London, 2018 (another cast illustrated).

D. Hopkins, After Modern Art: 1945-2017, Oxford, 2018, p. 64.

The present cast of King and Queen photographed in-situ

Photo: Courtesy The Henry Moore Foundation.

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

GERHARD RICHTER (B. 1932)

Schober (Haybarn)

signed, numbered and dated '550-2 Richter 1984' (on the reverse)

oil on canvas

39q x 47 p in. (100.3 x 120 cm.)

Painted in 1984

£6,000,000-9,000,000

US$8,300,000-12,000,000

€6,900,000-10,000,000

PROVENANCE:

Marian Goodman Gallery, New York. Emily and Jerry Spiegel Collection, New York. Their sale, Christie’s New York, 17 May 2017, lot 20b. Acquired at the above sale by the previous owner.

EXHIBITED:

Dusseldorf, Messegelände Halle 13, Von hier aus. Zwei Monate neue deutsche Kunst in Düsseldorf, 1984, no. 3 (illustrated, p. 433).

Jerusalem, The Israel Museum, Life-Size: A Sense of the Real in Recent Art, 1990, pp. 160 and 192 (illustrated in colour, p. 161).

Paris, Musée d’Art Moderne de la Ville de Paris, Gerhard Richter, 1993-1994, pp. 88, 178, 183 and 188 (illustrated in colour, p. 89). This exhibition later travelled to Bonn, Kunstund Ausstellungshalle der Bundesrepublik Deutschland; Stockholm, Moderna Museet and Madrid, Museo Nacional Centro de Arte Reina Sofía.

LITERATURE:

A. Pohlen, 'von hier aus' in Kunstforum International, no. 75, September/October 1984 (illustrated in colour, p. 66).

A.E.I.U.O., no. 10/11, 1984 (illustrated in colour, p. 96).

U. Loock and D. Zacharopoulos, Gerhard Richter, Munich 1985 (illustrated in colour, p. 47).

J. Harten and D. Elger (eds.), Gerhard Richter: Bilder/ Paintings 1962-1985, exh. cat., Dusseldorf, Städtische Kunsthalle, 1986, p. 398, no. 550-2 (illustrated, p. 296).

Mitograﬁe, exh. cat., Ravenna, Pinacoteca di Ravenna, 1987 (incorrectly titled 'Wind'; illustrated, p. 34).

U. Wilmes, 'Über Gerhard Richter. Der Schein der Wirklichkeit im Bild,' in Künstler. Kritisches Lexikon der Gegenwartskunst, Munich 1988 (illustrated in colour, p. 12).

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (ed.), Gerhard Richter, Werkübersicht/ Catalogue Raisonné: 1962-1993, vol. III, Ostﬁldern-Ruit 1993, p. 176, no. 550-2 (illustrated in colour, p. 86).

M. Hüllenkremer, 'Die Richter Skala' in Merian, January 1994 (illustrated in colour, p. 86).

W. Spies, Kunstgeschichten. Von Bildern und Künstlern im 20. Jahrhundert, vol. 2, Cologne 1998 (illustrated, p. 275).

D. Elger, Gerhard Richter, Maler, Cologne 2002, pp. 329 and 339.

H. Friedel (ed.), Gerhard Richter Atlas, London 2006, p. 833, no. 550-2 (source image illustrated in colour, p. 445).

D. Elger, Gerhard Richter, Maler, Cologne 2008, pp. 293 and 301.

D. Elger, Gerhard Richter: A Life in Painting, Chicago 2009, p. 263.

D. Elger (ed.), Gerhard Richter: Landscapes, Ostﬁldern 2011, p. 175, no. 550-2 (illustrated in colour, p. 98).

D. Elger (ed.), Gerhard Richter: Catalogue Raisonné, Volume 3, Nos. 389 – 651-2, 1976-1987, Ostﬁldern, 2013, no. 550-2 (illustrated in colour, p. 388).

ABSTRACT MASTERWORKS FROM

GERHARD RICHTER (B. 1932)

Abstraktes Bild

signed, numbered and dated ‘748-5 Richter 1991’ (on the reverse) oil on canvas

44t x 40t in. (112 x 102cm.) Painted in 1991

£4,500,000-6,500,000

US$6,200,000-8,900,000

€5,200,000-7,500,000

PROVENANCE:

Galerie Liliane & Michel Durand-Dessert, Paris. Private Collection, Spain (acquired from the above in 1992). Acquired from the above by the present owner.

EXHIBITED:

Paris, Galerie Liliane & Michel Durand-Dessert, Gerhard Richter, 1991 (illustrated in colour, unpaged).

LITERATURE:

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (ed.), Gerhard Richter, Werkübersicht/ Catalogue Raisonné: 1962-1993, vol. III, Ostﬁldern-Ruit 1993, p. 192, no. 748-5 (illustrated in colour, p. 132).

D. Elger, Gerhard Richter: A Life in Painting, Chicago 2009, p. 265.

D. Elger (ed.), Gerhard Richter: Catalogue Raisonné, Volume 4, Nos. 652-1-805-6, 1988-1994, Ostﬁldern, 2015, no. 748-5 (illustrated in colour, p. 400).

EDUARDO CHILLIDA (1924-2002)

Modulación del espacio III

(Modulation of Space III)

incised with the artist's monogram (upper edge) iron

14t x 18w x 15 u in. (36 x 48 x 39cm.)

Executed in 1963

£800,000-1,200,000

US$1,100,000-1,600,000

€920,000-1,400,000

PROVENANCE:

Galerie Maeght, Paris. Private Collection, New Zealand (acquired from the above in 1966).

Thence by descent to the present owner.

EXHIBITED:

Paris, Galerie Maeght, Chillida: Derrière Le Miroir, 1964, pp. 14 and 16, no. 6.

Kassel, Museum Fridericianum, documenta III, 1964, p. 220, no. 3 (incorrectly dated '1964').

LITERATURE:

E. Aguado (ed.), El hierro en el arte español: Formas de la escultura contemporánea, Madrid 1966, pp. 157 and 221, no. 96 (illustrated, p. 156).

J. D. Fullaondo, Chillida, Madrid 1967, no. 2 (illustrated, unpaged).

C. Esteban, Chillida, Paris 1971, p. 203, no. 24 (illustrated, p. 84).

Chillida, exh. cat., Pittsburgh, Museum of Art, Carnegie Institute, 1979-1980, p. 179, no. 92 (illustrated, p. 63).

O. Paz, Chillida, Barcelona 1980, p. 179, no. 92 (illustrated in colour, p. 63).

I. Chillida and A. Cobo, Eduardo Chillida: Catalogue Raisonné of Sculpture, I (1948-1973), San Sebastián 2014, p. 347, no. 1963004 (illustrated, p. 194).

WASSILY

KANDINSKY (1866-1944)

Le rond rouge

signed with the monogram and dated ‘39’ (lower left); signed again with the monogram, dated and numbered ‘No. 661 1939’ (on the reverse) oil on canvas

35 x 45r in. (89.1 x 116.1cm.)

Painted in April 1939

£10,500,000-15,500,000

US$15,000,000-21,000,000

€13,000,000-18,000,000

PROVENANCE:

Nina Kandinsky, Neuilly-sur-Seine.

Galerie Maeght, Paris, by whom acquired from the above in December 1957.

Gustav Zumsteg, Zurich, by whom acquired from the above on 14 June 1961; his sale, Christie's, London, 6 April 1976, lot E.

Davlyn Gallery, New York [David Nahmad], by whom acquired at the above sale.

Private collection, Europe, by whom acquired circa 1980 and until 1996.

Fridart Foundation, Amsterdam, by whom acquired in 1996; sale, Sotheby's, New York, 12 November 2018, lot 4.

Acquired at the above sale by the present owner.

EXHIBITED:

Paris, Galerie René Drouin, 40 Peintures de Kandinsky, March - April 1946, no. 19.

Zurich, Kunsthaus, Georges Braque, Wassily Kandinsky, Pablo Picasso, September - October 1946, no. 89, p. 13. Amsterdam, Stedelijk Museum, Kandinsky, December 1947 - January 1948, no. 82; this exhibition later travelled to The Hague, Gemeente Museum, February - March 1948.

Paris, Galerie René Drouin, Kandinsky, Époque Parisienne 1934-1944, June - July 1949, no. 34.

Paris, J. & H. Bernheim-Jeune, Rythmes et couleurs, December 1950 - January 1951, no. 14.

Bern, Kunsthalle, Wassily Kandinsky, March - May 1955, no. 93.

Lausanne, Palais de Beaulieu, Chefs-d'oeuvre des Collections Suisses, de Manet à Picasso, May - October 1964, no. 323 (illustrated).

Zurich, Galerie Maeght, Kandinsky, April 1972, no. 58. Paris, Musée d'art moderne de la ville de Paris, Hommage de Paris à Kandinsky, La conqu ête de l'abstraction, l'époque Parisienne, June - July 1972, no. 43, p. 68 (illustrated p. 32).

Venice, XLII Esposizione lnternazionale d'Arte, La Biennale di Venezia, Arte e Scienza, June - September 1986, p. 159 (illustrated p. 183).

Verona, Galleria d'Arte Moderna e Contemporanea di Palazzo Forti, Vasilij Kandinskij, July - November 1993, no. 86, p. 263 (illustrated p. 184).

Jerusalem, The Israel Museum, Wassily Kandinsky, The Color of Abstraction, September - December 1999, p. 63 (illustrated p. 62).

Saint-Paul-de-Vence, Fondation Maeght, Wassily Kandinsky, Rétrospective, July - October 2001, no. 106, p. 214 (illustrated p. 215).

London, The Courtauld Gallery, 2002 - 2018, on long-term loan.

LITERATURE:

The artist's handlist IV, no. 661.

W. Grohmann, Wassily Kandinsky, Life and Work, London, 1959, no. 661, p. 341 (illustrated p. 313).

P. Overy, Kandinsky, The Language of the Eye, London, 1969, pp. 176 & 185 (illustrated p. 177).

H.K. Roethel & J.K. Benjamin, Kandinsky, Catalogue Raisonne of the Oil-Paintings, vol. II, 1916-1944, London, 1984, no. 1099, p. 992 (illustrated).

J. Freeman, The Fridart Collection, Nineteenth and Twentieth-Century Modern Masterworks, London, 1998, pp. 132 & 133 (illustrated p. 132).

The Courtauld Institute of Art, The 20th Century at the Courtauld Institute Gallery, London, 2002, p. 58 (illustrated).

CY TWOMBLY (1928-2011)

Untitled (Rome)

signed, inscribed and dated 'Roma 1961 Cy Twombly' (upper centre)

oil and graphite on canvas 31q x 39 u in. (80 x 100cm.)

Executed in 1961

£2,500,000-3,500,000

US$3,500,000-4,800,000

€2,900,000-4,000,000

PROVENANCE:

Galleria La Tartaruga, Rome. Wolfgang Hahn Collection, Cologne (acquired from the above circa 1964).

Acquired from the above by the present owner in the 1970s.

EXHIBITED:

Cologne, Kölnischer Kunstverein, Kunst des 20. Jahrhunderts in Kölner Privatbesitz, 1964, no. 108 (incorrectly dated '1962'; titled 'Untitled'; illustrated, unpaged).

Dusseldorf, Kunsthalle Düsseldorf, Kunst des 20. Jahrhunderts aus rheinisch-westfälischem Privatbesitz. Malerei - Plastik - Handzeichnung, 1967, p. 86, no. 351 (incorrectly dated '1962'; titled 'Untitled').

Cologne, Wallraf-Richartz-Museum , Sammlung Hahn. Zeitgenössische Kunst, 1968, p. 64, no. 140 (incorrectly dated '1962'; titled 'Untitled').

LITERATURE:

A. Pellegrini, New Tendencies in Art, New York 1966 (incorrectly dated '1962'; illustrated, p. 269).

H. Bastian (ed.), Cy Twombly: Catalogue Raisonné of the Paintings, Volume II 1961-1965, Munich 1993, no. 32 (illustrated, p. 90).

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ABSTRACT MASTERWORKS FROM

JEAN-PAUL RIOPELLE (1923-2002)

La Forêt (The Forest)

signed and dated ‘Riopelle 53’ (lower right) oil on canvas

50 r x 76rin. (129 x 195cm.) Painted in 1953

£1,200,000-1,800,000

US$1,700,000-2,500,000

€1,400,000-2,100,000

PROVENANCE: Galerie Änne Abels, Cologne. Private Collection (acquired from the above).

Anon. sale, Sotheby’s Paris, 9 December 2015, lot 20. Acquired at the above sale by the present owner.

EXHIBITED:

Cologne, Kölnischer Kunstverein, Jean Paul Riopelle: Arbeiten von 1947 bis 1957. Gemälde. Gouachen. Aquarelle., 1958, no. 9 (illustrated in the Städtisches Museum Wuppertal catalogue, p. 9). This exhibition later travelled to Wuppertal, Städtisches Museum Wuppertal and Hanover, Museum Kestner-Gesellschaft.

Basel, Kunsthalle Basel, Karel Appel, Georges Mathieu, Mattia Moreni, Jean-Paul Riopelle, 1959, p. 48, no. 92. This exhibition later travelled to Neuchâtel, Musée des Beaux-Arts.

Frankfurt, Frankfurter Kunstverein Steinernes Haus, Vom Bauhaus bis zur Gegenwart. Meisterwerke aus deutschem Privatbesitz, 1967, p. 17, no. 68 (illustrated, p. 153).

LITERATURE:

Y. Riopelle, Jean Paul Riopelle, Catalogue Raisonné 1939-1953, Volume I, Montreal 1999, no. 1953.020H.1953 (illustrated, p. 386).

ABSTRACT MASTERWORKS FROM AN

HOWARD HODGKIN (1932-2017)

In the Green Room

oil on wood

68w x 75 t in. (175 x 190.8cm.)

Painted in 1984-1986

£800,000-1,200,000

US$1,100,000-1,600,000

€920,000-1,400,000

PROVENANCE:

M. Knoedler & Co., Inc., New York. P.C. Arts, Los Angeles. Private Collection, Mexico. Acquavella Galleries, New York. Private Collection, Palm Beach (acquired from the above). Anon sale, Christie’s London, 11 February 2015, lot 20. Acquired at the above sale by the present owner.

EXHIBITED:

London, Royal Academy of Arts, British Art in the 20th Century: The Modern Movement, 1987, pp. 382 and 417, no. 289 (illustrated in colour, p. 385).

LITERATURE:

A. Thorkildsen, 'En samtale med Howard Hodgkin', in Kunst og Kultur, vol. 70, no. 4, March 1987, no. 6 (illustrated with incorrect orientation, p. 233).

M. Price (ed.), Howard Hodgkin Paintings, London 1995, no. 211 (illustrated, p. 186).

M. Price (ed.), Howard Hodgkin, The Complete Paintings Catalogue Raisonné, London 2006, p. 419, no. 211 (illustrated in colour, p. 226).

ABSTRACT MASTERWORKS FROM AN IMPORTANT PRIVATE COLLECTION

KAZUO SHIRAGA (1924-2008)

Yagenko

signed in Japanese (lower left); signed, titled and dated in Japanese (on the reverse) oil on canvas

76p x 101rin. (193.6 x 258.5 cm.)

Painted in 1989

£1,000,000-1,500,000

US$1,400,000-2,100,000

€1,200,000-1,700,000

PROVENANCE:

Tokyo Gallery, Tokyo. Private Collection.

Anon. sale, Sotheby's New York, 20 September 2007, lot 57. Private Collection, Europe.

Anon. sale, Christie’s Paris, 4 June 2014, lot 28. Acquired at the above sale by the present owner.

LITERATURE:

Kazuo Shiraga: Painting Born Out of Fighting, exh. cat., Toyoshina, Azumino Municipal Museum of Modern Art, 2009, no. 317 (illustrated in colour, p. 161).

LUCIO FONTANA (1899-1968)

Concetto spaziale

signed and dated 'l. fontana 60' (lower right); signed, titled and dated 'l. fontana “Concetto Spaziale” 1960’ (on the reverse) oil on canvas

33 q x 24in. (85 x 61cm.)

Executed in 1960

£500,000-700,000

US$690,000-960,000

€580,000-800,000

PROVENANCE:

Jan Runnqvist, Stockholm (acquired directly from the artist).

Galerie Bonnier, Geneva. Acquired from the above by the present owner in 1971.

EXHIBITED:

Lausanne, Galerie Bonnier, Lucio Fontana. Peintures 196064, 1965.

LITERATURE:

E. Crispolti, Lucio Fontana. Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. I, Brussels 1974, no. 60 O 14 (illustrated, p. 72).

E. Crispolti, Fontana, Catalogo generale, vol. I, Milan 1986, no. 60 O 14 (illustrated, p. 251).

E. Crispolti, Lucio Fontana. Catalogo ragionato di sculture, dipinti, ambientazioni, vol. I, Milan 2006, no. 60 O 14 (illustrated, p. 416).

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ANDY WARHOL (1928-1987)

Four Mona Lisas

signed and dated 'Andy Warhol 78' (on the overlap)

acrylic and silkscreen ink on canvas 49w x 39w in. (126.7 x 101.3cm.)

Executed in 1978

£3,500,000-5,500,000

US$4,800,000-7,500,000

€4,100,000-6,300,000

PROVENANCE:

Carlo Bilotti, Palm Beach (acquired directly from the artist in 1978).

Anon. sale, Christie’s New York, 13 May 1999, lot 515. Pam and Bob Goergen, Greenwich.

Anon. sale, Christie’s New York, 10 November 2010, lot 60. Private Collection, New Jersey.

Anon. sale, Christie’s New York, 12 November 2014, lot 77. Acquired at the above sale by the present owner.

EXHIBITED:

Wolfsburg, Kunstmuseum Wolfsburg, Andy Warhol: A Factory, 1998-2000, no. 444 (titled 'Mona Lisa'; illustrated in colour, unpaged). This exhibition later travelled to Brussels, Palais des Beaux-Arts; Bilbao, Guggenheim Museum and Porto, Museu Serralves. New York, Lévy Gorvy, Warhol Women, 2019, pp. 94 and 188 (titled 'Mona Lisa'; illustrated in colour, p. 95; installation view illustrated in colour, p. 149).

LITERATURE:

N. Printz (ed.), The Andy Warhol Catalogue Raisonné, Paintings and Sculptures Mid-1977-1980, vol. 06A, London 2024, pp. 306, 315, 410 and 425, no. 4316 (illustrated in colour, p. 307; detail illustrated in colour, p. 318).

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PROPERTY FROM A DISTINGUISHED COLLECTION

MICHELANGELO PISTOLETTO (B. 1933)

Lei e Lui - Maria e Michelangelo (Her and Him - Maria and Michelangelo)

signed, titled and dated ‘Pistoletto 1968 lei e lui (Maria e Michelangelo)’ (on the reverse) painted tissue paper on polished stainless steel 90 v x 47 pin. (230.2 x 120cm.)

Executed in 1968

£1,000,000-1,500,000

US$1,400,000-2,100,000

€1,200,000-1,700,000

PROVENANCE:

Galleria L’Attico, Rome. Galleria La Bertesca, Genoa. Studio Casoli, Milan.

Private Collection, Milan (acquired from the above).

Eyes Wide Open: An Italian Vision Sale, Christie’s London, 11 February 2014, lot 19.

Acquired at the above sale by the present owner.

EXHIBITED:

Rome, Galleria L’Attico, Michelangelo Pistoletto, 1968 (installation views illustrated, pp. 2, 3 and 4).

LITERATURE:

Pistoletto, exh. cat., Venice, Palazzo Grassi, 1976, nos. 66 and 67 (installation view at Galleria L’Attico in 1968 illustrated, p. 34).

Michelangelo Pistoletto: From One to Many, 1956-1974, exh. cat., Philadelphia, Philadelphia Museum of Art, 20102011, no. 92 (installation view at Galleria L'Attico in 1968 illustrated, p. 102).

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

FRANK AUERBACH (1931-2024)

Gerda Boehm

oil on board

24p x 28pin. (61.6 x 71.6cm.)

Painted in 1971-1973

£500,000-800,000

US$690,000-1,100,000

€580,000-920,000

PROVENANCE:

Marlborough Fine Art Ltd., London. Private Collection, Switzerland.

Marlborough Fine Art Ltd., London. Private Collection, UK.

O er Waterman, London.

Acquired from the above by the present owner in 2016.

EXHIBITED:

London, Marlborough Fine Art Ltd., Frank Auerbach: Recent Work, 1974, p. 6, no. 20 (illustrated in colour, p. 19).

Los Angeles, Los Angeles County Museum of Art, European Painting in the Seventies: New Work by Sixteen Artists, 1975-1976, p. 81, no. 20. This exhibition later travelled to St Louis, St Louis Art Museum and Madison, University of Wisconsin, Elvehjem Art Center.

London, Hayward Gallery, Frank Auerbach, 1978, no. 107 (dated ‘1973’; illustrated in colour, p. 35; illustrated, p. 92).

This exhibition later travelled to Edinburgh, Fruitmarket Gallery.

London, Haunch of Venison, The Mystery of Appearance, Conversations Between Ten British Post-War Painters, 2011-2012, p. 124 (illustrated in colour, p. 81).

London, O er Waterman, Frank Auerbach, Early Works 1954-1978, 2012, pp. 48 and 60, no. 16 (illustrated in colour, p. 49).

LITERATURE:

W. Feaver, Frank Auerbach, New York 2009, no. 318 (illustrated in colour, p. 272).

W. Feaver, Frank Auerbach, New York 2022, no. 318 (illustrated in colour, p. 314).

PABLO PICASSO (1881-1973)

Le peintre et son modèle

signed ‘Picasso’ (lower left); dated ‘8.9.11.64.’ (on the reverse)

oil and Ripolin on canvas

51t x 76r in. (130 x 195 cm.)

Painted in Mougins on 8-9 November 1964

£7,000,000-10,000,000

US$9,600,000-14,000,000

€8,100,000-11,000,000

PROVENANCE:

Galerie Louise Leiris, Paris.

Richard K. & Florence Weil, St. Louis, Missouri.

Galerie Beyeler, Basel, by whom acquired from the above on 19 December 1985.

Private collection, Europe, by whom acquired from the above on 10 October 1997, and thence by descent; sale, Christie's, New York, 17 November 2022, lot 36. Acquired at the above sale by the present owner.

EXHIBITED:

Basel, Galerie Beyeler, Aus privaten Sammlungen, February - April 1986, no. 57.

Basel, Galerie Beyeler, Picasso, der Maler und seine Modelle, July - October 1986, no. 54, pp. 98 & 110 (illustrated pp. 98 & 99).

Humlebaek, Louisiana Museum of Modern Art, Picasso 1960-1973, October 1988 - January 1989, no. 16, pp. 63 & 64 (detail illustrated on the front and back cover).

Basel, Galerie Beyeler, L’éternel féminin, November 1989January 1990, no. 58 (illustrated).

Hannover, Sprengel Museum, Die Metamorphosen der Bilder, November 1992 - February 1993, no. 88, pp. 154-158 & 317 (illustrated p. 157).

Lausanne, FAE Musée d’art contemporain, Picasso contemporain, May - September 1994, p. 129 (illustrated pp. 72-73).

'The Art of the Deal' in Vanity Fair, April 1995, vol. 58, no. 4 (illustrated in situ).

Sapporo, Hokkaido Museum of Modern Art, Exhibition from Swiss Private Collections, May - November 1996, no. 15, p. 46 (illustrated p. 47); this exhibition later travelled to Nagasaki, Huis ten Bosch Museum of Art, JuneAugust 1996; Kyoto, Municipal Museum of Art, August - September 1996 and Tokyo, Mitsukoshi Museum of Art, October - November 1996.

Madrid, Museo Nacional Centro de Arte Reina Sofía, Picasso, Las grandes series, March - June 2001, no. 84, pp. 298, 451 & 452 (illustrated pp. 298 & 451).

Milan, Palazzo Reale, Picasso: 200 capolavori dal 1898 al 1972, September 2001 - January 2002, no. 175, pp. 307 & 363 (illustrated p. 307).

Baden-Baden, Museum Frieder Burda, Picasso, Von Mougins nach Baden-Baden, Der späte Picasso, September 2005 - January 2006, pp. 37 & 80 (illustrated p. 37).

Dusseldorf, Kunstsammlung Nordrhein-Westfalen, Picasso, Malen gegen die Zeit, February - May 2007, no. 26, p. 79 (illustrated).

Berlin, Galerie Céline und Heiner Bastian am Kupfergarten, Picasso, Die Freiheit der späten Werke, February - April 2011, no. 5, p. 69 (illustrated pp. 32-33 & 69).

Aix-en-Provence, Musée Granet, Chefs-d’oeuvre du musée Frieder Burda, Baden-Baden, May - September 2012, no. 12, pp. 62 & 212 (illustrated p. 63).

Bremen, Kunsthalle, Sylvette, Sylvette, Sylvette: Picasso and the Model, February - June 2014, no. 89, p. 254 (illustrated p. 255).

Martigny, Fondation Pierre Gianadda, Picasso: L'oeuvre ultime, hommage à Jacqueline, June - November 2016, no. 32, p. 92 (illustrated pp. 92-93).

LITERATURE:

C. Zervos, Pablo Picasso, vol. 24, Oeuvres de 1964, Paris, 1971, no. 263 (illustrated pl. 99).

R. Alberti, Picasso en Avignon, Paris, 1971, p. 95.

P. Cabanne, Le siècle de Picasso, vol. II, La guerre, Le parti, La gloire, L'homme seul, 1937-1973, Paris, 1975, p. 318 & 365 (illustrated p. 250; dated '9 November 1969').

W. Spies, ed., Pablo Picasso, Die zwei Geschwindigkeiten im Spätwek, Baden-Baden, 2004, p. 23 (illustrated).

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

CECILY BROWN (B. 1969) Shadow Burn

signed twice and dated twice 'Cecily Brown 2005-2006

Cecily Brown 2005' (on the reverse) oil on linen

97 x 103in. (246.2 x 261.7cm.)

Painted in 2005-2006

£3,000,000-5,000,000

US$4,200,000-6,800,000

€3,500,000-5,700,000

PROVENANCE:

Gagosian Gallery, London. Heiner Bastian Fine Art, Berlin. Acquired from the above by the present owner.

EXHIBITED:

London, Gagosian Gallery, Cecily Brown: New Paintings 2003-2006, 2006, pp. 80 and 83 (illustrated in colour, p. 81).

Osaka, The National Museum of Art, Essential Painting, 2006.

Hamburg, Deichtorhallen, Cecily Brown, 2009. Humlebaek, Louisiana Museum of Modern Art, Cecily Brown: Where, When, How Often and with Whom, 20182019, p. 156 (illustrated in colour, pp. 8-9).

LITERATURE:

R. Dergan (ed.), Cecily Brown, New York 2008, pp. 220 and 260 (detail illustrated in colour, opposite p. 1; illustrated in colour, p. 221).

IN PURSUIT OF LIGHT: THE COLLECTION OF CAROL AND TERRY WALL

JOHN SINGER SARGENT (1856-1925)

Study for 'Carnation, Lily, Lily, Rose'

oil on canvas

28r x 18q in. (73 x 47 cm.)

Painted in 1885

£3,000,000-5,000,000

US$4,200,000-6,800,000

€3,500,000-5,700,000

PROVENANCE:

Lily Millet, Broadway, Worcestershire, probably a gift from the artist, and until at least 1926.

Charles Kinderman, London, by 1929; sale, Sotheby's, London, 10 June 1942, lot 87. Oakley, by whom acquired at the above sale.

Anonymous sale, Sotheby's, London, 16 December 1942, lot 147.

R.E.A. Wilson, London, by whom acquired at the above sale.

Major C.G. Nicholson, Victoria, British Columbia, by 1944, and thence by descent in 1959.

Johannes P. E. Klaverwyden, Victoria, British Columbia. Private collection.

Adelson Galleries, New York, 1998.

Acquired from the above by Carol and Terry Wall in January 1999.

EXHIBITED:

London, The Royal Academy of Arts, Exhibition of Works by the Late John S. Sargent, R.A., January - March 1926, no. 416, p. 63.

London, National Gallery, Millbank, Opening of Sargent Gallery, June - October 1926.

Victoria, British Columbia, Art Gallery of Greater Victoria, 1968.

Huntington, Heckscher Museum of Art, The Golden Age of American Impressionism, November 2003 - February 2004, p. 52 (illustrated pl. 17, p. 53).

Boston, Museum of Fine Arts, Sargent, Chase, and Cassatt: Master Paintings from a Private Collection, JulySeptember 2006.

Stockholm, Nationalmuseum, John Singer Sargent, October 2018 - January 2019, p. 39 (illustrated p. 38).

Montclair Art Museum, A Shared Love: Treasures of American Painting (1878-1919) from the Carol and Terry Wall Collection, May 2024 - February 2025.

LITERATURE: (probably) W.H. Downes, John S. Sargent: His Life and Work, London, 1926, p. 306 (as one of 'Two Studies for 'Carnation, Lily, Lily, Rose').

E. Charteris, John Sargent, London, 1927, p. 283.

C.M. Mount, John Singer Sargent: A Biography, New York,1955, no. K851, p. 455.

C.M. Mount, John Singer Sargent: A Biography, New York, 1969, p. 465 (as 'Sketches for Carnation, Lily, Lily, Rose, no. 1').

W. Adelson, S. Olson & R. Ormond, Sargent at Broadway: The Impressionist Years, New York, 1986, p. 68 (illustrated p. 69, ﬁg. 45; titled 'Study of Dorothy Barnard for Carnation, Lily, Lily, Rose' ).

M. Simpson, Reconstructing the Golden Age: American Artists in Broadway, Worcestershire, 1885 to 1889, New Haven, 1993, pp. 333 & 334 (illustrated ﬁg. 118).

D. Davis, The Secret Life of Frames: One Hundred Years of Art and Artistry, New York, 2007, pp. 212 & 213 (illustrated).

A. Syme, A Touch of Blossom: John Singer Sargent and the Queer Flora of Fin-De-Siècle Art, Philadelphia, 2010, p. 158 (illustrated p. 160, ﬁg. 143).

R. Ormond & E. Kilmurray, John Singer Sargent, vol. V, Figures and Landscapes, 1883-1899, New Haven, 2010, no. 875, pp. 101, 127, 139 & 345 (illustrated p. 139).

PROPERTY FROM THE DURAND-RUEL FAMILY

EDGAR DEGAS (1834-1917)

Femme sortant du bain

pastel on paper mounted on board 29t x 30t in. (74 x 76.3 cm.)

Executed circa 1887-1890

£1,500,000-2,500,000

US$2,100,000-3,400,000

€1,800,000-2,900,000

PROVENANCE:

Galleries Durand-Ruel et Cie., Paris by whom acquired directly from the artist on 22 February 1913.

Durand-Ruel Galleries, New York, transferred from the above in December 1917.

Joseph F. Flanagan, Boston, by whom acquired from the above on 26 January 1918; sale, American Art Association, New York, 13 January 1920, lot 57.

Durand-Ruel Galleries, New York & M. Knoedler & Co., New York, by whom jointly acquired at the above sale. Durand-Ruel collection, Paris, and thence by descent to the present owner.

EXHIBITED:

New York, Durand-Ruel Galleries, Paintings and Pastels by Degas, January 1901, no. 9.

New York, Durand-Ruel Galleries, Exhibition of Paintings and Pastels by Edgar Degas, March 1922, no. 14.

New York, Durand-Ruel Galleries, Exhibition of Paintings and Pastels by Edgar Degas, January - February 1928, no. 25.

New York, Durand-Ruel Galleries, Paintings and Gouaches by Edgar Degas and Camille Pissarro, January 1932, no. 8.

New York, Durand-Ruel Galleries, Pastels and Gouaches by Degas, Renoir, Pissarro, Cassatt, April - May 1935, no. 4.

New York, Durand-Ruel Galleries, Boudin to Cezanne, December 1938, no. 8.

New York, Durand-Ruel Galleries, Pastels by Degas, March 1943, no. 9.

New York, Durand-Ruel Galleries, Nudes by Degas and Renoir, April - May 1945, no. 2.

LITERATURE:

P.-A. Lemoisne, Degas et son oeuvre, vol. III, Peintures et pastels, 1883-1908, Paris, 1947, no. 925, p. 538 (illustrated p. 539).

F. Russoli & F. Minervino, L'opera completa di Degas, Milan, 1970, no. 942, p. 129 (illustrated p. 128).

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PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

CLAUDE MONET (1840-1926)

Le Parc Monceau

signed and dated 'Claude Monet 1878.' (lower left) oil on canvas

21p x 25v in. (54.1 x 65 cm.)

Painted in 1878

£5,500,000-8,500,000

US$7,600,000-12,000,000

€6,400,000-9,700,000

PROVENANCE:

Georges de Bellio, Paris, by whom acquired directly from the artist on 2 June 1878 and until at least 1889.

(possibly) E. Donop de Monchy, Paris, by whom acquired in 1894.

Paul Rosenberg, Paris.

Galerie Durand-Ruel et Cie., Paris, by whom acquired from the above on 6 June 1917.

Durand-Ruel Galleries, New York, transferred from the above in December 1917.

Private collection, Switzerland, by descent from the above; sale, Christie’s, New York, 9 May 2007, lot 18.

Acquired at the above sale by the present owner.

EXHIBITED:

(probably) Paris, 28 avenue de l'Opera, 4e Exposition d'artistes indépendant, realistes et impressionnistes, April - May 1879, no. 152.

Paris, Galerie Georges Petit, Claude Monet - A. Rodin, 1889, no. 36, p. 31.

New York, Durand-Ruel Galleries, Exhibition of Paintings by Claude Monet, March 1940, no. 14.

Paris, Galerie Durand-Ruel et Cie., Exposition Claude Monet, May - September 1959, no. 20.

Paris, Galerie Durand-Ruel et Cie., Claude Monet, JanuaryFebruary 1970, no. 19 (illustrated).

Chicago, Art Institute, Monet and Chicago, September 2020 - June 2021, no. 22, p. 131 (illustrated p. 57).

LITERATURE:

Letter from Claude Monet to Georges de Bellio, April-May 1879.

(possibly) Letter from Georges de Bellio to Claude Monet, 12 September 1891.

G. Ge roy, Claude Monet, Sa vie, son temps, son oeuvre, Paris, 1922, pp. 98 & 118.

O. Reuterswärd, Monet, Stockholm, 1948, p. 180. (possibly) M. Rostand, Quelques amateurs de l'époque impressionniste, Paris, 1955, pp. 13 & 31.

C. Roger-Marx, 'Claude Monet et la féérie impressioniste' in Jardin des Arts, July 1959, pp. 578 & 579 (illustrated).

R. Niculescu, 'G. de Bellio, l'ami des impressionistes' in Revue roumaine d'Histoire de l'art, vol. I, no. 2, Bucharest, 1964, p. 217.

D. Wildenstein, Claude Monet, biographie et catalogue raisonné, Lausanne, 1974, vol. I, no. 468, pp. 316 & 436 (illustrated p. 317).

R. L. Herbert, Impressionism: Art, Leisure & Parisian Society, 1988, New Haven, p. 142.

R. Berson, The New Painting: Impressionism 1874-1886, vol. II., Exhibited Works, 1996, no. IV-152, p. 115 (illustrated p. 134).

D. Wildenstein, Monet, Catalogue Raisonné, vol. II, Cologne, 1996, no. 468, pp. 187 & 188 (illustrated p. 187).

PROPERTY OF A PRIVATE COLLECTOR

LUCIAN FREUD (1922-2011)

Pluto's Grave

oil on canvas

16 x 12in. (40.8 x 30.5cm.)

Painted in 2003

£2,000,000-3,000,000

US$2,800,000-4,100,000

€2,300,000-3,400,000

PROVENANCE: The Artist.

Bella Freud, London. The Artist.

Acquired from the above by the present owner in 2004.

EXHIBITED:

London, The Wallace Collection, Lucian Freud: Latest Paintings, 2004,p. 9,no. 3 (illustrated in colour, p. 16).

This exhibition later travelled to New York, Acquavella Contemporary Art Inc.

Vienna, Kunsthistorisches Museum, Lucian Freud, 20132014, p. 224, no. 42 (illustrated in colour,p. 225).

Siegen, Museum für Gegenwartskunst, Lucian Freud and the Animal, 2015, p. 103 (illustrated in colour, p. 102).

London, Garden Museum, Lucian Freud: Plant Portraits, 2022-2023, p. 36 (illustrated in colour, p. 37; detail illustrated in colour, p. 58 and work in progress illustrated in colour, p. 70).

London, The Wallace Collection , Faithful and Fearless: Portraits of Dogs, 2023, pp. 21, 142-143 and 146, no. 54 (illustrated in colour, p. 147).

LITERATURE:

R. Cork, ‘Flesh and Blood’, in The Times Magazine, 27 March 2004, p. 40 (illustrated in colour, p. 38).

R. Hughes, ‘The Master at Work’, in The Guardian G2, 6 April 2004, p. 2.

S. Smee, Lucian Freud 1996-2005, London 2005, pp. 9, 80 and 149, no. 85 (illustrated in colour, p. 150).

M. Holborn (ed.), Freud at Work, London 2006, p. 162 (work in progress illustrated in colour, p. 161; illustrated in colour, p. 163).

W. Feaver, Lucian Freud, New York 2007,p. 482, no. 348 (illustrated in colour, p. 386).

Lucian Freud: L’ Atelier, exh. cat., Paris, Centre national d'Art et de Culture Georges Pompidou, 2010, pp. 161 and 223, no. 70 (work in progress illustrated in colour, p. 222).

D. Dawson, A Painter’s Progress: A Portrait of Lucian Freud, London 2014 (work in progress illustrated in colour, p. 94).

M. Gayford, Lucian Freud, Vol. 2, London 2018, pp. 221 and 298 (illustrated in colour,p. 256).

M. Gayford, Man with a Blue Scarf: On Sitting for a Portrait by Lucian Freud, London 2019, pp. 139, 142 and 247 (work in progress illustrated in colour, p. 138; illustrated in colour, p. 140).

G. Aloi, Lucian Freud: Herbarium, London 2019, p. 59 (illustrated in colour,p. 58).

W. Feaver, The Lives of Lucian Freud: Fame 1968-2011, London 2020, p. 443.

M. Gayford , Lucian Freud, London 2022, p. 616 (illustrated in colour, p. 568).

C. Lampert and T. Treves, Lucian Freud: Catalogue Raisonné of the Oil Paintings, Vol. 1, London 2025, p. 106.

C. Lampert and T. Treves, Lucian Freud: Catalogue Raisonné of the Oil Paintings, Vol. 4, London 2025, p. 254, no. 469 (illustrated in colour,p. 225).

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

EMIL NOLDE (1867-1956) Blumengarten (Bonde)

signed 'Emil Nolde' (lower right); signed again and inscribed 'Emil Nolde Blumengarten' (on the strainer) oil on canvas

29 x 34w in. (73.5 x 88.5 cm.)

Painted in 1909

£1,500,000-2,500,000

US$2,100,000-3,400,000

€1,800,000-2,900,000

PROVENANCE:

N. Thomsen, Amsterdam, before 1930. Hermann Abels, Cologne.

Museum der Stadt, Ulm (no. 1931.371), by whom acquired from the above in June 1931; sale, Stuttgarter Kunstkabinett, 30 November 1957, lot 756.

Private collection, Cologne, by whom acquired at the above sale, and thence by descent in September 1978; sale, Sotheby's, Munich, 8 June 1988, lot 20.

Acquired at the above sale by the father of the present owners, and thence by descent.

LITERATURE:

The Artist's Handlist, 1910/29a, no. 187.

The Artist's Handlist, 1910/29b, no. 188.

The Artist's Handlist, 1910/29c, no. 209.

The Artist's Handlist, 1930.

M. Urban, Emil Nolde, C atalogue Raisonné of the OilPaintings, vol. I, 1895-1914, London, 1987, no. 291, p. 261 (illustrated).

B. Reinhardt, Kunst und Kultur in Ulm, 1933-1945, exh. cat., Ulm, Museum der Stadt, 1993, p. 83.

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PROPERTY FROM AN ESTEEMED PRIVATE EUROPEAN COLLECTION

PETER DOIG (B. 1959)

Tour de Charvet

signed twice, titled and dated ‘PETER DOIG 1995 'TOUR de CHARVET' Peter Doig’ (on the reverse) oil on canvas

59 x 51in. (150 x 129.7cm.)

Painted in 1995

£2,500,000-3,500,000

US$3,500,000-4,800,000

€2,900,000-4,000,000

PROVENANCE:

Private Collection, London (acquired directly from the artist in 1995).

Anon. sale, Christie’s London, 13 February 2014, lot 9. Acquired at the above sale by the present owner.

PROPERTY

FRANK AUERBACH (1931-2024)

To the Studios IV

oil on canvas

42 v x 48 u in. (108.2 x 122.8cm.)

Painted in 1983

£2,000,000-3,000,000

US$2,800,000-4,100,000

€2,300,000-3,400,000

PROVENANCE:

Marlborough Fine Art Ltd., London. Private Collection, Chicago. Marlborough Fine Art Ltd., London.

Gerald L. Lennard, New York (acquired from the above in 1986).

Anon. sale, Sotheby’s London, 15 February 2011, lot 27. Acquired at the above sale by the present owner.

EXHIBITED:

London, Royal Academy of Arts, Frank Auerbach: Paintings and Drawings 1954-2001, 2001, pp. 100 and 155, no. 81 (illustrated in colour, p. 116).

LITERATURE:

W. Feaver, Frank Auerbach, New York 2009, p. 19, no. 500 (illustrated in colour, p. 294).

W. Feaver, Frank Auerbach, New York 2022, p. 19, no. 500 (illustrated in colour, p. 336).

PROPERTY OF A PROMINENT PRIVATE COLLECTOR

HURVIN ANDERSON (B. 1965)

Untitled (Lower Lake)

signed and dated 'HurvinA Oct 2005' (on the overlap) oil on canvas

59t x 101t in. (150.2 x 256.8cm.)

Painted in 2005

£1,500,000-2,000,000

US$2,100,000-2,700,000

€1,800,000-2,300,000

PROVENANCE:

Thomas Dane Gallery, London. Gordon Watson, London (acquired from the above in 2005).

His sale, Christie's London, 29 June 2016, lot 3. Acquired at the above sale by the present owner.

EXHIBITED:

Birmingham, Ikon Gallery, Hurvin Anderson: reporting back, 2013, p. 136 (detail illustrated in colour, p. 65; illustrated in colour, pp. 66-67).

LITERATURE:

C. J. Martin, C. Lampert and R. Robinson, Hurvin Anderson, New York 2022, pp. 24, 298 and 305 (illustrated in colour, pp. 300-301).

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

*31

PIERRE-AUGUSTE RENOIR (1841-1919)

Rochers de l'Estaque

signed and dated 'Renoir 82' (lower left) oil on canvas

12r x 15 w in. (32.3 x 40.3 cm.)

Painted in 1882

£600,000-900,000

US$830,000-1,200,000

€690,000-1,000,000

PROVENANCE:

Galerie Durand-Ruel, Paris, by 8 September 1886.

Durand-Ruel Galleries, New York, by whom acquired from the above by April 1888.

Catholina Lambert, New Jersey, by whom acquired from the above on 25 February 1892; his sale, The American Art Association, The Plaza Hotel, New York, 22 February 1916, lot 114.

Durand-Ruel Galleries, New York, by whom acquired at the above sale.

C.J. Coté, Montreal, by whom acquired from the above on 19 January 1919 and until at least 1980.

Anonymous sale, Sotheby's, New York, 16 November 1989, lot 318.

Anonymous sale, Sotheby's, London, 24 June 1996, lot 32.

Private collection, Europe, by whom acquired at the above sale; sale, Christie's, London, 22 June 2016, lot 1. Private collection, by whom acquired at the above sale. Acquired from the above by the present owner.

EXHIBITED:

New York, National Academy of Design, Celebrated Paintings by Great French Masters, May – June 1887, no. 181, p. 43.

Tokyo, Bridgestone Museum of Art, Renoir: From Outsider to Old Master, 1870-1892, February – April 2001, no. 25, p. 109 (illustrated p. 111); this exhibition later travelled to Nagoya, City Art Museum, April – June 2001. London, National Gallery, Renoir Landscapes, 1865-1883, February – May 2007, no. 66, pp. 252 & 253 (illustrated p. 253).

LITERATURE:

E. Fezzi, L'opera completa di Renoir nel periodo impressionista 1869-1883, Milan, 1972, no. 509, p. 111 (illustrated p. 112).

E. Fezzi, Tout l’œuvre peint de Renoir, période impressionniste, 1869-1883, Paris, 1985, no. 487, p. 109 (illustrated).

G.P. & M. Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. II, 1882-1894, Paris, 2009, no. 775, p. 56 (illustrated)

This work will be included in the forthcoming PierreAuguste Renoir digital catalogue raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

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PROPERTY FROM A PRESTIGIOUS COLLECTION

DAVID HOCKNEY (B. 1937)

Study for Olympic Poster

signed with the artist's initials, titled and dated 'study for Olympic poster DH. 1970.' (lower right)

coloured pencil and graphite on two adjoined sheets of paper

33v x 24rin. (85.4 x 63cm.)

Executed in 1970

£500,000-700,000

US$690,000-960,000

€580,000-800,000

PROVENANCE:

Private Collection, London. Private Collection (acquired from the above).

Anon. sale, Sotheby's London, 27 June 2012, lot 174. Acquired at the above sale by the present owner.

LITERATURE:

D. Hockney, H. W. Holzwarth and J.P. Gonçalves de Lima (eds.), David Hockney: A Chronology, Cologne 2016 (incorrectly titled 'Study for 1972 Olympic Games Poster’; illustrated in colour, p. 126).

CAROLINE WALKER (B. 1982)

Imaginative Play I

signed, titled and dated ''IMAGINATIVE PLAY I' Caroline Walker 2024' (on the reverse) oil on linen

74w x 96 qin. (190.3 x 245.2cm.)

Painted in 2024

£180,000-250,000

US$250,000-340,000

€210,000-290,000

PROVENANCE: Stephen Friedman Gallery, London. Private Collection, Sydney.

Acquired from the above by the present owner.

EXHIBITED:

Wakeﬁeld, The Hepworth Wakeﬁeld, Caroline Walker: Mothering, 2025, pp. 28, 213 and 214, no. 89 (illustrated in colour, pp. 158-159; installation view illustrated in colour, p. 174).

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PROPERTY FROM A PRIVATE SWISS COLLECTION

LUCIAN FREUD (1922-2011)

oil on canvas

11 x 10in. (28 x 25.4cm.)

Painted in 1990

£1,200,000-1,800,000

US$1,700,000-2,500,000

€1,400,000-2,100,000

PROVENANCE:

James Kirkman and Robert Miller Gallery, New York.

Private Collection, New York.

Acquavella Galleries Inc., New York.

Acquired from the above by the present owner in 2004.

EXHIBITED:

London, Whitechapel Gallery, Lucian Freud: Recent Work, 1993-1994, p. 183, no. 63 (illustrated in colour, p. 135). This exhibition later travelled to New York, The Metropolitan Museum of Art.

London, Tate Britain, Lucian Freud, 2002-2003, p. 222, no. 117 (illustrated in colour, p. 84). This exhibition later travelled to Barcelona, Fundació ‘la Caixa’.

LITERATURE:

B. Bernard and D. Birdsall (eds.), Lucian Freud, London 1996, p. 357, no. 250 (illustrated in colour, p. 293).

W. Feaver, Lucian Freud, New York 2007, p. 478, no. 241 (illustrated in colour, p. 291).

M. Gayford, Lucian Freud, vol. 2 , London 2018, p. 296 (illustrated in colour, p. 134).

W. Feaver, The Lives of Lucian Freud: Fame 1968-2011, London 2020, pp. 219, 267 and 558.

M. Gayford, Lucian Freud, London 2022, p. 614 (illustrated in colour, p. 446).

C. Lampert and T. Treves, Lucian Freud: Catalogue Raisonné of the Oil Paintings, vol. 1, London 2025, p. 215.

C. Lampert and T. Treves, Lucian Freud: Catalogue Raisonné of the Oil Paintings, vol. 4 , London 2025, no. 341 (illustrated in colour, p. 26).

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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

MARC CHAGALL (1887-1985)

Le coq-peintre à Paris

signed 'Marc Chagall' (lower right); signed again 'Marc Chagall' (on the reverse)

oil and tempera on canvas

36 x 23 q in. (91.3 x 59.6 cm.)

Painted in 1982

£1,000,000-1,500,000

US$1,400,000-2,100,000

€1,200,000-1,700,000

PROVENANCE:

The artist's estate.

Ida Chagall, Bern; her estate sale, Galerie Kornfeld, Bern, 16 June 2006, lot 39.

Gallery Biba, Palm Beach.

Acquired from the above by the present owner in 2011.

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

GEORG BASELITZ (B. 1938)

Typ mit Fahne (Type with Flag)

signed with the artist's initials 'G.B.' (lower right) gouache, pastel, graphite and oilstick on paper 19 r x 15in. (50 x 38cm.)

Executed in 1965

£300,000-500,000

US$420,000-680,000

€350,000-570,000

PROVENANCE:

Michael Werner Gallery, New York. Galerie Daniel Blau, Munich. Private Collection, Germany. Acquired from the above by the present owner.

EXHIBITED:

New York, The Morgan Library & Museum, Drawing Connections: Baselitz, Kelly, Penone, Rockburne and the Old Masters, 2007-2008, p. 15 (incorrectly titled 'A New Type (Ein neuer Typ)'; illustrated in colour, p. 14).

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PROPERTY FROM AN

GERALD LAING (1936-2011)

Beach Wear

signed, titled, inscribed and dated 'GERALD LAING NYC 1964 "BEACH WEAR"' (on the reverse) oil and graphite on canvas

96 t x 47 v in. (244 x 121.5cm.)

Painted in 1964

£1,000,000-1,500,000

US$1,400,000-2,100,000

€1,200,000-1,700,000

PROVENANCE:

Richard Feigen Gallery, New York. Private Collection, New York (acquired from the above in 1964).

Anon. sale, Christie's London, 6 October 2016, lot 10. Acquired at the above sale by the present owner.

EXHIBITED:

New York, Richard Feigen Gallery, First Jump Course, 1964. London, The Fine Art Society, Gerald Laing 1936-2011: A Retrospective, 2016, p. 26, no. 15 (illustrated in colour, p. 27).

LITERATURE:

V. D. Coke, The Painter and the Photograph, Albuquerque 1972, pp. 139 and 320, no. 323 (illustrated, p. 140; source image illustrated, p. 140, no. 324).

D. Knight (ed.), Gerald Laing, Catalogue Raisonné, London 2017, pp. 58 and 481, no. 51 (illustrated in colour, p. 59).

WORKS FROM THE SILVIE FLEMING COLLECTION

ROSE WYLIE (B. 1934)

Tube Girl

signed 'Rose Wylie' (on the reverse of each part) oil and graphite on canvas collage laid down on canvas, in two parts overall: 80 r x 134t in. (205.1 x 340.7cm.)

Executed in 2016

£50,000-70,000

US$69,000-96,000

€58,000-80,000

PROVENANCE: David Zwirner, London. Acquired from the above by the present owner in 2018.

EXHIBITED:

London, David Zwirner, Rose Wylie: Lolita's House, 2018. Ghent, Stedelijk Museum voor Actuele Kunst, Rose Wylie: Picky People Notice..., 2022-2023, p. 88 (illustrated in colour, pp. 32-33).

LITERATURE:

Rose Wylie: Which One, exh. cat., New York, David Zwirner, 2021 (illustrated in colour, pp. 22-23).

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

MARC CHAGALL (1887-1985)

Tête de cheval en rouge avec couple en bleu aux ﬂeurs

stamped with the signature ‘Marc Chagall’ (lower left) oil and tempera on canvas 25v x 21p in. (65 x 53.8 cm.)

Painted in 1964

£900,000-1,500,000

US$1,300,000-2,100,000

€1,100,000-1,700,000

PROVENANCE:

The artist's estate.

Anonymous sale, Christie's, London, 9 December 1997, lot 58. Private collection, Europe, by whom acquired at the above sale, and thence by descent; sale, Christie’s, London, 28 February 2017, lot 14.

Acquired at the above sale by the present owner.

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

LEARN MORE

EDUARDO CHILLIDA (1924-2002)

Gudari Txiki (Little Soldier)

incised with the artist’s monogram (upper edge)

iron

9 x 4p x 4in. (23 x 12 x 10.2cm.)

Executed in 1976

£500,000-700,000

US$690,000-960,000

€580,000-800,000

PROVENANCE:

Galerie Maeght, New York. Acquired from the above by the late owner in 1980.

EXHIBITED:

Zurich, Galerie Maeght, Chillida, 1978, p. 44, no. 32 (illustrated, p. 38; detail illustrated, p. 39).

Pittsburgh, Museum of Art, Carnegie Institute, Eduardo Chillida / Willem de Kooning, 1979-1980, p. 183, no. 234 (illustrated, p. 170).

Washington D.C., American Institute of Architects, Sculpture 11: International Sculpture Conference, 1980 (illustrated, unpaged).

LITERATURE:

O. Paz, Chillida, Barcelona 1980, p. 183, no. 234 (illustrated, p. 170).

I. Chillida and A. Cobo, Eduardo Chillida: Catalogue Raisonné of Sculpture, II (1974-1982), San Sebastián 2016, p. 329, no. 1976006 (illustrated, p. 91).

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 o er 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. As well as these Conditions of Sale, lots in which we o er Non-Fungible Tokens for sale are governed by the Additional Conditions of Sale – Non-Fungible Tokens, which can be found at Appendix A to these Conditions of Sale. For the sale of Non-Fungible Tokens, to the extent there is a conﬂict between the “London Conditions of Sale Buying at Christie’s” and “Additional Conditions of Sale – Non-Fungible Tokens”, the latter controls.

Unless we own a lot ( symbol), Christie’s acts as agent for the seller. This means that we are providing services to the seller to help them sell their lot and that Christie’s is concluding the contract for the sale of the lot on behalf of the seller. When Christie’s is the agent of the seller, the contract of sale which is created by any successful bid by you for a lot will be directly between you and the seller, and not between you and Christie’s.

• BEFORE THE SALE

•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 di erent 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 o er our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our sta 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.

• 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.

• 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.

• 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) It will not be apparent to us whether a diamond is naturally or synthetically formed unless it has been tested by a gemmological laboratory. Where the diamond has been tested, a gemmological report will be available.

(c) 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.

(d) Certain weights in the catalogue description are provided for guidance purposes only as they have been estimated through measurement and, as such, should not be relied upon as exact.

(e) 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 di erences 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. We do not guarantee nor are we responsible for any report or certiﬁcate from a gemmological laboratory that may accompany a lot

(f) 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.

• 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).

• REGISTERING TO BID

• 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, o shore 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 them.

(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 o ered 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 sta 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 www.christies.com/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 at www. christies.com/christies-live-terms

c) Written Bids

You can ﬁnd a Written Bid Form at any Christie’s o ce or by choosing the sale and viewing the lots online at www.christies. com. We must receive your completed Written Bid 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.

•CONDUCTING THE SALE

•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 o ered without 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♦

•AUCTIONEER’S DISCRETION

The auctioneer can at their sole option:

(a) refuse any bid; (b) move the bidding backwards or forwards in any way they 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 their discretion under this paragraph, decides after the auction is complete, to cancel the sale of a lot,or reoffer and resell a lot, they 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 their 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 o ered 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 their 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 their sole option where the bidding should start and the bid increments.

7 • CURRENCY CONVERTER

The saleroom video screens (and Christies LIVE™) 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 their 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 27% of the hammer price up to and including £1,000,000, 22% on that part of the hammer price over £1,000,000 and up to and including £6,000,000, and 15% of that part of the hammer price above £6,000,000. VAT will be added to the buyer’s premium and is payable by you. For lots o ered 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, GST, 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. Following the departure of the UK from the EU (Brexit), UK VAT and Customs rules will apply only.

For lots Christie’s ships or delivers 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 or delivered. Successful bidders claiming an exemption from sales tax must provide appropriate documentation to Christie’s prior to the release of the lot. For shipments/deliveries 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.

For lots Christie’s ships or delivers to Jersey (Channel Islands), GST at a rate of 5% will be due on the hammer price, buyer’s premium, freight charges (as set out on your Shipping Quote Acceptance Form) and any applicable customs duty. Christie’s will collect GST from you, where legally required to do so.

For lots purchased by a successful bidder with a registered address in India and who has bid via Christie’s LIVE™, an Indian Equalisation Levy Tax at a rate of 2% will be due on the hammer price and buyer’s premium (exclusive of any applicable VAT) Christie’s will collect the Indian Equalisation Levy Tax from you, where required to do so.

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 λ symbol next to the lot number. If these laws apply to a lot, you must pay us an extra amount equal to the royalty. We will pay the royalty to the appropriate authority on the seller’s behalf.

The artist’s resale royalty applies if the hammer price of the lot is 1,000 GBP or more if located in the United Kingdom at the time of sale. The total royalty for any lot cannot be more than 12,500 GBP. We work out the amount owed as follows: Royalty for the portion of the hammer price (in Pound Sterling)

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 GBP.

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 one or more 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 QualifiedHeadings 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:

(i) This additional warranty does not apply to:

(a) the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not a ecting completeness of the text or illustration;

(b) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals;

(d) lots sold without a printed estimate;

(e) books which are described in the catalogue as sold not subject to return; or

(f) defects stated in any condition report or announced at the time of sale.

(ii) 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) SouthEast 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 o cers 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 o cers, 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 anti-money 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.

• PAYMENT

• 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, or no later than 24 hours after we issue you with an invoice in the case of payment made in cryptocurrency, as the case may be (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 di erent 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 O ce, PO Box 217, 72 Lombard Street, London EC3P 3BT. Account number: 00172710, sort code: 30-00-02 Swift code: LOYDGB2LCTY. IBAN (international bank account number): GB81 LOYD 3000 0200 1727 10.

(ii) Credit Card

We accept most major credit cards subject to certain conditions. 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 do not accept cash in England.

(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 (GBP) from a United Kingdom bank.

(vi) Cryptocurrency

With the exception of clients resident in Mainland China, payment for a lot marked with the symbol may be made in a cryptocurrency or cryptocurrencies of our choosing. Such cryptocurrency payments must be made in accordance with the Terms for Payment by Buyers in Cryptocurrency set out at Appendix B in these Conditions of Sale.

(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 su er 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 o 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 ninety (90) calendar days following the auction in accordance with paragraphs Gc and Gd.

• 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 di erence between the amount we have received from the sale and the amount you owe us.

• COLLECTION AND STORAGE

(a) You must collect purchased lots within thirty (30) 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) If you do not collect any lot within ninety (90) days following the auction we can, at our option:

(i) charge you storage costs at the rates set out at www.christies. com/en/help/buying-guide/storage-fees.

(ii) move the lot to another Christie’s location or an a liate 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.use’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) Nothing in this paragraph is intended to limit our rights under paragraph F4.

• 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 arttransportlondon@ 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 a ected 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, tari s 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, tari s or other government-imposed charges, you agree to refund that amount to Christie’s.

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 export the lot from the country in which the lot is sold and import itinto another country as a licence may be required. 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. Several countries have imposed restrictions on dealing in elephant ivory, ranging from a total ban on importing African elephant ivory in the United States to importing, exporting and selling under strict measures in other countries. The UK and EU have both implemented regulations on selling, exporting and importing elephant ivory. In our London sales,

lots made of or including elephant ivory material are marked with the symbol and are o ered with the beneﬁt of being registered as ‘exempt’ in accordance with the UK Ivory Act. Handbags containing endangered or protected species material are marked with the symbol ≈ and further information can be found in paragraph H2(h) below. 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) Lots of Iranian origin

As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). Some countries prohibit or restrict the purchase and/or import of Iranian-origin property. It is your responsibility to ensure you do not bid on or import a lot in contravention of any sanctions, trade embargoes or other laws that apply to you. For example, the USA prohibits dealings in and import of Iranian-origin “works of conventional craftsmanship” (such as carpets, textiles, decorative objects, and scientiﬁc instruments) without an appropriate licence. Christie’s has a general OFAC licence which, subject to compliance with certain conditions, may enable a buyer to import this type of lot into the USA. If you use Christie’s general OFAC licence for this purpose, you agree to comply with the licence conditions and provide Christie’s with all relevant information. You also acknowledge that Christie’s will disclose your personal information and your use of the licence to OFAC.

(e) Gold

Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’.

(f) Jewelleryover 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.

(g) Watches

Many of the watches o ered 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

(h) Handbags

A lot marked with the symbol ≈ next to the lot number includes endangered or protected species material and is subject to CITES regulations. This lot may only be shipped to an address within the country of the sale site or personally picked up from our saleroom. The term “hardware” refers to the metallic parts of the handbag, such as the buckle hardware, base studs, lock and keys and/or strap, which are plated with a coloured ﬁnish (e.g. gold, silver, palladium). The terms “Gold Hardware”, “Silver Hardware”, “Palladium Hardware”, etc. refer to the tone or colour of the hardware and not the actual material used. If the handbag incorporates solid metal hardware, this will be referenced in the catalogue description.

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 o er 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 a ected.

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.

•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.

•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 o ered at auction (or two or more items to be o ered 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 QualiﬁedHeadings 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.

VAT SYMBOLS AND EXPLANATION (FOR ALL LOTS EXCLUDING NFTS)

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

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 amountsorImportVATtobuyerswho 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

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 £3500 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

b) provide immediate proof of correct export out of the UK within the required time frames of 90 days from the date of the sale. Lots purchased with the * and Ω symbol must be exported via a ‘controlled export’.

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.

commercia shipper to export out of the UK on their behalf.

6 Private buyers who choose to export their purchased lots from the UK hand carry will now be charged VAT at the applicab e 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 nvoice 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 wewillissuearevisedinvoicecharging youallapplicabletaxes/charges Ifyou 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 reinvo cing 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.

SYMBOLSUSEDINTHISCATALOGUE

The meaning of words coloured in bold in this section can be found in paragraph K, Glossary, of the section of the catalogue headed ‘Conditions of Sale’.

º Christie’s has provided a minimum price guarantee and has a direct financial interest in the lot. See Important Notices and Explanation of Cataloguing Practice in the Conditions of Sale for further information.

♦

Christie’s has provided a minimum price guarantee and has a direct financial interest in this lot. Christie’s has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold. See the Important Notices in the Conditions of Sale for further information.

⇔

A party has provided Christie’s with a bid to cover all or part of Christie’s financial interest in the lot and may benefit financially from such bid. See the Important Notices in the Conditions of Sale for further information.

Christie’s has a financial interest in the lot. See Important Notices in the Conditions of Sale for further information.

¤ 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

Artist’s Resale Right. See paragraph D3 of the Conditions of Sale for further information.

• Lot offered without reserve

Lot incorporates material from endangered species which could result in export restrictions. See paragraph H2(c) of the Conditions of Sale for further information.

≈

Handbag lot incorporates material from endangered species. International shipping restrictions apply. See paragraph H2 of the Conditions of Sale for further information.

Lot incorporates elephant ivory material. See paragraph H2 of the Conditions of Sale for further information.

Lot incorporates material from endangered species which is shown for display purposes only and is not for sale. See paragraph H2(h) of the Conditions of Sale for further information.

Lot is a Non Fungible Token (NFT). Please see Appendix A

– Additional Conditions of Sale – Non- Fungible Tokens in the Conditions of Sale for further information.

Lot contains both a Non Fungible Token (NFT) and a physical work of art. Please see Appendix A – Additional Conditions of Sale – Non-Fungible Tokens in the Conditions of Sale for further information.

With the exception of clients resident in Mainland China, you may elect to make payment of the purchase price for the lot via a digital wallet in the name of the registered bidder, which must be maintained with one of the following: Coinbase Custody Trust; Coinbase, Inc.; Fidelity Digital Assets Services, LLC; Gemini Trust Company, LLC; or Paxos Trust Company, LLC. Please see the lot notice and Appendix B – Terms for Payment by Buyers in Cryptocurrency in the Conditions of Sale for further requirements and information. † , Ɵ,

See VAT Symbols and Explanation in the Conditions of Sale for further information.

See Storage and Collection Page.

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

IMPORTANTNOTICES

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 lot 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.

ºMinimum 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 lot. This is known as a minimum price guarantee. Where Christie’s holds such financial interest, we identify such lots with the symbol ° 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 they have a financial interest in relation to the lot

⇔ Financial Interest/Irrevocable bids

Where Christie’s has a financial interest in a lot, Christie’s is at risk of making a loss if the lot fails to sell. As such, Christie’s may share that risk with a third party who agrees, prior to the auction, to place an irrevocable written bid on the lot and may receive compensation from Christie’s. Christie’s requires the bidding party to disclose to anyone they are advising of their financial interest in the lot

Bidding by parties with an interest

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Terms used in a catalogue or lot description have the meanings ascribed to them below. Please note that all statements in a

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PICTURES, DRAWINGS, PRINTS, MINIATURES AND SCULPTURE

Name(s) or Recognised Designation of an artist without any qualification: in Christie’s opinion a work by the artist.

QUALIFIED HEADINGS

“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 their supervision.

“Circle of …”: in Christie’s qualified opinion a work of the period of the artist and showing their 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.

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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.

STORAGE AND COLLECTION

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

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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

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Email: pcandauctionteam@momart.co.uk

Identity Veriﬁcation

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VINCENT VAN GOGH (1853-1890)

Coin de jardin avec papillons

Price realised: $33,185,000

Christie’s New York, May 2024

London | 6 March 2026

VIEWING

25 February — 6 March 2026

8 King Street

London SW1Y 6QT

CONTACT

Veronica Scarpati

vscarpati@christies.com

+44(0) 207 389 2365

PROPERTY FROM A PRESTIGIOUS PRIVATE COLLECTION

EDGAR DEGAS (1834-1917)

Jacques de Nittis enfant signed ‘Degas’ (upper left) pastel on paper laid down on board 23¼ x 19 in. (59.3 × 48.4 cm.)

Executed in 1877-1878

£250,000-350,000

Paris | 15 April 2026

VIEWING

9-15 April 2026

9 Avenue Matignon

75008 Paris

CONTACT

Paul Nyzam

pnyzam@christies.com

+33 (0)1 40 76 84 15

PIERRE SOULAGES (1919-2022)

Peinture 130 × 89 cm, 25 juin 1954

signed and dated ‘soulages 54’ (lower right); signed ‘SOULAGES’ (on the reverse) oil on canvas

51⅛ x 35 in. (130 × 89 cm.)

Painted in 1954

€1,000,000-1,500,000

21st Century Evening Sale

New York | May 2026

VIEWING

May 2026

20 Rockefeller Plaza

New York, NY 10020

CONTACT

Isabella Lauria

ILauria@christies.com

+1 347 803 0224

ANDY WARHOL (1928-1987)

The Last Supper signed and dated ‘Andy Warhol 86’ (on the overlap) silkscreen ink on canvas

40 × 40 in. (101.6 × 101.6 cm.)

Executed in 1986.

$3,500,000-5,500,000

DIEGO GIACOMETTI (1902-1985)

‘Hommage à Böcklin’ Console, designed circa 1978 patinated bronze, glass

35¾ x 42 × 18½ in. (90.7 × 106.7 × 47 cm)

impressed DIEGO

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

Post-War and Contemporary Art Day Sale

London | 7 March 2026

VIEWING

25 February - 6 March 2026

8 King Street

London SW1Y 6QT

CONTACT

Stephanie Rao

StephanieRao@christies.com

+44 207 389 2523

JEAN-MICHEL BASQUIAT (1960-1988)

Untitled (Spoon)

oilstick on o set lithograph

33⅛ x 23⅜ in. (84 × 59.4 cm.)

Executed in 1988

£350,000-750,000

Post-War and Contemporary Art Day Sale

London | 7 March 2026

VIEWING

25 February - 6 March 2026

8 King Street

London SW1Y 6QT

CONTACT

Stephanie Rao

StephanieRao@christies.com

+44 207 389 2523

CECILY BROWN (B. 1969)

Mean Eyed Cat signed and dated ‘Cecily Brown 2012’ (on the reverse) oil on linen

22 7⁄8 x 31 1⁄8 in. (58 × 79 cm.)

Painted in 2012

£600,000-£800,000

PHOTO CREDITS

FRONT COVER:

20TH/21ST CENTURY:

LONDON EVENING SALE

FRONTISPIECE 1

20TH/21ST CENTURY:

LONDON EVENING SALE

Lot 11, Wassily Kandinsky, Le rond rouge, 1939 (detail)

FRONTISPIECE 2

20TH/21ST CENTURY:

LONDON EVENING SALE

Lot 8, Gerhard Richter, Schober (Haybarn), 1984 (detail)

FRONTISPIECE 3

20TH/21ST CENTURY:

LONDON EVENING SALE

Lot 33, Caroline Walker, Imaginative Play I, 2024 (detail)

FRONTISPIECE 4

20TH/21ST CENTURY:

LONDON EVENING SALE

Lot 22, Cecily Brown, Shadow Burn, 2005-2006 (detail)

FRONTISPIECE 5

20TH/21ST CENTURY:

LONDON EVENING SALE

Lot 6, Paula Rego, Dancing Ostriches from Walt Disney’s ‘Fantasia’, 1995 (detail)

FRONTISPIECE 6

20TH/21ST CENTURY:

LONDON EVENING SALE

Lot 32, David Hockney, Study for Olympic Poster, 1970 (detail)

FRONTISPIECE 7

20TH/21ST CENTURY:

LONDON EVENING SALE

Lot 21, Pablo Picasso, Le peintre et son modèle, 1964 (detail)

FRONTISPIECE 8

THE ART OF THE SURREAL EVENING SALE

Lot 122, Toyen, Le devenir de la liberté, 1946 (detail)

FRONTISPIECE 9

THE ART OF THE SURREAL EVENING SALE

Lot 112, Paul Delvaux, La Ville lunaire, 1944 (detail)

FRONTISPIECE 10

20TH/21ST CENTURY:

LONDON EVENING SALE

Lot 27, Emil Nolde, Blumengarten (Bonde), 1909 (detail)

FRONTISPIECE 11

20TH/21ST CENTURY:

LONDON EVENING SALE

Lot 23, John Singer Sargent, Study for ‘Carnation, Lily, Lily, Rose’, 1885 (detail)

FRONTISPIECE 12

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 30, Hurvin Anderson, Untitled (Lower Lake), 2005 (detail)

FRONTISPIECE 13

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 28, Peter Doig, Tour de Charvet, 1995 (detail)

FRONTISPIECE 14

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 3, Lucian Freud, The Birds of Olivier Larronde, 1946 (detail)

FRONTISPIECE 15

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 26, Lucian Freud, Pluto’s Grave, 2003 (detail)

FRONTISPIECE 16

20TH/21ST CENTURY:

LONDON EVENING SALE

Lot 25, Claude Monet, Le Parc Monceau, 1878 (detail)

FRONTISPIECE 17

THE ART OF THE SURREAL EVENING SALE

Lot 116, René Magritte, Le choeur des sphinges, 1964 (detail)

FRONTISPIECE 18

THE ART OF THE SURREAL EVENING SALE

Lot 103, Joan Miró, Peinture, 1949 (detail)

FRONTISPIECE 19

MODERN VISIONARIES: THE ROGER & JOSETTE

VANTHOURNOUT COLLECTION –EVENING SALE

Lot 207, Agnes Martin, Untitled #17, 1996 (detail)

FRONTISPIECE 20

MODERN VISIONARIES: THE ROGER & JOSETTE

VANTHOURNOUT COLLECTION –EVENING SALE

Lot 205, Pablo Picasso, Nu debout et femmes assises, 1939 (detail)

FRONTISPIECE 21

20TH/21ST CENTURY:

LONDON EVENING SALE

Lot 18, Michelangelo Pistoletto, Lei e Lui - Maria e Michelangelo (Her and Him - Maria and Michelangelo), 1968 (detail)

FRONTISPIECE 22

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 12, Cy Twombly, Untitled (Rome), 1961 (detail)

FRONTISPIECE 23

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 13, Jean-Paul Riopelle , La Forêt (The Forest), 1953 (detail)

FRONTISPIECE 24

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 15, Kazuo Shiraga, Yagenko, 1989 (detail)

FRONTISPIECE 25

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 37, Gerald Laing, Beach Wear, 1964 (detail)

FRONTISPIECE 26

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 17, Andy Warhol, Four Mona Lisas, 1978 (detail)

FRONTISPIECE 27

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 34, Lucian Freud, Ib, 1990 (detail)

FRONTISPIECE 28

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 24, Edgar Degas, Femme sortant du bain, circa 1887-1890 (detail)

FRONTISPIECE 29

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 29, Frank Auerbach, To the Studios IV, 1983 (detail)

FRONTISPIECE 30

THE ART OF THE SURREAL EVENING SALE

Lot 123, Odilon Redon, Profil bleu, circa 1895 (detail)

FRONTISPIECE 31

THE ART OF THE SURREAL EVENING SALE

Lot 121, Paul Delvaux, L’Été, 1963 (detail)

FRONTISPIECE 32

THE ART OF THE SURREAL EVENING SALE

Lot 120, Dorothea Tanning, Children’s Games, 1942 (detail)

FRONTISPIECE 33

MODERN VISIONARIES: THE ROGER & JOSETTE VANTHOURNOUT COLLECTION –EVENING SALE

Lot 216, Lucio Fontana, Concetto spaziale, Attese, 1964 (detail) Lot 228, Robert Mangold, Curved Plane / Figure VII (Study B), 1995-1996 (detail)

FRONTISPIECE 34

MODERN VISIONARIES: THE ROGER & JOSETTE VANTHOURNOUT COLLECTION –EVENING SALE

Lot 208, René Magritte, Le lieu-dit (The spot on the map), 1955 (detail)

FRONTISPIECE 35

MODERN VISIONARIES: THE ROGER & JOSETTE VANTHOURNOUT COLLECTION –EVENING SALE

Lot 212, Yayoi Kusama, Infinity Nets, 1960 (detail)

FRONTISPIECE 36

20TH/21ST CENTURY: LONDON EVENING SALE

Lot 5, Bridget Riley, Arrest 4, 1965 (detail)

FRONTISPIECE 37

THE ART OF THE SURREAL EVENING SALE

Lot 108, René Magritte, Les grâces naturelles, circa 1961 (detail)

BACK COVER:

20TH/21ST CENTURY: LONDON EVENING SALE

INDEX

Albers, J., 201

Anderson, H., 30

Arp, J. (H.), 211

Auerbach, F., 20, 29

Baselitz, G., 36

Brauner, V., 102

Brown, C., 22

Chadwick, L., 220, 223

Chagall, M., 35, 39

Chillida, E., 10, 40

DalÌ, S., 119

De Smet, G., 214

Degas, E., 24

Delaunay, S., 4

Delvaux, P., 112, 121, 224

Doig, P., 28

Dubuffet, J., 219

Emin, T., 222

Ernst, M., 106, 114, 124, 126, 210

Flanagan, B., 231

Fontana, L., 16, 216

Freud, L., 1, 2, 3, 26, 34

Giacometti, A., 19

Gormley, A., 230

Herbin, A., 202

Hockney, D., 32

Hodgkin, H., 14

Kandinsky, W., 11

Kusama, Y., 212

Laing, G., 37

Lalanne, F.-X., 204

Lipchitz, J., 229

Magritte, R., 101, 108, 109, 113, 115, 116, 208, 213

Mangold, R., 228

Martin, A., 207

Masson, A., 107, 125

Matta., 127

Miró, J., 103, 104, 117, 221

Monet, C., 25

Moore, H., 7, 215

Nauman, B., 227

Nolde, E., 27

Picabia, F., 118

Picasso, P., 21, 105, 205

Pistoletto, M., 18, 217

Ray, M., 209

Redon, O., 111, 123

Rego, P., 6

Renoir, P.-A., 31

Richier, G., 225, 226

Richter, G., 8, 9

Riley, B., 5

Riopelle, J., 13

Sargent, J. S., 23

Sch¸tte, T., 218

Shiraga, K., 15

Spillliaert, L., 110

Tanguy, Y., 203

Tanning, D., 120

Toyen., 122

Twombly, C., 12, 206

Walker, C., 33

Warhol, A., 17

Wylie, R., 38