The Neuman Collection by Uppsala Auktionskammare

the neuman collection EVENING SALE 7 DECEMBER 2016 1

the neuman collection

the neuman collection Modern Art by Picasso, Chagall, LĂŠger and Masson

EVENING SALE 7 December 2016 at 7 pm Dragarbrunnsgatan 73, Uppsala, Sweden

contents 9 13 14 17 19 87 90

auction and exhibitions foreword a passion for art and collecting galerie louise leiris the neuman collection sale information terms & conditions

www.uppsalaauktion.se 7

AUCTION WEDNESDAY 7 DECEMBER 2016 AT 7 PM Uppsala Auktionskammare Dragarbrunnsgatan 73, Uppsala, Sweden

exhibitions London: 4 - 6 October c/o Charles Beddington Ltd 16 Savile Row, London Paris: 11 - 13 October c/o Damien Boquet Art 16 Place VendĂ´me, Paris New York: 26 - 29 October c/o The Shepherd Gallery 58 East 79th Street, New York Stockholm: 11 - 27 November Uppsala Auktionskammare Nybrogatan 20, Stockholm Uppsala: 30 November - 4 December Uppsala Auktionskammare Dragarbrunnsgatan 73, Uppsala

THE NEUMAN COLLECTION The Neuman Collection includes modern art by some of the twentieth century’s most important artists; Pablo Picasso, Marc Chagall, Fernand Léger and André Masson. This collection presents eleven significant works which illustrate the exquisite taste of one collector, Bertil Neuman (1921-2011). To collect art is an art in itself – to find, select and set limits is a challenge for every collector. The Neuman Collection, presented in this catalogue, shows the taste of a true connoisseur and his effort to choose each work of art, always with a great passion for art and collecting. The Neuman Collection offers no less than six works by the foremost artist of the twentieth century, Pablo Picasso, where the oil painting, Fillette au béret, from 1964 is the highlight. The six works by Picasso cover different media and time periods in the artist’s life and shows the diversity in his prominent oeuvre. The collection also includes the impressive gouache, La Thora, by Marc Chagall as well as the interesting Composition from 1938 by Fernand Léger, formerly in the collection of André Lefèvre. Furthermore, the sale offers three intense paintings by André Masson from the late 1960's and 1970's. The majority of the works in the Neuman Collection have originally been sold by Galerie Louise Leiris in Paris, one of the most influential galleries of Modern Art of the twentieth century. The Neuman family has now decided to offer Bertil Neuman’s collection of International Modern Art for sale at auction. Uppsala Auktionskammare is privileged to present this unique collection. This sale offers a rare and exciting opportunity for collectors and connoisseurs to acquire well-documented works by some of the twentieth century’s most important artists.

Bertil Neuman (1921-2011).

A PASSION FOR ART AND COLLECTING My sister Monica and I grew up surrounded by beautiful – and valuable – art. Our father’s interest originated in his childhood; his own father, Selman Neuman, was one of the most prominent art and antique dealers in Stockholm, among his clients was the crown prince of Sweden, later king Gustav VI Adolf. Three of Bertil’s older brothers were also in the art and antique trade, one in Gothenburg and two in Stockholm. But our father chose a different career. After studies at Handelshögskolan (Stockholm School of Economics) he started a consulting company. In 1946 he was invited to join the first Swedish business delegation to visit America after the war. There he discovered new techniques in the commercial world, such as the use of opinion polls and sales psychology. Later, in Sweden, he established a reputation as a respected pioneer within both these fields. His professional success made a heavy demand on his time, yet there was always room for art. Our homes, first in Bromma outside Stockholm and later on at Scheelegatan in the city center, were filled with art by distinguished Swedish artists such as Isaac Grünewald and Nils von Dardel. In the late 1960s our father started to travel more, and he made frequent business trips to France, England and the United States. During longer stays in Paris, London and New York he visited well-known art galleries and auctioneers - and progressively expanded his collection with works by international artists. During this period his interest in art became more serious, and he devoted time to study, and to develop his taste. From now on he was a frequent visitor to exhibitions, auction viewings and galleries - and chose to acquire modern art, which he understood and appreciated, and which he believed would be valuable in the future. Our parents’ art collection, by now substantial, was finally on display in their sunlit top floor apartment at Bolindersplan in Stockholm, with a panoramic view of the city. Bertil’s study was filled with works by the Swedish artist Carl Fredrik Hill. In the other rooms hung paintings by Pablo Picasso, Marc Chagall, Fernand Léger and André Masson, which are presented in this catalogue. Ricki Neuman

GALERIE LOUISE LEIRIS This important collection consists of the work of four major twentieth century artists: Pablo Picasso, Fernand Léger, André Masson and Marc Chagall. Apart from the later the other three were represented, for much of their artistic careers, by the Galerie Louise Leiris: formerly Galerie Simon: formerly Galerie Kahnweiler. Daniel-Henry Kahnweiler, a German national, had come to Paris at the turn of the twentieth century. He opened an art gallery in the Rue Vignon and very soon it became the centre of avant-garde art in Paris. By the time Fernand Léger entered into a contract with Kahnweiler, the dealer already had Picasso, Georges Braque and Maurice de Vlaminck under contract. As an ‘Enemy Alien’ in the 1914-18 War, Kahnweiler had to flee to Switzerland and his entire stock was sequestered and sold after the war. Luckily for him he had married, in 1906, Lucie Godon, and it was her much younger sister, Louise, who Kahnweiler employed in 1920 when he came to reopen his gallery, initially calling it Galerie Simon and then Galerie Louise Leiris after his employee, manager, collaborator and partner. Madame Leiris was the confidant not only of Kahnweiler but of the artists represented by the gallery which bore her name. After the Second World War she organised a great number of exhibitions devoted to Picasso, Léger and Masson. Her name is synonymous with the greatest artists of the twentieth century and this can be born out by the artists represented in this catalogue.

Opposite: Pablo Picasso and Louise Leiris looking at the first copy of a deluxe edition of a book of poems by Pierre Reverdy, for which Pablo Picasso made the illustrations. La Californie, Cannes in 1959. Photo Edward Quinn, ©edwardquinn.com

MARC CHAGALL LA THORA

1000. MARC CHAGALL (1887‑1985) ”La Thora” Signed Marc Chagall. Gouache, pastel, brush and ink on paper, 58 x 79 cm. SEK 3.000.000 - 5.000.000 € 316.000 - 526.000 Ⓓ Executed in 1970. A photocertificate of authenticity signed and dated by Comité Marc Chagall Paris 15 July 2016 is included with this lot. Provenance: Galerie Maeght, Zürich. Acquavella Gallery, New York. Giancarlo Serafini, Rome. Sotheby’s New York, 15th May 1985, lot 252. Collection Dobe, Zürich. The collection of Bertil Neuman, Stockholm, acquired from the above. Literature: André Pieyre de Mandiargues, Chagall, 1974, p. 159 (illustrated).

"Colour is all. When colour is right, form is right. Colour is everything, colour is vibration like music; everything is vibration." - Marc Chagall

in context

LA THORA

Born into a poor Hasidic family near Vitebsk, in the Western part of Russia, Marc Chagall was the eldest of nine children. It was the images and memories from these early Russian years that would repeatedly be used in his art when he left his hometown and moved to Paris. The Russo-Jewish culture was an emotional and intellectual source that populated his memories, and fueled his imagination with strong experiences from his childhood. Chagall’s works are often autobiographical and mirror the artist’s views on life. Throughout Chagall’s oeuvre, the figures are laden with significance. The animals of Chagall’s dream worlds – donkeys, goats and cockerels – not only recall the peasant life in his hometown but often seem emblematic of the artist himself.

Opposite: Marc Chagall at home, Vence 1953. Photo Edward Quinn, © edwardquinn.com

The artist’s pre-occupation with Jewish themes and religious family life resulted in many masterpieces. In La Thora, painted in 1970, Chagall has placed the Torah next to the angel as the centrepiece. The small houses and animals are a reminder of his past and his provincial upbringing in Vitebsk. The Jewish man, perhaps depicting his father, whose posture gives the picture a turning motion, is also central in the composition. The angel, with the face of Bella Rosenfeld, Chagall's beloved first wife. Chagall’s Russian and Jewish heritages are at the very core of his work.

Figure 1. La chute de l’Ange, 1923-47.

The painting in Figure 1, La chute de l’Ange (Private Collection, on deposition at Kunstmuseum Basel), on which he started working in 1923 and finished in 1947, gives an impression of being an “Allegory of an Age of Terror”, as Chagall’s biographer Franz Meyer described it. The same main features as in La Thora are seen; the angel and the Jew with the Torah. However this is a dramatic and dark post-war painting with its fiercely red falling angel. La Thora on the other hand is a more joyful depiction from a time when Europe was more at peace. Chagall seems nevertheless to still experience the world as being somewhat upside down.

Being a master of handling colours he uses a vivid palette that attracts and captures the viewer’s attention. In his later years living in the Côte d’Azur his palette had moved towards brighter colours. The blue for instance in La Thora with its Mediterranean connotation is a vital colour in Chagall’s oeuvre giving the painting a mythic, dreamlike quality. The same impression of the objects being airborne is apparent in the two paintings. The airborne feature is common in Chagall’s oeuvre seen as, for instance, floating couples, angels, and bouquets of flowers. This also reminds the viewer how the circus, for Chagall and other artists, became a central metaphor and a suggestive kaleidoscope of forms and colours.

Figure 2. Solitude, 1933.

Where a repeal of the law of gravity becomes in a sense a metaphysical circus, the air is the element where Chagall is comfortable. The Torah, Rabbi and Jewish men often appear in the spectra of Chagall’s motifs. The Torah, in the form of a scroll, is the Jewish symbol for the “instruction” and in a way guiding the Jewish people through their culture and practice. A Jew holding the Torah can be seen for example in Figure 2, the painting Solitude of 1933 (Tel Aviv Museum of Art, Israel). Although the man expresses loneliness he clings to the Torah, knowing that the language and texts of the Jewish people will continue to unite them. Chagall enjoyed a growing success and by the time he was painting La Thora he was living in Saint-Paul-de-Vence in the South of France with his second wife, Valentina Brodsky, still producing his reveries nostalgic of his youth. Even in his later years he is inventive and creative, while often using the same elements of pictures, forms and colours as he already used in the mid 1920’s. “Truly my pictures are my biography. I paint with the brush instead of with my mouth. In my paintings there is all the poverty of my childhood” (Sidney Alexander, Marc Chagall – A biography, 1978, p. 469).

Pablo Picasso & Marc Chagall at the Madoura ceramics workshop in 1948 in Vallauris. ÂŠ Photo by Reporters Associes/ Gamma Features, GammaRapho Collection, Getty Images.

1001. FERNAND LÉGER (1881‑1955) ”Composition” Signed with monogram and dated F.L. 38. Gouache on grey paper, 32 x 25 cm. SEK 200.000 - 300.000 € 21.000 - 32.000 Ⓓ Executed in 1938. Provenance: Galerie Simon, Paris, stock no. 01934. Galerie Louise Leiris, Paris, stock no. 01934. André Lefèvre, Paris. His sale, Hotel Drouot, Paris, 24th November 1967, cat. no. 24 (illustrated in the catalogue). J.PL. Fine Arts, London. Galerie Bel’Art, Stockholm. The collection of Bertil Neuman, Stockholm, acquired from the above. Exhibited: Musée National d’art Moderne, Paris, “Collection André Lefèvre”, March - April 1964, cat. no. 170.

“Man needs colour to live.” - Fernand Léger in context

COMPOSITION

Being one of the pioneers of twentieth century art, Fernand Léger was reinventing form and at the same time capturing his time as a brilliant colourist. By releasing his mind from the content, which he had learnt from Paul Cézanne, when approaching the modern subject of technique, the reality of the mechanics and the bustling rotating life of the city, he depicted the technological progress in an age of rapid industrialisation. He claimed that the expression of the image had changed because modern life made change necessary. This was partly because modern life made us register significantly more impressions than earlier, and this was something that art needed to express. Composition from 1938 is a typical example of Fernand Léger’s imaginative and skilful way of applying colours and forms. He created movement when letting the background grey paper shine through the composition in order to make it “breathe”. This shows “the manner in which Léger creates space between the scattered parts of the picture and establishes a relationship conferring them with higher aesthetical meaning. The unison of the object with the clenched energetic rhythm evoked by the artist secure the composition against disharmony” (Christian Zervos, Fernand Léger – Oeuvres de 1905-1952, p. 18). By the look of it, Léger’s more abstract works seem non-figurative but can often be related to a visual experience in reality. When observing every element on their own the viewer can discover geometrical forms, meticulously placed next to each other and brought to life by their movements. Léger was free and overwhelming in his brush strokes and his gouaches often vibrated with sensibility. The painting Composition from 1938 is painted with a palette of soft colours. It consists of many abstract forms, vertical, horizontal and diagonal bands of colour, circular and ellipse spheres and less clearly definable shapes that coexists in the composition. The coloured shapes tip and tilt although tied in to the whole mass. The bright colours communicate with each other across the surface. The vitality of the forms is such that at times they appear to advance towards the viewer who becomes involved in the image. The resulting aesthetic is a bold statement typical of Léger’s works. Composition is from a period when Léger composed several still-lives. In the late 1930’s he travelled a lot which left less time for the artist to create larger artworks. In 1938-39 Léger worked on Composition polychrome (Composition à l’encrier) (Georges Bauquier, Catalogue raisonné, 1938-1943, no. 1039) where we find several corresponding elements to the “Composition” of this sale. The circular forms placed in the centre on top of each other and some of the pointed elliptical forms can be found in both. He often made several preparatory works before beginning working on a large canvas and these are often as interesting as the final work. The Composition polychrome (Composition à l’encrier) has several known preparatory works showing the work in different stages. The sketches were often more revealing of Légers search than in the final work where the dimension emphasized the simplicity.

Opposite: Fernand Léger in his studio. Fernand Léger (b/w photo) / Photo © Michel Sima/ Bridgeman Images

Both Composition of this sale and Composition polychrome (Composition à l’encrier) were in the collections of the famous French art collector André Lefèvre (1883-1963). The financier André Lefèvre was a devoted collector of art, with a particular interest in the cubism movement. Among the works by Léger, apart from the two paintings from 1938, he also owned a well-known drawing for the Staircase from 1913 as well as some 30 other paintings by Léger. His collection also included artworks by Pablo Picasso, Georges Braque and Juan Gris. After his death part of his collection was donated to French art museums, but there were also prominent sales of his collections in Paris in 1964-1967.

PABLO PICASSO NUS

1002. PABLO PICASSO (1881‑1973) ”Nus” Signed in pencil Picasso and dated 1er. Aout 1972. Pen and black ink, brush and grey wash and white gouache on paper, 57 x 77.5 cm. SEK 3.000.000 - 5.000.000 € 316.000 - 526.000 Ⓓ Executed in 1 August 1972. Provenance: Galerie Louise Leiris, Paris. Christie’s Sale of Impressionist and Modern drawings and watercolours, 16th November 1983, lot 234. The collection of Bertil Neuman, Stockholm. Exhibited: Galerie Louise Leiris, Paris, “Picasso, 172 dessins en noir et en couleurs, 21 November 1971 - 18 August 1972”, December 1972 - January 1973, cat. no. 152. Moderna Museet, Stockholm, “Pablo Picasso”, 15 October 1988 - 8 January 1989, cat. no. 220. Literature: Christian Zervos, Pablo Picasso, Paris, 1978, vol. 33 (oeuvres de 1971‑1972), p. 166, no. 488 (illustrated). Galerie Louise Leiris, Paris, Picasso, 172 dessins en noir et en couleurs, 21 November 1971 - 18 August 1972 (exhibition catalogue), 1972, cat. no. 152 (illustrated). Moderna Museet, Stockholm, Pablo Picasso (exhibition catalogue), 1988, p. 119 (illustrated). The Picasso Project, Picasso’s Paintings, Watercolors, Drawings and Sculpture. The Final Years: 1970‑1973, San Francisco, 2015, no. 72‑228, p. 355 (illustrated).

“... Yes, art is dangerous. Where it is chaste, it is not art.” - Pablo Picasso

context inincontext

NUS NUS

Opposite above: Opposite above: Nus shown atat thethe Pablo Nus shown Pablo Picasso exhibition in in 1988, Picasso exhibition 1988, Moderna Museet, Stockholm. Moderna Museet, Stockholm. Photo Moderna Museet Photo Moderna Museet Opposite below: Opposite below: Picasso working onon anan Picasso working etching in in Notre-Dame-deetching Notre-Dame-deVie, Mougins 1970 Vie, Mougins 1970 Photo Edward Quinn, Photo Edward Quinn, ©© edwardquinn.com edwardquinn.com

Even until his last days, Pablo Picasso painted with an everlasting enthusiasm and eagerness, which resulted in some of his most interesting paintings. Nus was painted less than a year before the artist passed away in his home, villa Notre-Dame-de-Vie in Mougins, and captures the intensity that characterizes many of Picasso’s later works. In his last four years, Picasso created more works of art than at any other comparable period in his life. Painting and drawing almost became an obsession for him and he dated each work with an absolute precision. The works from his final years are painted in a free, unrestrained way and he allowed himself a freedom needing no justification. A gentle playfulness and youth exudes the paintings dating from this period, leading the viewer to an irresistible fascination for his artistry. Eroticism was a recurring theme in Picasso’s impressive oeuvre and he kept returning to the various motifs of loving couples and nude figures, even though his style and means of expression changed greatly over time. With a continual reference to his wife Jacqueline and his love for her, the majority of Picasso’s later works were dominated by erotic allusions. He created many similar pictures but they are all unique in terms of their composition. Nus almost seems to be composed of two different images. On the left side of the painting, the intimate and emotional scene with the loving couple is captured in black and white and from different angles. It is a wild and energetic scene where body parts blend together and is united by the use of fine lines and sharp contours. Picasso’s fascination with the subject led him to explore the boundaries of his paintings and he often combined objective courses of events with a more personal and emotional interpretation. The couple are seen facing each other in the right side of the painting, both gazing into each other’s eyes with a warm and loving glance. The women who surrounded him always influenced the women he depicted. During his final years, he was married to the devoted

Nus shown at the Pablo Picasso exhibition in 1988, Moderna Museet, Stockholm.

Picasso working on an etching in Notre-Dame-de-Vie, Mougins 1970.

Figure 1: Étreinte, 1972.

Jacqueline Roque who frequently appeared in his paintings even though she never posed as a model for Picasso. Picasso’s great love for his muse, lover and wife Jacqueline has been captured in this endearing embrace. The painting can perhaps not be seen as a complete self-portrait, but the reminiscence of the artist and his wife is evident. David Sylvester discusses the late works by Picasso; “At twenty-five, Picasso’s raw vitality was already being enriched by the beginnings of an encyclopedic awareness of art; at ninety, his encyclopedic awareness of art was still being enlivened by a raw vitality” (D. Sylvester, Late Picasso, Paintings, Sculpture, Drawings, Prints 1952-1972, (exhibition catalogue), Tate Gallery, London, 1988, p. 144).

Above: Étreinte. Couple, 1st June 1972 (oil on canvas), Picasso, Pablo (1881-1973) / Private Collection / Bridgeman Images. © Succession Picasso Opposite: Picasso and Jacqueline in La Californie, Cannes. Photo Edward Quinn, © edwardquinn.com

The theme of the two lovers embracing recurs in Picasso’s paintings from the 1970’s. Figure 1 shows Étreinte (Private Collection), which was completed only a month before Nus, and shows a couple caught in their act of love. Their genitals are fully exposed, as in many of Picasso’s paintings and drawings, and their bodies unite in the embrace. Picasso’s impressive method of making a single being out of two is clearly visible in Étreinte, but also in Nus where it was further developed. Picasso painted every detail of the act with fine lines, but emphasized the interaction between man and woman with more vivid brushstrokes. For the artist, sexual power and creative power shared the same impulse. His way of depicting sexuality is completely explicit, and when discussing art and eroticism he stated; “Art is never chaste. It ought to be forbidden to ignorant innocents, never allowed into contact with those not sufficiently prepared. Yes, art is dangerous. Where it is chaste, it is not art.” (Antonia Vallentin, Picasso, 1963, p. 168).

PABLO PICASSO FILLETTE AU BÃ&#x2030;RET

1003. PABLO PICASSO (1881‑1973) ”Fillette au béret” Signed Picasso and on the reverse dated 12.12.64 and numbered III. Oil on canvas, 65 x 54 cm. SEK 12.000.000 - 18.000.000 € 1.263.000 - 1.895.000 Ⓓ Executed in 12 December 1964. A photocertificate of authenticity signed and dated by Louise Leiris Paris 15 May 1979 is included with this lot. Provenance: Galerie Louise Leiris, Paris, (acquired directly from the artist), stock no. 011675/61640. Galerie Beyeler, Basel. The collection of Mr. and Mrs. Sydney R. Barlow. Sotheby’s London, “Highly Important Impressionist and Modern Paintings. From The Collection of Mr. and Mrs. Sydney R. Barlow”, 2nd April 1979, lot 17. The collection of Bertil Neuman, Stockholm. Exhibited: Galerie Beyeler, Basel, “Picasso, Werke von 1932‑1965”, February - April 1967, cat. no. 56. Stadt Kunstsammlungen, Nuremberg, “Spanische Kunst der Gegenwart”, November - December 1967, cat. no. 76. Museum Boymans-van Beuningen, Rotterdam, “Hedendaagse Spaanse Kunst”, July - August 1968, cat. no. 84. Phoenix Art Museum, June - October 1969. Los Angeles County Museum of Art, “Picassos in Southern California, A Tribute to the Artist at 90”, October - November 1971, cat. no. 77. Moderna Museet, Stockholm, “Pablo Picasso”, 15 October 1988 - 8 January 1989, cat. no. 90. Literature: Christian Zervos, Pablo Picasso, 1971, vol. 24 (oeuvres de 1964), p. 125, no. 320, (illustrated). Alfred H. Barr and Roland Penrose, Picasso, Ed. Beyeler Basel 1967‑8, p. 140 (illustrated in colours). Moderna Museet, Stockholm, Pablo Picasso (exhibition catalogue), 1988, cat. no. 90, p. 238. The Picasso Project, Picasso’s Paintings, Watercolors, Drawings and Sculpture. The Sixties II: 1964‑1967, San Francisco, 2002, no. 64‑321, p. 110 (illustrated).

“Every child is an artist. The problem is how to remain an artist once he grows up.” - Pablo Picasso

in context

FILLETTE AU BÉRET

Previous page: Picasso standing in front of his paintings in his villa in Mougins, 1965. © Photo by Cecil Beaton, Condé Nast Collection, Getty Images. Opposite: Picasso, Catherine (“Cathy”) Hutin and Paloma. La Californie, Cannes 1960. Photo Edward Quinn, © edwardquinn.com

During the 1960’s, Picasso painted many series of portraits. Most of the paintings from this period in the artist’s life portrayed his wife Jacqueline, by far his most frequent subject, or young boys or men dressed in striped sweaters and with black speckled hair and sometimes beards. Portraits of young girls from the mid 1960’s are rare but Fillette au béret has many similar attributes to Picasso’s paintings of young boys dating from the same time. The figures are brought to life by a series of lines, dots and dashes and the viewer’s perception of the faces is being challenged by the formation of the nose and the blurred yet strong brushstrokes. During this time he produced several paintings of children in his surroundings. Fillette au béret is included in a series of three paintings, which were all painted on the same day, 12 December 1964. It is the only portrait of a female out of the three; nevertheless Picasso painted them all in the same immediate and spontaneous way, which characterises many of his later works.

Figure 1: Buste d’homme, 1964.

Above left: Buste d’homme 1964 © Sotheby’s 2016. © Succession Picasso Above right: Buste de jeune garçon. Bust of a young boy, 1964 (oil on canvas), Picasso, Pablo (1881-1973) / Private Collection / Photo © Christie’s Images / Bridgeman Images. © Succession Picasso

Figure 2: Buste de jeune garçon, 1964.

The first painting in the series is the portrait of a man (Figure 1), Buste d’homme (Private Collection), dressed in the characteristic striped top that resembles many of Picasso’s own garments. To improve the sense of masculinity and powerfulness, Picasso painted the older man with strong features and an expressive face. Compared to the portrait of a young boy, which Picasso painted on the same day and numbered II (Figure 2), Buste de jeune garçon (Private Collection), Picasso intensified the impression of a grown man by the use of dark colours for the eyes, hair and beard. When Picasso painted the younger boy and the portrait of the young girl, he used the same colours and delineation to create the impression of childishness. The resemblance between especially Fillette au béret and that of the young boy are striking and shows Picasso’s impressive ability to capture a personality with only a few brushstrokes. Louise D’Argencourt commented on Picassos last works; “The contemplative character of Picasso’s last works – expressed in part in the tranquil poses of his seated figures, the importance given to their heads, and the absence in them of all agitation – is often balanced by a spirited execution that makes use of many painterly effects” (Louise d’Argencourt, Pablo Picasso, Meeting in Montreal, Montreal Museum of Fine Arts, Montreal, 1985, p. 284). The strong colour palette of green, red, black, yellow and blue shown in Fillette au béret evoke a fulfilling yet intensive and powerful time in the artist’s life. Given the apparent age of the young girl featured in this painting, it is possible to surmise that it represents Jacqueline Roque’s daughter from her previous marriage with the engineer André Hutin. She was one of a few young girls surrounding Picasso, and appears in the artist’s portraits from this time. Picasso first met Jacqueline at the pottery studio in Vallauris in 1952, where the artist was still living at that time with Françoise Gilot and their two children Claude and Paloma. When Picasso

painted Fillette au béret in December 1964, Jacqueline’s daughter Catherine was sixteen years old and her mother had by then been married to the artist for three years. When he passed away in 1973, he had very much become a stepfather to the young woman and this expressive painting might reveal the close and loving relationship between the two. The same year that he painted Fillette au béret, Françoise Gilot, his lover between 1944 and 1953, published her story about their relationship in her book, Life with Picasso. Picasso made a great effort trying to prevent the story from becoming public but when it did, his relationship to the two children he had with Françoise became heavily strained. Claude and Paloma were both very close to the artist before their mother published her revealing book, and perhaps the portrait was painted with inspiration from Picasso’s own daughter who was then fifteen years old. The girl featured in the painting, may in fact be a portrait of Paloma Picasso. Regardless whom the picture is portraying, it shows the presence and inspiration that he got from the children in his life. Above: Françoise Gilot and Picasso with their children Claude and Paloma in Vallauris 1953. Photo Edward Quinn, © edwardquinn.com Opposite: Picasso painting in Studios de la Victorine, Nice 1955. Photo Edward Quinn, © edwardquinn.com

Even during his later years, he remained active and defied old age with a youthful outlook on the world. Many of their close friends agreed that the much younger Jacqueline was the driving force behind his enthusiasm and ceaseless production, together with his love for children and endless curiosity. The children around him and especially his relations began to figure in his paintings from an early stage in his career and with an everlasting enthusiasm he portrayed his sons and daughters in various positions. Most of the paintings from his last years are portraits of either his wife, Jacqueline, or youngsters who he met on the street and painted from memory; often reminding him of himself.

1004. PABLO PICASSO (1881‑1973) ”Femme nue se coiffant” Signed Picasso and dated 17.7.67. and numbered I. Indian ink and wash on paper, 28 x 46 cm. SEK 1.200.000 - 1.800.000 € 126.000 - 189.000 Ⓓ Executed in 17 July 1967. Provenance: Galerie Louise Leiris, Paris, stock no. 012290. Saidenberg Gallery, New York. The collection of Bertil Neuman, Stockholm. Exhibited: Galerie Louise Leiris, Paris, "Picasso, Dessins 1966-1967", 28 February - 23 March 1968, cat. no. 43. Literature: Christian Zervos, Pablo Picasso, 1967, vol. 27 (oeuvres de 1967 et 1968), p. 23, no. 73, (illustrated), titled "Nu assis se coiffant". Galerie Louise Leiris, Paris, Picasso Dessins 1966-1967 (exhibition catalogue), 1968, cat. no. 43, p. 33 (illustrated). The Picasso Project, Picasso's Paintings, Watercolors, Drawings and Sculpture. The Sixties II: 1964-1967, San Francisco, 2002, no. 67-295, p. 371 (illustrated).

”I paint the way some people write an autobiography. The paintings, finished or not, are pages from my diary.” - Pablo Picasso

in context

FEMME NUE SE COIFFANT

Opposite: Picasso and Jacqueline standing by a window at Château de Vauvenargues in 1961. Photo Edward Quinn, © edwardquinn.com

When Picasso drew Femme nue se coiffant in the Summer of 1967, he was living together with his devoted, last wife Jacqueline Roque in Notre-Dame-devie in Mougins. The features of the nude woman in this work resemble those of Jacqueline in Picasso’s many portraits of his beloved wife. Even though she entered his life relatively late, she became his favourite and most painted subject and began to appear in Picasso’s paintings from 1954. The picture is not recognised as a portrait of Jacqueline Roque, however she was undoubtedly an inspiration to this and numerous of the works created by Picasso in his later years. The theme of a nude woman arranging her hair became a part of Picasso’s motifs from a young age, however the artist kept changing the shape and pose of the women in his paintings and drawings over time. Picasso developed an interest in the subject of the Femme se coiffant in the early part of the twentieth century. Edgar Degas used the theme in many of his pastels and drawings dating from the last years of his life and they influenced many of Picasso’s works. Another very important inspiration for Picasso was the famous work Le Bain turc by Jean-Auguste-Dominique Ingres. The figures in Ingres’ painting almost seemed sculptural in their nature and the intimate scene that took place in the painting fascinated Picasso. His first model for the theme Femme se coiffant was Fernande Olivier, his lover from 1904 whose voluminous figure attracted Picasso. Fernande usually wore her long hair tied in a knot, but her everyday ritual of brushing and arranging it inspired the artist to create his first drawings of a “Femme nue se coiffant”.

Figure 1: Woman Dressing Her Hair, 1940.

Above: Picasso, Pablo (1881-1973): Woman Dressing Her Hair, Royan, June Digitale (1)(A) 1940. New York, Museum of Modern Art (MoMA). Oil on canvas, 130.1 x 97.1 cm. Louise Reinhardt Smith Bequest. Acc.n.: 788.1995. © 2016. Digital image, The Museum of Modern Art, New York / Scala, Florence. © Succession Picasso

Throughout his life, Picasso was involved with several women and they all, to a great extent, influenced the artist and his paintings during the time they spent together. He painted several portraits of nude women, often seated or reclining (or laying down), holding different items in their hands. His complex, yet intense relationship to the many women in his life contributed to the creation of some of his most impressive works. This is true of the painting of Dora Maar dating from 1940 (Figure 1) that is titled Woman Dressing Her Hair (Museum of Modern Art, New York), which Picasso worked on for a long time and when he finally finished it, it was regarded to be one of his best works. This famous oil painting shows Picasso’s mistress at the time, Dora Maar, sitting with her legs in front of her and with her arms behind her back, arranging and twisting her long hair. The familiar theme is treated differently in this painting, and takes on a rather anguished and dramatic air. Compared to the painting of Dora Maar from 1940, the woman in Femme nue se coiffant from 1967 is sitting down in a similar pose with both her legs in front of her and with one knee over the other. In a sweeping motion she raises her arms to be able to reach the hair on top of her head. The softness of the lines is

Figure 2: Nu assis au miroir, 1967.

typical for Picassoâ&#x20AC;&#x2122;s paintings dating from this joyful and harmonic period in his life. Picasso created a similar painting on this theme during the same year which is shown in Figure 2, Nu assis au miroir (Picasso Museum, Lucerne). In this painting, the nude woman is gazing into a mirror, which she is holding in her right hand. The other hand is arranging her hair in a similar pose, which Picasso keeps returning to in his oeuvre. They both closely depict Picassoâ&#x20AC;&#x2122;s fascination with the intimate moment of a woman dressing herself. The movement in Femme nue se coiffant from 1967 is almost tangible and has been intensified by the use of different shades of black and grey applied with wide and bold brushstrokes. The focus is on the female curves of the body, with many areas such as the feet, stomach and legs being pronounced. Femme nue se coiffant is part of a series of drawings that Picasso made on the same day in 1947. The other drawings consist of a seated nude woman, while the third is portraying a male face. During this time in his life, Picasso fully entered a period of diversity in his artistry and his paintings became even more daring and expressive.

Above: Nu assis au miroir (Nude with mirror) from 1967. Rosengart Collection Museum Lucerne (permanent loan to the Rosengart Collection). ÂŠ Succession Picasso

1005. PABLO PICASSO (1881‑1973) ”Le repos” Signed in crayon Picasso and dated 8 mai 47 and numbered VI. Pen and black ink on paper, 50.5 x 65.5 cm. SEK 1.500.000 - 2.000.000 € 158.000 - 211.000 Ⓓ Executed in 8 May 1947. Provenance: Galerie Louise Leiris, Paris, stock no. 06744. Galerie Chalette, New York. The collection of Mr. & Mrs. John Hallock, Cincinnati. Sotheby’s New York, Impressionist and Modern Paintings and Sculptures, 21st May 1981, lot 677. The collection of Bertil Neuman, Stockholm. Exhibited: The contemporary Arts Center, Cincinnati Art Museum, “Ninth Exhibition of Recent Acquisitions from Local Collections”, September - October 1958, cat. no. 86. Literature: Christian Zervos, Pablo Picasso, (oeuvres de 1946‑1953), vol. 15, p. 40, no. 67 (illustrated), titled ”Personnage endormie et femme accropie”.

“... No one has ever looked at Matisse’s painting more carefully than I; and no one has looked at mine more carefully than he.” - Pablo Picasso

in context

LE REPOS

Previous page: Françoise Gilot and Picasso on the beach in Golfe-Juan in 1954. Photo Edward Quinn, © edwardquinn.com

This delicate drawing by Picasso was created in the early summer of 1947, at a time when the artist divided his time between his studio in Paris and Golfe-Juan near Cannes. Picasso and his mistress Françoise Gilot spent much time in Villa Pour Toi, a countryside villa owned by Louis Fort, a retired artisan-engraver and a close friend of Picasso. Between the years of 1946 and 1947, Picasso produced a wide range of paintings and drawings, many of which were greatly inspired by his rival and long-time friend Henri Matisse. The inspiration from the Fauvist master can clearly be seen in Le repos. The two artists had a very complex yet fulfilling relationship that lasted until the death of Matisse in 1954. Picasso regularly visited Henri Matisse in Le Rêve, his villa in Vence, and did so together with Françoise Gilot only months before he made the drawing Le repos. The art collector and American avant-garde writer Gertrude Stein was the first to introduce Picasso to Matisse and even though they seemed to have very little in common, by the time they met, they were intrigued by one another and from then on often urged each other to paint the same subjects and even name their works of art the same titles. Matisse created several similar versions of Le repos, both drawings and lithographs, showing a nude woman with her arms above her head in a reclining or seated position. Both artists created their drawings by using only a few and very fine lines, yet the expressions of the figures are ever present. They shared a mutual respect for each other’s works and interpretations and sometimes even exchanged their paintings and drawings. “You have got to be able to picture side by side everything Matisse and I were doing at that time. No one has ever looked at Matisse’s painting more carefully than I; and no one has looked at mine more carefully than he” (Gyula Brassai, Picasso and Company, 1966). Matisse’s opinions on Picasso’s works played a considerable role in his continuing development as an artist. Even during his later years, Picasso thought very highly of his friend and said about him; “All things considered, there is only Matisse”.

Figure 1: Femme assise et Dormeuse, 1947 (litho).

Above: Femme assise et Dormeuse. Seated woman and sleeper, 1947 (litho), Picasso, Pablo (1881-1973) / Private Collection / Photo © Christie’s Images / Bridgeman Images. © Succession Picasso

Picasso executed a series of drawings within the theme of the two lovers in similar poses during the 1940’s. On the same day, 8 May 1947, he created eight drawings with a woman sitting beside her sleeping lover. Le repos is numbered six among the eight. The use of only a few lines and a black and white composition creates the impression of fragility but above all, it shows the artists deep understanding for beauty evolving from the simplest of things. Picasso’s drawings are very intimate means of expression and his favourite subjects were often nude models and he especially enjoyed capturing the female body. The many different versions of his resting figures have often also become subjects for graphical works. In the first half of 1947, Picasso completed over fifty lithographs in eight months. The two lovers, one seated in contemplation and the other lies asleep, was a recurring theme in Picasso’s oeuvre. The lithograph Femme assise et Dormeuse (Figure 1) is directly related to the drawing Le repos and was printed the same year as Picasso created the

Figure 2: La Dormeuse, 1947 (litho).

drawing. The image of the lithograph is reversed compared to the drawing, but the positions and gestures of the figures are related to one another. A woman is sitting with her arms around her knees, watching the sleeping person next to her in silence. The sleeping figure is resting with one arm above the head and with the other one positioned underneath the head for support. The figures in the drawing are both nude compared to the dressed seated woman in the lithograph, and their full bodies are presented by the simplest of lines. Another printed example of resting figures from the year of 1947 is La Dormeuse (Figure 2). This lithograph also shows a reversed image compared to the drawing, but the figural composition is almost identical. The prints related to the drawing are richer in colour but were created with the same fine contours as the drawing. Undoubtedly, the theme of the loving couple and the intimate moment between them became a very important study and inspiration for many of Picasso’s graphical works.

Above: La Dormeuse. The Sleeper, 1947 (litho), Picasso, Pablo (1881-1973) / Private Collection / Photo © Christie’s Images / Bridgeman Images. © Succession Picasso

ANDRÉ MASSON

"The artist must work with the thought that the spectator can understand things half said, not completely described.” - André Masson

1006. ANDRÉ MASSON (1896‑1987) ”L’escalier de l’Être” Signed André Masson, titled and dated on reverse 1969. Oil on canvas, 100 x 81 cm. SEK 300.000 - 500.000 € 32.000 - 53.000 Ⓓ Executed in 1969. A photocertificate signed by Maurice Jardot of Galerie Louise Leiris and dated Paris 16 May 1974 is included with this lot. Provenance: Galerie Louise Leiris, Paris, (acquired directly from the artist), stock no. 013457/57885. Galerie de Seine, Paris. The collection of Bertil Neuman, Stockholm. Exhibited: Galerie Louise Leiris, "André Masson - Oeuvres récentes 1968-1970”, 30 October - 28 November 1970, cat. no.6. Literature: Galerie Louise Leiris, André Masson - Oeuvres récentes 1968-1970, 1970, cat. no. 6, p. 14 (illustrated).

1007. ANDRÉ MASSON (1896‑1987) ”La chute du cavalier” Signed André Masson, titled and dated on reverse 1976. Oil on canvas, 55 x 46 cm. SEK 200.000 - 300.000 € 21.000 - 32.000 Ⓓ Executed in 1976. A photocertificate signed by Louise Leris and dated Paris 19 Janvier 1979 is included with this lot. Provenance: Galerie Louise Leiris, Paris, (acquired directly from the artist), stock no. 016704/58453. Galerie Bel’Art, Stockholm. The collection of Bertil Neuman, Stockholm, acquired from the above.

1008. ANDRÉ MASSON (1896‑1987) ”Les adieux du guerrier” Signed André Masson, titled and dated on reverse 1976. Oil on canvas, 55 x 38 cm. SEK 150.000 - 200.000 € 16.000 - 21.000 Ⓓ Executed in 1976. A photocertificate signed by Louise Leris and dated Paris 25 Janvier 1979 is included with this lot. Provenance: Galerie Louise Leiris, Paris, (acquired directly from the artist), stock no. 016706/58456. Galerie Bel’Art, Stockholm. The collection of Bertil Neuman, Stockholm, acquired from the above.

The French artist André Masson is known for his automatic drawings. These derived from the idea of automatic writing where the creativity comes without conscious control. The Surrealists developed the automatic drawing as a means of expressing the subconscious, with Masson as the front figure. Masson sometimes worked under strict conditions, for instance after long periods of time without food or sleep, or under the influence of drugs. When getting himself into a reduced state of consciousness it would help him to be free from rational control and consequently get closer to his subconscious mind. Masson’s early works are influenced by Cubism, and from the 1920’s he was associated with the Surrealist movement. The Surrealists worked in a common search for a poetic art whereas Masson as well as Joan Miró represent a more abstract branch than the more dreamlike surrealism of for instance Salvador Dali. Masson later found the automatic drawing, despite its spontaneous approach, to be restricting. After the automatic drawings and experimental sand paintings anchored in his Surrealist period, he reached a more structured style with motives often violent or erotic. ”Around 1960 Masson displayed an increasing tendency toward figural allusiveness and with that a greater willingness to detach form from ground, although neither of these propensities affects his art in full force until after 1965.” (William Rubin & Carolyn Lanchner, André Masson, The Museum of Modern Art, New York, 1976, p. 192).

in context

ANDRÉ MASSON

The artist figured the self in a number of paintings. He depicted it as fragmented, dissolved, merged with other selves and with the natural environment, also reconstituted and consolidated. Masson was involved with modern conceptions of the self, which he absorbed from Nietzsche and the Surrealist writers, as well as from other sources in philosophy, psychology, psychoanalysis and ethnography. The three paintings L’escalier de l’être, La chute du cavalier and Les adieux du guerrier are from a late period in the artist’s life. He had reached a structured style and in his use of colour, form and lines he creates a style, which is both abstract and figurative at once. L’escalier de l’être from 1969 shows the staircase of the self. The self was a topic that Masson often returned to and tried to examine in his works. The painting is capturing a striving motion with bodies reaching upwards, in an aspiration to preserve their existence. The verticality is enforced by the pyramid in the background, the bodies in the stair-like composition, crowned by the bird, leaving it, just as an altarpiece, with the impression of the holy, radiant heaven above. The painting with its many details is structured with red lines and contours, which are accentuated by blue shades. With a more intense colour scheme La chute du cavalier from 1976 is a dramatic capture of the falling rider. In a whirl of colours, with a deep blue sky and strong yellow-orange and red mixed almost like flames towards the sky, the fall towards the ground of arms, legs and the horse´s head shows a vivid and moving scene. Les adieux du guerrier (1976) from the same year is an example of Masson’s more quiet and sensual expression. The embrace of two lovers, almost joined together by the growing plants and flowers, and the intimacy of the couple enforced by the deep red hearts pounding in the two bodies. Around the vertically stretched couple it can be both day and night, with dark and light blue shades indicating that the good-bye is never ending. “Indeed, for all that Masson’s work of the last several years defies a single general characterization, there blows through it an especially strong Nietzschean wind – particularly evocative of the vivid rethoric of Zaratustra” (William Rubin & Carolyn Lanchner, André Masson, The Museum of Modern Art, New York, 1976, p. 201).

Opposite: André Masson. Andre Masson (b/w photo), French Photographer, (20th century) / Private Collection /Roger-Violet, Paris/Bridgeman Images

1009. PABLO PICASSO (1881‑1973) ”Le petit dessinateur” Signed and numbered Picasso 22/50. Lithograph printed in colours on Arches paper, 65.5 x 50 cm. SEK 150.000 - 200.000 € 16.000 - 21.000 Ⓓ 1954. Bloch 768. Provenance: The collection of Theodor Ahrenberg, Switzerland. The collection of Bertil Neuman, Stockholm. Exhibited: Riksförbundet för bildande konst, “165 Mästargrafik”, cat. no. 75. Moderna Museet, Stockholm, “Pablo Picasso”, 15 October 1988 8 January 1989, cat. no. 278.

1010. PABLO PICASSO (1881‑1973) ”L’homme à la fraise” Signed and numbered in pencil Picasso 4/50. Published by Galerie Louise Leiris. Linoleum cut in colours, 62 x 44.5 cm. SEK 200.000 - 300.000 € 21.000 - 32.000 Ⓓ 1963. Bloch 1148. Baer 1320. Provenance: The collection of Bertil Neuman, Stockholm. Exhibited: Moderna Museet, Stockholm, “Pablo Picasso”, 15 October 1988 8 January 1989, cat. no. 288.

sale information the neuman collection EVENING SALE Wednesday 7 December 2016 at 7 pm Uppsala Auktionskammare Dragarbrunnsgatan 73, Uppsala, Sweden

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In-person bids in the auction hall

Important Sales

Decorative Sales

Yes

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Yes*

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Yes

Telephone bids

Yes

*NB: Internet bids submitted before the hammer auction begins may not be revoked on the Decorative Sales

11.14 In addition to these general bidding conditions, as prescribed by this Section 11, specific conditions for different forms of bids shall apply, as set out in sections 12 through 16. 12. Specifics about In-person Bidding in the Auction Hall 12.1 In-person bidding in the auction hall may take place both at the Important Sales and at the Decorative Sales. 12.2 A bidder who wishes to bid in the auction hall shall apply for an auction paddle with a unique bidding number before the auction begins. 12.3 A bid is submitted by the Bidder when he or she clearly holds up his or her auction paddle, or when such bid is made with any other clear sign or with a clear voice. The winning bidder shall always display his or her auction paddle for proper registration of the purchase after the hammer has struck. 12.4 A bid delivered in the auction hall is binding and irrevocable until a possibly higher bid has been submitted. 13. Specifics about Bidding by Written Absentee Notice 13.1 Written absentee bids may be received for the Important Sales but not for the Decorative Sales. 13.2 Written absentee bids may be submitted in person to UAK or sent via fax, e-mail or regular mail. 13.3 Written absentee bids shall be submitted to UAK at the latest two hours before the start of the auction that includes the actual lot. 13.4 When a Bidder has submitted a written absentee bid, UAK will bid on behalf of the Bidder in the most favorable manner possible, up to the maximum bid. 13.5 A written absentee bid may be withdrawn no later than three hours before the start of the auction that includes the actual lot. Any withdrawal must be in writing. 13.6 The Bidder is responsible for purchases that may result from a written absentee bid being unclear or incorrect, from any written errors or for any other reasons. In the event of an inconsistency among various specifications in a written absentee bid, the reference to an auction number receives precedence over other specifications and UAK is entitled to assume that the auction number is listed correctly without checking with the Bidder. 13.7 The submission and the possible revocation of a written absentee bid shall be made at the Bidderâ&#x20AC;&#x2122;s own risk and UAK is not responsible for any delays resulting from errors, delays or inadequacies in telecommunications transmission, delivery by post or any other technical disruptions. Neither is UAK responsible for any damages that may occur if UAK neglects to execute a written absentee bid. Anyone who surely wants to participate in an auction is therefore invited to attend the auction in-person in the auction hall. 14. Specifics about Internet Bids Submitted Before the Hammer Auction Begins 14.1 Before the hammer auction begins, absentee bidding via Internet may be received both for the Important Sales and for the Decorative Sales. Different rules apply, however, for bids made at the different types of auctions, as explained below, including that Internet bids may not be revoked in the context of the Decorative Sales. 14.2 Absentee bidding via the Internet requires that the Bidder has an Internet customer

account registered with UAK. Applications for Internet customer account must be made well in advance of the actual auction. 14.3 Absentee bidding via the Internet must be submitted to UAK no later than two hours before the hammer auction begins. 14.4 UAK will confirm by e-mail the receipt of absentee bids submitted via the Internet. 14.5 When a Bidder submits an absentee bid via the Internet, UAK will bid on behalf of the Bidder in the most favorable manner possible, up to the maximum bid. 14.6 On the Decorative Sales (but not on the Important Sales), the bidding is reported on the UAK website also ahead of the auction transferring to a hammer auction without the apparent identity of the bidder and without the maximum bid submitted being disclosed. The Bidder who has the highest Internet bid at the time when a Decorative Sale turns into a traditional hammer auction shall procure the lot if no higher bid is submitted in the auction hall, through the Internet in real time, or via telephone. During the hammer part of the auction, absentee bids previously received via the Internet will be monitored in the same manner, up to the specified maximum bid, as bids received in connection with the Important Sales. 14.7 An absentee bid via the Internet that relates to an Important Sale may be withdrawn no later than three hours before the start of the auction that includes the actual lot. Any revocation must be made via the Internet. 14.8 Since the Decorative Sales are conducted as open auctions where incoming bids are continuously presented, any bid submitted via the Internet in relation to such auctions may not be withdrawn and is therefore nonrevocable. 14.9 The Bidder is responsible for purchases that are completed by means of an absentee bid via the Internet, even when such purchases are the result of a bid being unclear or incorrect due to errors in writing or for any other reasons. 14.10 The submission of absentee bids via the Internet and any possible withdrawal of such bids (where withdrawal is allowed according to the aforementioned terms) shall be made at the Bidder’s own risk and UAK is not responsible for any delays resulting from errors, delays, or inadequacies in telecommunications transmission, delivery by post or any other technical disruptions. Neither is UAK responsible for any damages that may occur if UAK neglects to execute an absentee bid via the Internet. Anyone who surely wants to participate in an auction is therefore invited to attend the auction in-person in the auction hall. 15. Specifics about Internet Bidding in Real Time During a Hammer Auction 15.1 Internet bidding in real-time during a hammer auction may be made both for the Important Sales and for the Decorative Sales. 15.2 Bidding via the Internet in real time entails that the Bidder participates in the auction during real time via the Internet. 15.3 Bids via the Internet in real time require that the

Bidder has an Internet customer account registered with UAK. Application for Internet customer account must be made well in advance of the actual auction. 15.4 Bids via the Internet in real time are binding and irrevocable until a possibly higher bid has been submitted. 15.5 The Bidder is responsible for purchases that are completed by means of a bid which is linked to the Bidder’s log in real time, even when such bid, for example, has been given by mistake. 15.6 Bidding via the Internet in real time shall take place at Bidder’s own risk and UAK is not responsible for any delays resulting from errors, delays or inadequacies in telecommunications transmission, delivery by post or any other technical disruptions. Anyone who surely wants to participate in an auction is therefore invited to attend the auction in-person in the auction hall. 16. Specifics about Telephone Bids 16.1 Telephone bids may be made both for the Important Sales and for the Decorative Sales. 16.2 Bidding by telephone means that the Bidder participates in the auction in real time by telephone. 16.3 Bidding by telephone assumes that the Bidder informs UAK of his or her intent to participate in this manner, at the latest by 18:00 (Swedish time) the day before the actual auction day, while additionally UAK has the capacity to receive the telephone call by means of an available telephone line. 16.4 A Bidder who applies to participate by telephone shall indicate, in his or her application, the lots on which the Bidder wants to bid over the telephone and the telephone number where the Bidder wishes to be called during the auction. UAK shall confirm by e-mail a Bidder’s registration to telephone bidding. 16.5 Telephone bids are not accepted on a lot whose estimate is less than 3,000 SEK. 16.6 A person who applies to bid by telephone commits to bid at least the estimate (lower estimate if estimate is an interval) for the lots that the Bidder stated in the application. 16.7 Bids submitted by telephone are binding and irrevocable until a possibly higher bid has been submitted. 16.8 The Bidder is responsible for purchases that are completed as a result of an unclear or incorrect telephone bid. 16.9 Telephone bidding shall be conducted on the Bidder own risk and UAK is not responsible for interruptions, delays or other disruptions in telecommunications transmission or any other technical problems that prevent or hinder bidding. UAK is nor liable for damages that may occur if UAK does not call up a Bidder who signed up to participate by telephone bidding. Anyone who surely wants to participate in an auction is therefore invited to attend the auction inperson in the auction hall. 16.10 During a phone bidding process, UAK retains the right to record calls for documentation purposes. 17. Purchase Transfers 17.1 Purchase transfers or other instructions in regards to a buyer other than the Bidder are not permitted.

18. Purchasing Fees 18.1 When buying at the Important Sales, a bidder commission of 22,5 percent including VAT (18.0 percent excluding VAT) is added to the hammer price. 18.2 When buying at the Decorative Sales, a bidder commission of 22,5 percent including VAT (18.0 percent excluding VAT) is added on the hammer price. On the Decorative Sales, an additional fixed fee of 50 SEK including VAT (40 SEK excluding VAT) will be applied for every lot sold at the auction. 18.3 Value-added-tax (VAT) is payable on commissions and fixed fees but not on the hammer price. 18.4 On the lots submitted from outside the EU, an additionally import VAT of currently 12,0 percent applies. Lots on which this fee is applied are marked on the UAK website. 18.5 For lots that are protected by copyright law (usually this includes glass, prints, ceramics, paintings, furniture, silver and textiles, but not objects produced in more than a limited number of copies), the rules on compensation for resale rights as found in sections 26 n – 26 p of the Swedish Law (1960:729) on Copyright in Literary and Artistic Works (the so-called Droit de suite or the resale rights) will apply. Compensation is payable up to a maximum of five percent and is charged for lots sold during the originator’s lifetime or 70 years thereafter. Compensation is not payable on sales where the hammer price is less than five percent of “prisbasbeloppet” (currently 2,200 SEK). Lots subject to resale rights are marked in the auction catalogs with the letter “D”. 18.6 The Bidder’s commission fee and, where appropriate the fixed fee and/or the fee related to resale rights along with the applicable VAT shall be paid by the Bidder. 19. Auction Results 19.1 The Bidder is required to verify if any submitted bid resulted in a purchase. 19.2 After the auction, the Bidder will receive a written confirmation by e-mail or post about any successful purchase. 19.3 The list of the final prices is published on the UAK website. 20. Payment 20.1 All payments shall be made in Swedish crowns (SEK). The Bidder is responsible for any exchange fees and currency fluctuations. 20.2 Full payment of auction lots shall be provided to UAK no later than ten calendar days after the last auction day of the auction round where the lot was sold. 20.3 Payment shall be made either by deposit in the UAK bank-giro account, plus-giro account or bank account or by Swedish bank card or by some major credit cards. When paying by card, the credit-card transaction fee levied by the credit card company (up to 2,5 % of the total) will be added. UAK does not accept cash payments. 21. Non-Payment 21.1 If full payment is not received on time, UAK will charge

interest at 24 percent per annum on any outstanding amount. UAK also retains the right to charge a late-payment fee, in accordance with Swedish Regulation (1981:1057) for the compensation of debt recovery costs. UAK is additionally entitled to compensation for reasonable expenses resulting from debt collection and the performance of any other legal services in connection to proving and enforcing the claim and the recovering thereof. 21.2 In case of non-payment, UAK may also exercise at its discretion its rights by either immediately or at a later time cancel the sale and claim compensation for damages (including reimbursement of reasonable legal expenses) or without special notification to the Bidder sell, on its own or by external means, on the Bidder’s behalf the lot in question whether in the course of an auction or as otherwise deemed fit. If such event occurs, UAK alone may determine the estimate and reserve price to be applied, including the option that no reserve price shall be applied. When exercising its rights, UAK shall act reasonably and provide reasonable attention to the Bidder’s interests in relation to the sale. If a lot is sold in this manner, UAK shall retain payment of outstanding claims and the costs of the sale from the purchase price. Any excess amount shall be paid to the Bidder. If the sale price is insufficient to cover UAK’s debts and selling costs, the Bidder is obligated to pay the difference therein. 22. Retrieval 22.1 The successful Bidder must retrieve the auctioned lots no later than ten calendar days after the last auction day of the auction round when the lot was sold. No lots may however be retrieved before the full payment has been provided to UAK. 22.2 If a lot is not retrieved within the prescribed period, UAK will charge a storage fee of 50 SEK including VAT (40 SEK excluding VAT) for each calendar day that the lot is not retrieved. For furniture and other bulky lots, a double storage fee will be charged. Alternatively, UAK retains the right to send lots not picked up on time to a forwarding company for storage. The Bidder shall then be liable to pay the actual costs charged by the forwarding company. 22.3 UAK also retains the right to sell, on its own or by external means, at auction or otherwise, a lot that is not picked up within 30 calendar days from the last auction day of the auction round where the lot is sold. At such sale, the relevant paragraphs concerning “non-payment” from section 21 shall apply. 22.4 UAK’s liability for sold lots is limited to 10 million SEK per lot. For lots that are not retrieved in due time, UAK carries no liability after the ten-day collection period. Consequently, any auction lot that is not collected in due time will be stored at the Bidder’s risk. 22.5 The transportation of auction lots from the UAK premises to the Bidder shall be paid by the Bidder. It is the responsibility of the Bidder to arrange such transportation whether by him or herself or with the help of a third-party. UAK may assist with arranging transportation but it assumes no responsibility for the performance of any transportation services. The risk associated with a purchased lot transfers

to the Bidder when the lot is transferred out of the UAK premises, if the transfer of risk has not already passed to the Bidder under article 22.4. The Bidder is consequently advised to ensure that any transportation service is adequately insured. If UAK undertakes in exceptional circumstances to execute the transportation of a lot to the Bidder such transportation shall be at the Bidder’s risk. 23. Force Majeure 23.1 UAK is not responsible for damages caused by circumstances that UAK had not known or could not have not foreseen, for example such as changes in legislation, government action, currency restrictions, war or terrorist acts, extreme weather, fire or other accidents, errors in transmission or networks, shortages of transportation, general shortage of goods, lockouts, strikes, boycotts and blockades or other similar circumstances. These provisions apply regardless of whether the failure occurs in Sweden or abroad. In respect to strikes, lockouts, boycotts and blockades, the reservation applies even if UAK has taken, or is subject to, such actions. To relieve UAK from its obligations, the circumstances should prevent or significantly hinder UAK meeting its obligations in a timely manner. 23.2 If UAK’s performance of certain obligations is delayed by more than 180 calendar days due to a force majeure, as prescribed in the prior paragraph, the Bidder may cancel the current purchase without liability. The termination must be in writing. Upon such termination, neither UAK nor the Bidder is entitled to compensation from the other party. 24. Rights to Photographs 24.1 UAK ordinarily photographs the auctioned lots. UAK retains the right to reproduce, without the permission of or compensation to the Bidder, such representation of sold lots in its promotional materials or in any other context it deems fits and it may further disclose the price at which such lots were sold. 25. Video and Audio Recording 25.1 UAK retains the right to conduct audio or video recordings on its display facilities and auction premises. Such video and audio recordings may only be used in relation to disputes or criminal investigation. 26. Treatment of Personal Information 26.1 Any personal information that is submitted by the Bidder to UAK may be used by UAK in the administration and fulfillment of UAK’s obligations whether in relation to the Bidder, other customers, the auction business of UAK in general or to fulfill any such obligations required by law. Personal data may be used by UAK for market or customer analysis, for statistics purposes and for marketing functions, such as sending newsletters and invitations to events. Personal data may be supplemented with information obtained from public and private sources. Those wishing to correct or receive information about their personal data processed by UAK or to request that the personal information is not used for marketing purposes may so request of UAK in writing.

27. Confidentiality 27.1 UAK undertakes to retain and treat a Bidder’s personal and business information in a confidential manner and only to disclose such information to third-parties as required by law. 28. Consumer Protection Legislation 28.1 To the extent that mandatory Swedish consumer protection legislation such as the Consumer Sales Act (1990:932), contains conditions that are more onerous to the Bidder than these conditions, the conditions of the mandatory legislation apply instead, provided that the Bidder acted as a consumer. 29. Code of Ethics 29.1 In addition to these general Terms and Conditions, UAK shall apply the ethical rules that are promulgated from time to time by the Swedish Auction Association. These rules are available on www.auktionsforeningen.se. 30. Language 30.1 These Terms and Conditions are available in Swedish and English. In the event of any discord between these, the Swedish version shall prevail. 31. Modification of Terms and Conditions 31.1 Any individual changes or additions to these Terms and Conditions are only valid if they are confirmed by UAK in writing. 31.2 UAK may modify these Terms and Conditions at any time. An amendment shall enter into effect 30 calendar days after it has been published on the UAK website and it shall apply to bids submitted after the effective date. 31.3 It is the responsibility of the Bidder to keep him or herself updated about the current applicable version of these Terms and Conditions. 32. Dispute Resolution and Applicable Law 32.1 Any disputes shall be settled in accordance with Swedish law by the District Court of Uppsala. 32.2 To the extent that Swedish law permits, UAK retains the right to determine that a dispute, instead of being taken to court, shall be settled by arbitration pursuant to the following arbitration clause: Any dispute, controversy or claim arising out of or in connection with these standard Terms and Conditions and any individual alterations or additions thereto, or the breach, termination or invalidity thereof, shall be finally settled by arbitration administered by the Arbitration Institute of the Stockholm Chamber of Commerce (the “SCC”). The Rules for Expedited Arbitrations shall apply, unless the SCC in its discretion determines, taking into account the complexity of the case, the amount in dispute and other circumstances, that the Arbitration Rules shall apply. In the latter case, the SCC shall also decide whether the Arbitral Tribunal shall be composed of one or three arbitrators. The seat of arbitration shall be Stockholm. The language to be used in the arbitral proceedings shall be Swedish. In assessing whether there are reasons to refer a dispute to arbitration, UAK shall consider inter alia the amount in dispute, the complexity of the dispute, the need for a quick

and confidential procedure and any other good reasons. UAK undertakes to exercise its rights under this paragraph reasonably. Entry into Force These Terms and Conditions shall apply to auctions that are held after 1 November 2015. Information on Export Permits According to the Swedish Law (1988:950) concerning cultural heritage etc., permits are required for the export of some older Swedish and foreign cultural goods from Sweden. For exports to countries outside the EU, it may also be necessary to obtain a permit under Council Regulation (EC) No 116/2009 on the export of cultural goods. Applications should be filed with the Swedish National Heritage Board, PO Box 5405, SE-114 84 Stockholm. UAK will provide the legislative text and the application forms. Further information can be obtained directly from the Swedish National Heritage Board (RiksantikvarieĂ¤mbetet). Such information is also available on the National Heritage Boardâ&#x20AC;&#x2122;s website www.raa.se. Whoever takes artifacts out of Sweden is responsible for applying and obtaining any necessary permits. The export of cultural goods without a permit is a violation of the Swedish Act (2000:1225) on Penalties for Smuggling and, if the offense is deemed serious, may lead to a sentence of up to six years in prison. Cultural objects taken illegally out of the country may also be forfeited to the Swedish Crown. Certain licensing authorities may determine, by means of prior assessments of the lots to be sold in some auctions, which lots may be subject to an export ban if a permit or license is thereby sought. Such determination is to be interpreted as an act of service and is not binding on the respective authorities. Export permits must consequently be sought for all artifacts that require permits to be taken out of the country regardless of whether they have been assigned a prior assessment or not. Export permits must therefore also be sought for objects that have not been assigned any preliminary export ban as a result of a prior assessment. Although any prior assessments completed by licensing authorities are not binding, the Bidder should nonetheless inform himself or herself of any prior assessments that the licensing authorities have conducted. Any preliminary assessments will be reported on the UAK website after UAK has received the information from the licensing authorities; with due regard that UAK may sometimes receive such information very close to the day of the actual auction.

IMPORTANT SALE 6 - 9 DECEMBER 2016 Auctions in Uppsala

Dragarbrunnsgatan 73, Uppsala Classic Sale Modern Design Sale The Neuman Collection Modern Art Sale Asian Sale

6 December 12 noon 7 December 12 noon 7 December 7 pm 8 December 12 noon 9 December 10 am

Preview in Stockholm Nybrogatan 20, Stockholm

Friday

18 November 10 am ‑ 6 pm

Saturday

19 November 11 am ‑ 5 pm

Sunday

20 November 11 am ‑ 5 pm

Monday

21 November 10 am ‑ 6 pm

Tuesday

22 November 10 am ‑ 6 pm

Wednesday

23 November 10 am ‑ 6 pm

Thursday

24 November 10 am ‑ 6 pm

Friday

25 November 10 am ‑ 6 pm

Saturday

26 November 11 am ‑ 5 pm

Sunday

27 November 11 am ‑ 5 pm

Viewing in Uppsala Dragarbrunnsgatan 73, Uppsala Wednesday

30 November 10 am ‑ 6 pm

Thursday

1 December 10 am ‑ 6 pm

Friday

2 December 10 am ‑ 6 pm

Saturday

3 December 11 am ‑ 5 pm

Sunday

4 December 11 am ‑ 5 pm