Prints & Multiples

PRIN TS & M ULTIPL E S
4 DECEMBER 2014 SOUTH KENSINGTON
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05/02/14
AUCTION CALENDAR 2014
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4-5 NOVEMBER
POST-WAR & CONTEMPORARY ART
AMSTERDAM
5 NOVEMBER
IMPRESSIONIST & MODERN ART
EVENING AUCTION
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6 NOVEMBER
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WORKS ON PAPER AUCTION
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6 NOVEMBER
IMPRESSIONIST & MODERN ART
DAY AUCTION
NEW YORK
19 NOVEMBER
MODERN BRITISH & IRISH ART EVENING
AUCTION
LONDON, KING STREET
20 NOVEMBER
MODERN BRITISH & IRISH ART DAY
AUCTION
LONDON, KING STREET
19 NOVEMBER - 2 DECEMBER
SAM FRANCIS: THE SUBSTANCE OF LIGHT
ONLINE AUCTION
4 DECEMBER
PRINTS & MULTIPLES
LONDON, SOUTH KENSINGTON
12 DECEMBER
MODERN BRITISH & IRISH ART
LONDON, SOUTH KENSINGTON
16 DECEMBER
MODERN ART
AMSTERDAM
3 DECEMBER
OLD MASTER PRINTS
LONDON, KING STREET
Subject to change
1/08/14
PRINTS & MULTIPLES

Thursday 4 December 2014
AUCTION
STORAGE AND COLLECTION
Thursday 4 December 2014

at 10.30 am Lots 1-157 and
at 2.00 pm Lots 158-295
85 Old Brompton Road
London SW7 3LD
Please refer to the important notice

on page 112. Please note that
Cadogan Tates opening hours are
Monday to Friday 9am to 5pm,
and purchases transferred to their
warehouse are not available for
collection at weekends.
AUCTION CODE AND NUMBER
In sending absentee bids or making

enquiries, this sale should be referred
to as PRT-5882
VIEWING
Saturday
Sunday
Monday
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Wednesday
29 November
30 November
1 December
2 December
3 December
11.00
11.00
9.00
9.00
9.00
am
am
am
am
am
5.00
5.00
7.30
5.00
5.00
pm
pm
pm
pm
pm
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Afternoon Session - Nicolas Martineau
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CONDITIONS OF SALE
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Conditions of Sale and to Reserves
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Front cover: Lot 123
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MORNING SESSION 10:30AM
PROPERTY FROM A DISTINGUISHED

PRIVATE COLLECTION
PROPERTY FROM A PRIVATE CENTRAL

EUROPEAN COLLECTION
VARIOUS PROPERTIES
*1
*2
AFTER ANDREA
MANTEGNA (1431-1503)
BY THE PREMIER
ENGRAVER
AFTER ANDREA
MANTEGNA (1431-1503)
ALBRECHT DRER
(1471-1528)
ALBRECHT DRER
(1471-1528)
Triumph of Caesar, Soldiers

carrying (version with the
Pilasters)
The Small Horse
Coat of Arms of the Empire

and of the City of Nuremberg,
from The Reformation of the
City of Nuremberg
The Senators, from: The

Triumph of Julius Caesar
engraving in dark brown, circa 1495, on
laid paper without watermark, a good
but later impression of this rare print,
trimmed just outside borderline and
just into subject above, slightly worn
in each corner, a series of repaired
tears along the lower sheet edge, a 4
mm. rust spot in the upper right image,
otherwise in good condition, framed
Sheet: 284 x 264 mm.
700-1,000
$1,200-1,600
890-1,300
engraving in brown, circa 1495, on laid

paper, a good but later impression,
filled in paper losses above, numerous
repaired paper splits at the sheet
edges, minor nicks along the upper
sheet edge, other minor defects,
framed
700-1,000
LITERATURE:
$1,200-1,600
890-1,300
engraving, 1505, on laid paper with an

unidentified coat of arms watermark,
possibly Meder c/d, trimmed to the
platemark, sheet slightly toned, a repair
in the upper left image, otherwise in
good condition
3,500-4,000
$5,700-6,400
4,500-5,100
LITERATURE:
Bartsch 96
Meder, Hollstein 93
Schoch, Mende & Scherbaum 42
woodcut, 1521, on laid paper without

watermark, a very good Meder a
impression of this rare print, aside from
the book edition without text verso,
trimmed to the borderline, backed to
tissue-thin Japan paper, an unobtrusive
tear in the upper left image, minor
staining across the sheet, otherwise in
good condition
Block and Sheet: 241 x 170 mm.
800-1,200
Bartsch 14
$1,300-1,900
1,100-1,500
LITERATURE:
LITERATURE:
Bartsch 11
Bartsch 162
Meder, Hollstein 285

PRIVATE COLLECTION
VARIOUS PROPERTIES
*5
*7
*8
LUCAS CRANACH THE

ELDER (1472-1553)
LUCAS CRANACH THE

ELDER (1472-1553)
ALBRECHT DRER
(1471-1528)
ALBRECHT DRER
(1471-1528)
The Judgement of Paris
St. Paul, from: Christ, The

Apostles and St. Paul
The Virgin and Child seated

by a Tree
Cardinal Albrecht of
Brandenburg (the Small
Cardinal)
woodcut, circa 1515, on laid paper

without watermark, trimmed into
the image above and below, a later
impression, sheet toned, minor defects,
framed
engraving, 1513, on laid paper, a Meder

d/e impression, paper loss in the upper
left corner, laid onto wove paper,
repaired tears at right, a rust spot at
right sheet edge, other minor defects,
framed
Sheet: 118 x 75 mm.
woodcut, 1508, on laid paper with an

unidentified coat of arms watermark,
a good but slightly later impression,
with the central drying crease, pen
additions to the border in places, a
repaired paper split in the upper image,
otherwise in good condition
1,000-1,500
1,500-2,500
$2,500-4,000
2,000-3,200

PRIVATE COLLECTION
$1,700-2,400
1,300-1,900
800-1,200
$1,300-1,900
1,100-1,500
LITERATURE:
LITERATURE:
Bartsch 114
Hollstein 104
Bartsch 36
Hollstein 44
engraving, 1519, on laid paper without

watermark, a good but slightly later
Meder b impression, trimmed to the
border, skinning in the upper left
image visible recto, pinpoint foxing in
the lower and upper right image, other
minor defects
Plate: 146 x 97 mm., Sheet: 147 x 97 mm.
1,500-2,500
LITERATURE:
Bartsch 35
Meder, Hollstein 34
$2,500-4,000
2,000-3,200
LITERATURE:
Bartsch 102
Meder, Hollstein 160
PROPERTY FROM A PRIVATE CENTRAL EUROPEAN COLLECTION
9
AFTER ALBRECHT DRER (1471-1528)
A Turkish Horseman
woodcut, circa 1530, on laid paper without watermark, with small margins, area of
skinning in the lower left sheet verso, otherwise in good condition
Block: 113 x 75 mm., Sheet: 130 x 86 mm.
800-1,200
$1,300-1,900
1,100-1,500
PROVENANCE:
Richard Leendertz (L. 1708).

LITERATURE:
Dodgson 359
Schoch, Mende & Scherbaum A. 48.1
PROPERTY FROM A SCANDINAVIAN COLLECTION
10
HEINRICH ALDEGREVER (1502-1561)
Absalom inviting David and his Brothers to a Feast, from: The
Story of Amnon and Tamar
engraving, 1540, on laid paper without watermark, a good impression of the
second, final state, with thread margins, in good condition; together with Georg
Pencz (circa 1500-1550), Attilius Regulus, from: Stories of Roman History (B. 77; H.
129; L. 85), engraving, 1535, on laid paper without watermark, a good impression of
the second, final state, trimmed to the platemark, in good condition
(2)
600-800
$970-1,300
760-1,000
PROVENANCE:
Kupferstichkabinett der Staatlichen Museen Berlin (L. 1606) with their duplicate stamp
(L. 2398)
Karl Ferdinand Friedrich von Nagler (1770-1846), Bavaria and Berlin, (L. 2529)
Dr. Christian David Ginsburg (1831-1914), London (L. 1145)
Albert van Loock (b.1917), Brussels, (L. 3751)
LITERATURE:
10
Bartsch 26
Hollstein 26
VARIOUS PROPERTIES
11
HANS SEBALD BEHAM (1500-1550)
Peasants Feast
engraving, circa 1540, on laid paper without watermark, a good impression of the
third, final state, trimmed to within the platemark on two sides, in good condition;
together with Peasants Brawl (B. 165; P. 176), engraving, circa 1540s, on laid paper
without watermark, a good impression of the third, final state, with thread margins,
a 3 mm. repaired paper split between men at left, otherwise in good condition
Plate and Sheet: 49 x 72 mm.
(2)
500-700
PROVENANCE:
11
Friedrich Koch (c.1770-1832), Mannheim (L. 1020) (Bartsch 165)

LITERATURE:
Bartsch 164
Hollstein, Pauli 175
$810-1,100
640-890
12
NICOLAS BEATRIZET (C.1507-1593) AFTER
FRANCESCO SALVIATI (1510 - 1563)
Death of Meleager
engraving, 1543, on laid paper, trimmed to within the platemark, published by
Antonio Salamanca, minor paper losses at right, backed to Japan paper, numerous
nicks and tears, other minor defects
1,000-1,500
$1,700-2,400
1,300-1,900
LITERATURE:
Bartsch 41
12
13
GEORG PENCZ (1500-1550)
Lucretias Suicide
engraving, circa 1546-7, on wove paper without watermark, the only state, a later
impression, two thin spots in the upper image, a 1 mm. area of skinning in the
mans beard, otherwise in good condition; with, Medea and Jason (B. 71; H. 121),
engraving, 1539, first state (of two), a good impression, trimmed to the borderline
on three sides and within the image at left; with, Master MT, two engravings of
knights and ladies, on wove paper without watermark, in good condition
Sheet: 79 x 116 mm. (and smaller)
(4)
1,000-1,500
$1,700-2,400
1,300-1,900
PROVENANCE:
Lucretias Suicide:
Hans Freiherr von und zu Aufsess, Aufsess and Nuremburg (L. 2750)
Louis Galichon, Paris (L. 1060)
Ambroise Firmin-Didot, Paris, (L. 119) (Bartsch 79)
13
LITERATURE:
Bartsch 79
Hollstein 135
PROPERTY FROM THE ESTATE OF MAY GRUBER
*14
FRANS HUYS (1522-1562) AFTER PIETER BRUEGHEL
THE ELDER (1525-1569)
The Skaters before the Gate of St. George at Antwerp
engraving, 1553, on laid paper, first state (of two), with Cocks address, a good
impression, trimmed within the platemark but outside the borderline on all four
sides, several tears, laid down, otherwise in good condition
1,500-2,500
$2,500-4,000
2,000-3,200
LITERATURE:
Bastelaer, Hollstein 205

Lavalleye 163
14
VARIOUS PROPERTIES
15
JACQUES CALLOT (1592-1635)
A collection of Jacques Callot etchings
A collection of 29 etchings, circa 1620, on various laid papers, comprising 12 plates,
from: La Noblesse; with ten plates from: Le Combat a la Barriere (Lieure 575-584)
and seven works by the same hand, in generally good condition
(29)
Sheet: 202 x 289 mm. (and smaller)
2,000-3,000
$3,300-4,800
2,600-3,800
*16
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
15
A beardless Man in a Fur Cloak and Cap: Bust

etching, 1631, on laid paper without watermark, a clear impression of this rare print,
the third, final state, trimmed into the subject, a 4 mm. thin spot above the mans
left eye visible verso, otherwise in good condition
Sheet: 57 x 55 mm.
500-700
$810-1,100
640-890
PROVENANCE:
Heneage Finch, Fifth Earl of Aylesford, (1786-1859), London, (L. 58)

Domingo Guillermo de Arozarena, South America and Paris, (L. 109)
LITERATURE:
Bartsch, Hollstein 307

Hind 84,
New Hollstein 102
16
17
Naked Woman on a Mound
etching, circa 1631, on laid paper with an unidentified countermark, second, final
state, the plate showing wear in places, with small margins, otherwise in good
condition, framed
4,000-6,000
LITERATURE:

Hind 43
New Hollstein 88
17
$6,500-9,600
5,100-7,600
18
Self Portrait in a Velvet Cap with Plume
etching, 1638, on laid paper without watermark, New Hollsteins second state (of
four), trimmed to, or just within the platemark, a stain centre subject, repaired
paper splits in the upper sheet, otherwise in good condition, framed
5,000-7,000
$8,100-11,000
6,400-8,900
PROVENANCE:
C. Delanglade (died 1870), Marseilles (L. 660).

LITERATURE:
Hind 156
New Hollstein 170
18
19
View of Amsterdam from the Kadijk
etching, circa 1640, on laid paper without watermark, New Hollsteins only state,
thread margins on two sides, trimmed just within the platemark on two sides,
several repaired paper splits and made up losses, discoloration to the sheet, other
minor defects, framed
6,000-8,000
$9,700-13,000
7,700-10,000
PROVENANCE:
C. Delanglade (died 1870), Marseilles (L. 660).

LITERATURE:
19

Hind 176
New Hollstein 203
*20
Jan Uytenbogaert, The Goldweigher
etching, 1639, on laid paper without watermark, New Hollsteins third, final state,
trimmed to or just outside the platemark, areas of paper loss filled in at all sheet
edges, otherwise in good condition, framed
2,000-3,000
$3,300-4,800
2,600-3,800
LITERATURE:

Hind 167
New Hollstein 172
20
21
22
23
24
*21
22
23
24
REMBRANDT
HARMENSZ. VAN RIJN
(1606-1669)
REMBRANDT
HARMENSZ. VAN RIJN
(1606-1669)
REMBRANDT
HARMENSZ. VAN RIJN
(1606-1669)
REMBRANDT
HARMENSZ. VAN RIJN
(1606-1669)
Young Man in a Velvet Cap

(Petrus Sylvius?)
A Peasant in a high Cap,

standing leaning on a Stick
Cornelis Claesz. Anslo,

Preacher
The Virgin and Child in the

Clouds
etching, 1637, on laid paper without

watermark, a later impression of New
Hollsteins second, final state, with
narrow margins, thinning in the upper
sheet, minor areas of pen and ink in
the lower left image and platemark,
etching, 1639, on vellum, New

Hollsteins first state (of two), the
printing slipped, trimmed on all sides
into the subject, a repaired tear at the
upper left sheet edge, framed
Sheet: 80 x 39 mm.

watermark, a later, slightly worn
impression of New Hollsteins fifth, final
state, with margins, drum mounted,
pinpoint foxing in the lower image, a
minor paper loss in the upper sheet,
other minor defects

watermark, New Hollsteins second,
final state, trimmed just inside the
platemark, a 2 mm. adhesive spot
in the lower left image, with pale
discoloration, framed
800-1,200
LITERATURE:
Bartsch & Hollstein 268

Hind 151
New Hollstein 164
$1,300-1,900
1,100-1,500
2,000-3,000
$3,300-4,800
2,600-3,800
3,000-5,000
1,000-1,500
LITERATURE:

Hind 164
New Hollstein 178
$1,700-2,400
1,300-1,900
LITERATURE:
LITERATURE:

Hind 187
New Hollstein 197
Hind 186
New Hollstein 188
$4,900-8,000
3,900-6,300
25
26
28
27

PRIVATE COLLECTION
PROPERTY FROM A PRIVATE CENTRAL

EUROPEAN COLLECTION
*25
*26
27
28
REMBRANDT
HARMENSZ. VAN RIJN
(1606-1669)
REMBRANDT
HARMENSZ. VAN RIJN
(1606-1669)
ADRIAEN JANSZ VAN

OSTADE (1610-1685)
REMBRANDT
HARMENSZ. VAN RIJN
(1606-1669)
A Hurdy-Gurdy Player
followed by Children at
the Door of a house (The
Schoolmaster)
Christ Crucified Between the

Two Thieves: An Oval Plate

watermark, New Hollsteins first state
(of four), a later impression, trimmed
to or just within the platemark, a soft
horizontal crease in the lower image,
brown ink annotation in the upper right
corner, otherwise in good condition
Sheet: 92 x 62 mm.
2,000-3,000
LITERATURE:
Bartsch, Hollstein128
Hind 192
New Hollstein 191
$3,300-4,800
2,600-3,800
etching, circa 1641, on laid paper

without watermark, a later impression
of New Hollsteins second state (of
three), with margins, 25 mm. repaired
tear in the upper right corner, a 7
mm. paper loss at lower right corner,
Plate: 134 x 100 mm., Sheet 139 x 106 mm.
800-1,200
LITERATURE:
Hind 173
New Hollstein 196
$1,300-1,900
1,100-1,500
Two Gossips
without watermark, the fifth, final state,
trimmed on or close to borderline, the
sheet stuck to a support sheet, a paper
loss in the upper left image, remnants
of moisture staining, other minor
defects, framed
Sheet: 102 x 90 mm.
500-700
$810-1,100
640-890
Student at a Table by
Candlelight
initials CR in Arms watermark, a later
impression of New Hollsteins first state
(of two), with margins, area of skinning
verso, otherwise in good condition
2,000-3,000
EXHIBITED:
LITERATURE:

Hind 202
New Hollstein
$3,300-4,800
2,600-3,800
29
30
31
32
VARIOUS PROPERTIES
PROPERTY FROM A PRIVATE

SCANDINAVIAN COLLECTION.
VARIOUS PROPERTIES
29
30
31
32
REMBRANDT
HARMENSZ. VAN RIJN
(1606-1669)
REMBRANDT
HARMENSZ. VAN RIJN
(1606-1669)
ADRIAEN JANSZ VAN

OSTADE (1610-1685)
REMBRANDT
HARMENSZ. VAN RIJN
(1606-1669)
Jan Asselijn, Painter
Clemente de Jonghe,
Printseller
etching, circa 1647, on partially

watermarked laid Fleur-de-Lys paper
(not in Holl.), New Hollsteins seventh,
final state, a worn, posthumous
impression, enhanced with pen and
ink, with small margins, otherwise in
good condition, framed
2,000-3,000
$3,300-4,800
2,600-3,800

watermark, New Hollsteins eighth state
(of ten), a later impression, trimmed
inside the platemark and just within
the subject above, repaired paper splits
in the upper subject, scattered foxing,
framed
1,000-1,500
PROVENANCE:
J. Michelin (1815-1870), Paris (see L. 1490).

N. D. Goldsmid (1814-1875), The Hague
(L. 1962).
C. Delanglade (died 1870), Marseilles
(L. 660).
LITERATURE:

Hind 227
New Hollstein 236
10
LITERATURE:

Hind 251
New Hollstein 264
$1,700-2,400
1,300-1,900
The Dance under the Trellis

etching, circa 1652/3, on laid paper
with Arms of Amsterdam watermark,
a good impression of the fifth state
(of seven), trimmed to the platemark,
pinpoint areas of thinning at right of
the image, otherwise in good condition
3,000-5,000
$4,900-8,000
3,900-6,300
The Flight into Egypt: Crossing

a Brook
watermark, a later impression of New
Hollsteins only state, narrow margins,
repaired tear in the lower right corner,
other minor defects, framed
800-1,200
PROVENANCE:
J.E. Wetterauer, Stuttgart (L. 4267)

LITERATURE:
Bartsch, Hollstein, Godefroy 47
$1,300-1,900
1,100-1,500
PROVENANCE:
C.W von Blcher (1755-1826), Brunswick

(L. 2710)
LITERATURE:
Bartsch 55
Hollstein 276
New Hollstein 277
33
34
35
36

PRIVATE COLLECTION
VARIOUS PROPERTIES
*33
34
35
36
REMBRANDT
HARMENSZ. VAN RIJN
(1606-1669)
REMBRANDT
HARMENSZ. VAN RIJN
(1606-1669)
ADRIAEN JANSZ VAN

OSTADE (1610-1685)
ADRIAEN JANSZ VAN

OSTADE (1610-1685)
Village Romance
Christ and the Woman of

Samaria: An Arched Print
Abraham Francen,
Apothecary
Smoker leaning on the Back

of a Chair
etching, 1657, on laid paper, New

Hollsteins fourth state (of five),
trimmed to the platemark, tipped
to the backboard at all corners, rust
spot in the right of the image, various
nicks and repaired tears, otherwise
in good condition; together with,
A Hurdy-Gurdy Player followed by
Children at the Door of a House (The
Schoolmaster) (B., Holl. 128; H. 192; NH
191), etching, 1641, on heavy laid paper
without watermark, New Hollsteins
fourth, final state, with narrow margins,
generally in good condition, each
framed
(2)
etching and engraving, circa 1657, on

laid paper without watermark, New
Hollsteins twelfth, final state, a good
impression, trimmed to, or just within
the platemark, in good condition,
framed
1,500-2,000
2,000-3,000
LITERATURE:

Hind 291
New Hollstein 301
$3,300-4,800
2,600-3,800
etching, circa 1667, a good impression

of possibly the 9th/10th state (of 12),
with small margins, a repaired tear at
the lower left sheet edge, otherwise in
good condition

without watermark, a good impression
of the fifth state (of six), with small
margins, in good condition
1,000-1,500
500-700
$1,700-2,400
1,300-1,900
$810-1,100
640-890
PROVENANCE:
PROVENANCE:
Paolo Giordani (b.1949), Reggio Emilia

(L. 3688)
Paolo Giordani (b.1949), Reggio Emilia

(L. 3688)
LITERATURE:
LITERATURE:
$2,500-3,200
2,000-2,500
LITERATURE:
Bartsch & Hollstein 70

Hind 294
New Hollstein 302
11
37
38
39
40
37
*38
*39
*40
ANTONIO CANAL
CALLED CANALETTO
(1697-1768)
GIOVANNI BATTISTA
PIRANESI (1720-1778)
GIOVANNI BATTISTA
GIOVANNI BATTISTA
Veduta della Basilica e Piazza

di S. Pietro in Vaticano
Veduta della Piazza del

Popolo
Veduta della Piazza di Monte

Cavallo
etching, 1748, on thick laid paper, with

possible Fleur-de-Lis watermark, the
second state (of seven), the sheet, with
time-staining, other surface defects,
otherwise in generally good condition
Plate: 401 x 540 mm., Sheet: 447 x 584
mm.

watermark, the first state (of seven), the
sheet, with wide margins, time-staining,
Plate: 402 x 544 mm., Sheet: 527 x 712
mm.
etching, 1750, on thick laid paper with

possible Fleur-de-Lis watermark, the
first state (of six), the sheet with wide
margins, paper loss along the extreme
upper sheet edge, time-staining,
Plate: 391 x 547 mm., Sheet: 508 x 692
mm.
Landscape with Ruined

Monuments
etching, circa 1740, on laid paper with
a seahorse watermark, a c impression
of the only state; together with two
further etchings, Mountain Landscape
with Five Bridges, on laid paper and
View of a Town with a Bishops Tomb,
on wove paper, both the second, final
state, the sheets, with time and mount
staining, otherwise in good condition
Plate: 302 x 302 mm., Sheet: 306 x 307
mm. (and similar)
(3)
3,000-5,000
LITERATURE:
Bromberg 16, 22, 31
12
$4,900-8,000
3,900-6,300
800-1,200
800-1,000
$1,300-1,600
1,100-1,300
$1,300-1,900
1,100-1,500
800-1,200
LITERATURE:
LITERATURE:
Hind 3
Wilton-Ely 136
Hind 14
Wilton- Ely 141
LITERATURE:
Hind 15
Wilton-Ely 142
$1,300-1,900
1,100-1,500
41
42
43
44
*41
*42
*43
*44
GIOVANNI BATTISTA
GIOVANNI BATTISTA
GIOVANNI BATTISTA
VARIOUS ARTISTS
Plan of Rome and the Campus

Martius
Veduta della Piazza della

Rotonda
Veduta della Piazza del

Campidoglio
etching, circa 1774, on three joined

sheets of laid paper, with horizontal
and vertical folds (as issued), a good
impression, with margins, time-staining,
Plate: 1216 x 716 mm., Sheet: 1294 x 762
mm.
etching, 1751, on thick laid paper,

without watermark, the fourth state (of
seven), the sheet, with wide margins,
time-staining, otherwise in good
condition
etching, 1774, on laid paper with a coat

of arms watermark, the first state (of
three), the sheet, with margins, the
centre fold with a repaired tear at the
upper and lower sheet edge, other
surface defects
Plate: 446 x 697 mm., Sheet: 5216 x 736
mm.
800-1,200
1,000-1,500
$1,700-2,400
1,300-1,900
$1,300-1,900
1,100-1,500
800-1,200
LITERATURE:
LITERATURE:
Wilton-Ely 1008
Hind 17
Wilton-Ely 144
$1,300-1,900
1,100-1,500
A Collection of Old Master

Prints
six etchings, on various papers,
including works by Claude Lorrain,
two by Giovanni Battista Piranesi,
Jan Sadeler I, Johannes van Vliet and
Claesz Jans Visscher, each with surface
defects
Plate: 129 x 199 mm., Sheet: 248 x 367
mm. (and similar)
(6)
800-1,000
$1,300-1,600
1,100-1,300
LITERATURE:
Hind 111
Wilton-Ely 244
13
45
46
47 (part lot)
45
*46
47
FRANCISCO JOS DE GOYA

Y LUCIENTES (1746-1828)


Los Caprichos: Ten plates
La Tauromaquia: Two Plates
La Tauromaquia
etchings with burnished aquatint, drypoint and

engraving, 1799, on white wove paper, without
watermarks, very good impressions of Harris second
edition (of twelve), printed at the Calcografa for the
Real Academia, Madrid, circa 1855, with margins,
loose, some with binding holes at left, all in good
condition
two etchings with aquatint and drypoint, 1816, from

the complete set of 40, on watermarked Arches
paper, from the third edition, the full sheets, pinpoint
foxing across the sheets, minor paper loss (H. 212),
time-staining around the images, otherwise in good
condition
the complete set of 40 etchings with burnished

aquatint, drypoint and engraving, 1816, on Van Gelder
Zonen laid paper, Harriss fourth edition (of seven),
published by the Calcografa for Ricardo de los Ros,
1905, in an edition of one hundred, the full sheets,
the front of the first and the reverse of the last plates
toned through contact with the binding, time staining,
otherwise in good condition, bound in the original
greyish pasteboard binding with Loizelets portrait of
Goya on the cover and title in French, some staining
and wear to the covers
Plate: 245 x 350 mm., Sheet: 332 x 485 mm. (and similar) (2)
Plate: 216 x 151 mm., Sheet: 316 x 217 mm. (each)
1,000-1,500
6,000-8,000
$9,700-13,000
7,700-10,000
LITERATURE:
LITERATURE:
Harris 87, 94, 96, 97, 102, 103, 106, 109, 110 & 114
$1,700-2,400
1,300-1,900
280 x 415 mm. (overall)
Harris 208, 212
10,000-15,000
$17,000-24,000
13,000-19,000
LITERATURE:
Delteil 224-263
Harris 204-243
14
Toms Harris considered the present Fourth

Edition as superior to all but the First Edition.
(Harris II, p. 434).
48
WILLIAM HOGARTH (1697-1764)
Marriage -la-Mode
the complete set of six engravings with etching, 1745, on
laid paper, published by W. Hogarth, London, engraved
by Baron, Ravenet and Scotin, the sheets, with time
and mount staining, other surface defects, one plate
examined out of the frame
Plate: 383 x 466 mm., Sheet: 454 x 579 mm (and similar) (6)
800-1,200
$1,300-1,900
1,100-1,500
LITERATURE:
Paulson 228-233
48
49
JAMES GILLRAY (1756-1815)
The Giant-Factotum Amusing Himself
etching, with fresh handcolouring, 1779, on wove paper
with partial watermark, published by H. Humphreys,
London, the sheet, with uneven margins, time-staining,
1,000-1,500
$1,700-2,400
1,300-1,900
LITERATURE:
BM Satires 8980
49
50
Opposition Telegraphs (The little secondsighted lawyer giving a true specimen of
patriotic information)
etching with hand-colouring, 1798, on wove paper,
published by H. Humphreys, London, the sheet, trimmed
to, or just inside the platemark, minor surface defects,
700-1,000
$1,200-1,600
890-1,300
PROVENANCE:
Possibly E. Crofts, Leeds (L. 531)

LITERATURE:
BM Satires 9232
50
15
51
Citizens Visiting the Bastille (Vide.
Democratic Charities)
etching, with hand-colouring, 1799, on wove paper,
published by H. Humphreys, London, the sheet,
trimmed just outside or into the platemark, with a 94
mm. crease at the upper right corner, other minor
surface defects
700-1,000
$1,200-1,600
890-1,300
LITERATURE:
BM Satires 9341
51
52
The State Waggoner and John Bull (The
Waggon too much for the Donkeys!)
etching with hand-colouring, 1804, on 1801
watermarked wove paper, published by H.
Humphreys, London, the sheet, with wide margins,
two 20 mm. repaired tears at the lower sheet edge,
various nicks, predominantly along the lower margin
700-1,000
$1,200-1,600
890-1,300
LITERATURE:
BM Satires 10232
52
53
Britannia Between Death and the
Doctors
etching, with crisp hand-colouring, 1804, on wove
paper, published by H. Humphreys, London, the
sheet, with uneven margins, time-staining, otherwise
in good condition
1,000-1,500
LITERATURE:
BM Satires 10244
53
16
$1,700-2,400
1,300-1,900
54
The Pigs possessed (The Broad Bottomd
litter running headlong into ye sea of
perdition)
etching, with fresh hand-colouring, 1807, on wove
sheet, with uneven margins, binding holes at left
sheet edge, a 45 mm. repaired tear at the lower left
corner, staining, other surface defects
800-1,200
$1,300-1,900
1,100-1,500
LITERATURE:
BM Satires 10719
54
55
The Fall of Icarus
etching, with fresh hand-colouring, 1807, on wove
sheet, with margins, with minor surface defects,
1,500-2,000
$2,500-3,200
2,000-2,500
LITERATURE:
BM Satires 10721
55
56
Mcenas, in Pursuit of the Fine Arts
(Scene, Pall Mall; a Frosty-Morning)
etching, with hand-colouring, 1808, on wove paper,
published by H. Humphreys, London, the sheet, with
wide margins, a 29 mm. skilfully repaired tear at the
right sheet edge, other minor surface defects
600-800
$970-1,300
760-1,000
LITERATURE:
BM Satires 11076
This print is the satirical portrait of George

Granville (17581833), the 2nd Marquis of
Staford walking into Christies Auction House.
56
17
57
58
60
59
57
58
WILLIAM BLAKE
(1757-1827) AND THOMAS
BUTTS
JOHAN BARTHOLD
JONGKIND (1819-1891)
JAMES ENSOR
(1860-1949)
JAMES ENSOR
(1860-1949)
Moulins en Hollande
Petite vue de Mariakerke
La Crypte
etching, 1867, on thin laid paper,

Delteils second state (of three),
with margins, pale mount staining,
drypoint, 1887, on chine appliqu on

laid paper, a fine impression of the very
rare first state (of two), signed, dated
and titled in pencil, with wide margins,
in good condition
drypoint, 1888, on simili-Japan paper,

signed, dated and titled in pencil, a
good impression, printing with burr
and plate tone, with margins, the sheet
irregularly trimmed, otherwise in good
condition
Plate: 137 x 99 mm., Sheet: 200 x 1312
mm.
Christ trampling upon Urizen

engraving, circa 1806, on stiff
wove paper, a later impression (no
contemporary impressions exist) of
this plate, presumably the work of
Blake and his pupil Thomas Butts
junior, with margins, some foxing,
Plate: 316 x 164 mm.
700-1,000
59
$1,200-1,600
890-1,300
2,500-3,500
60
$4,100-5,600
3,200-4,400
LITERATURE:
700-1,000
LITERATURE:
Keynes XII
$1,200-1,600
890-1,300
Delteil 14
600-800
PROVENANCE:
$970-1,300
760-1,000
Mira Jacob Wolfovska (1912-2004), Paris,

with her blindstamp (not in Lugt).
PROVENANCE:
EXHIBITED:
Mira Jacob Wolfovska (1912-2004), Paris,

with her blindstamp (not in Lugt).
Strasbourg/Basel, 1995-96, no. 20.

EXHIBITED:
LITERATURE:
Delteil, Tricot, Elesh 16
Bateau Lavoir, Paris, 1978, no. 27/26.

Strasbourg/Basel, 1995-96, no. 34.
LITERATURE:
Delteil, Tricot, Elesh 26
18
61
62
63
64
61
62
63
64
JAMES ENSOR
(1860-1949)
ODILON REDON
(1840-1916)
ODILON REDON
(1840-1916)
JAMES JACQUES JOSEPH

TISSOT (1836-1906)
Le Pont du Bois Ostende
Tentation de Saint-Antoine:
Two Plates
Cellule Auriculaire
Soire dt
lithograph, 1894, on Chine appliqu

on wove paper, initialled in pencil,
possibly aside from the edition of 100,
published in LEstampe Originale, by A.
Marty, Paris with their blindstamp, the
full sheet, a 155 mm. area of moisture
staining in the lower margin, foxing in
the upper and lower margins, creases
in the right margin, otherwise in good
condition
Lithograph: 268 x 250 mm.,
Sheet:. 530 x 402 mm.
etching with drypoint, 1882, on

watermarked Van Gelder laid paper,
second, final state, from the edition of
approximately 100 in this state, with
margins, the lower sheet trimmed,
nicks and tears at the extreme sheet
edges, scattered pinpoint foxing, other
minor defects
Plate: 232 x 397 mm.,
etching, 1889, on simili-Japan paper,

signed, dated and titled in pencil,
countersigned verso, the full sheet, in
good overall condition
LITERATURE:
two lithographs, 1888, on chine

appliqu on wove paper, unsigned
(as issued), from the edition of 60,
published by Deman, Paris, the full
sheets, foxing in the margins of both
sheets, soft creasing in all corners,
other minor defects
(2)
Delteil, Elesh 69
Tricot 70b
2,000-3,000
500-700
$810-1,100
640-890
$3,300-4,800
2,600-3,800
2,000-3,000
LITERATURE:
$3,300-4,800
2,600-3,800
800-1,200
$1,300-1,900
1,100-1,500
LITERATURE:
Wentworth 56
Mellerio 91 & 93
LITERATURE:
Mellerio 126
19
THE RAGE FOR PRINTS

No one pays attention nowadays to anything but prints; its a rage, the young generation produces nothing else. (Camille Pissarro, in a letter to his son Lucien,
1897, quoted in Roos Rosa de Carvalho/Vellekoop, p. 11).
In the 1890s a passion for printmaking swept through Paris. Inspired by the vivid, flat colours, strong contours and non-linear perspective of Japanese woodcuts,
many artists turned to colour lithography as a truly modern medium. This revolution in taste was led by a young group of artists known as the Nabis. The name
derived from the Hebrew word navi for prophet, reflected the groups mystical bent their search for a purer, more subjective vision of reality, characterised
by expressive colour and decorative form. The artists were supported by a coterie of influential publishers, critics and collectors, most notably Andr Marty, the
publisher of seminal quarterly print album LEstampe originale, the art critic and writer Claude Roger-Marx, and the publicist and editor Andr Mellerio. In addition
to the Nabis - Pierre Bonnard, Maurice Denis, Paul and Edouard Vuillard - lithography was enthusiastically embraced by other imminent artists of the Parisian avantgarde, perhaps most famously by Henri de Toulouse-Lautrec, whose prints and posters came to define the Belle Epoque.
65
ODILON REDON (1840-1916)
La Rve sachve par la mort
lithograph, 1887, on chine appliqu, signed in pencil, with margins, time-staining,
Lithograph: 243 x 193 mm., Sheet: 288 x 233 mm.
800-1,200
$1,300-1,900
1,100-1,500
LITERATURE:
Mellerio 81
65
66
ODILON REDON (1840-1916)
Portrait of Paul Serusier
lithograph, 1903, on Japan paper; together with, Portrait of Edouard Vuillard (M.
190), 1900, on Japan paper; also with works by Henri de Toulouse-Lautrec, Johan
Barthold Jongkind, Henri Fantin-Latour, Felix Braquemond and two etchings by
douard Manet, on various papers, with surface defects
Sheet: 370 x 245 mm. (and similar)
(8)
1,800-2,200
$2,900-3,500
2,300-2,800
LITERATURE:
Mellerio 192
66
67
PIERRE BONNARD (1867-1947)

La Revue Blanche
lithograph in colours, 1894, on thin wove paper, printed by E. Ancourt, Paris, laid on
canvas, with various repaired tears and handling creases across the sheet, other
minor defects
1,000-1,500
67
20
$1,700-2,400
1,300-1,900
68
REN GEORGES HERMANN-PAUL (1864-1940)
Salon des Cent
lithograph in colours, 1895, on wove paper, signed in blue crayon, the margins
painted in cream, with various repaired tears; together with, Elgantes sur les
Boulevards, lithograph in colours, 1898, on wove paper, signed in blue crayon;
also with La Vie de Madame Quelconque, album of ten lithographs, 1895, thin laid
Japan paper, each sheet generally in good condition
Lithograph: 576 x 382 mm., Sheet: 624 x 489 mm. (and smaller)
(3)
3,000-4,000
$4,900-6,400
3,900-5,100
68
69
HENRI DE TOULOUSE-LAUTREC (1864-1901)
LArtisan Moderne
lithograph in colours, 1896, on wove paper, Adrianis third state of four, with the
word Qui? in red at upper right, laid down onto card, with numerous tears across
the sheet, paper losses at the sheet edge, touched up areas at the right sheet
edge, time staining, other defects
1,500-2,000
$2,500-3,200
2,000-2,500
LITERATURE:
Adriani 59
Delteil 350
Wittrock P24
69
70
HENRI DE TOULOUSE-LAUTREC (1864-1901)
May Belfort, Petit Casino
lithograph in colours, 1895, on wove paper, the fifth (final) state, laid on canvas,
with repaired tears and paper loss; together with Exposition (May Belfort),
attributed to Henri De Toulouse-Lautrec, and Henri Rivire Le Bois, lHiver, from:
Les Aspects de la Nature, each with surface defects
(3)
1,500-2,000
$2,500-3,200
2,000-2,500
LITERATURE:
Adriani 126
Delteil 354
70
21
71
72
71
73
72
73
MAURICE DENIS (1870-1943)
Maurice Denis, Peintre et Lithographe
Tendresse
A Collection
the complete set of eight lithographs, on wove paper,

with title, text and numbered J on the justification,
from the edition of 25 with Letters (there was also
a standard edition of 100), signed in pencil on each
sheet, published by Galerie des Peintres Graveurs,
Paris, with their blindstamp, the full sheets, with timestaining, other minor surface defects
lithograph in colours, 1893, on wove paper, signed

in purple ink, inscribed no. 72, with the LEstampe
Originale blindstamp, the full sheet, with scattered
foxing otherwise in generally good condition
Sheet: 589 x 410 mm
eleven lithographs, circa 1897, on various papers, nine

signed in pencil, two with a printed signature, each in
generally good condition, with minor surface defects
(and smaller)
(11)
1,000-1,500
$1,700-2,400
1,300-1,900
3,000-4,000
1,000-1,500
LITERATURE:
LITERATURE:
Cailler 70
22
$1,700-2,400
1,300-1,900
Cailler 100, 142, 145-150
$4,900-6,400
3,900-5,100
74
75
76
77
74
75
76
77
CAMILLE PISSARRO
(1830-1903)
ETHEL MARS (1876-1956)
PAUL CEZANNE
(1839-1906)
EDOUARD VUILLARD
(1868-1940)
Autoportrait
La Sieste ou la Convalescence
three duplicate lithographs, in

various tones of grey and black, 1896,
on watermarked laid MBM paper,
published by Ambrose Vollard, Paris,
1914, each with minor surface defects,
generally in good condition
Sheet: 640 x 490 mm. (and similar) (3)
lithograph in colours, 1893, on wove

paper, initialled in pencil, numbered
95 from the standard edition of 100,
published by Roger-Marx and Andr
Marty; together with, La Couturire,
1894, on wove paper, each sheet in
generally good condition
Sheet: 589 x 426 mm. (and smaller) (2)
Gardeuse doies nue

lithograph, 1897, on Chine appliqu
on wove paper, with the artists black
signature stamp (L. 613e), inscribed
and numbered chine 2/6, from the
posthumous edition of six on this
paper, the full sheet, pale time-staining
at the sheet edges, otherwise in good
condition
800-1,200
$1,300-1,900
1,100-1,500
La Coifure and Aigrettes

two woodcuts in colours, circa 1904,
on wove and laid paper respectively;
together with works by Andrew Kay
Womrath, Henri-Charles Guerard,
Henri Gabriel Ibels and Georges Alfred
Bottini, on various paper, each with
surface defects
(7)
2,000-2,500
$3,300-4,000
2,600-3,200
1,200-1,800
1,500-2,000
$2,500-3,200
2,000-2,500
LITERATURE:
Cherpin 8, Venturi 1158

LITERATURE:
$2,000-2,900
1,600-2,300
LITERATURE:
Roger-Marx 2, 13
Delteil 180
23
78
79
80
81
78
79
HENRI FANTIN-LATOUR
(1836-1904)
VARIOUS ARTISTS
Les Brodeuses
(2me planche)
lithograph, 1898, on Chine appliqu, the
sheet, apparently in good condition,
unexamined out of the frame
700-1,000
LITERATURE:
Hdiard 143
$1,200-1,600
890-1,300
80
LEstampe Moderne:
Mai 1897-Avril 1899
twenty four volumes each with
lithographs in colours, circa 1897-99, on
wove paper, published by Imprimerie
Champenois, Paris, each print with the
LEstampe Moderne blindstamp, the
full sheets, with time-staining, other
minor surface defects, with one linen
bound portfolio case
(24)
3,000-5,000
$4,900-8,000
3,900-6,300
PIERRE BONNARD
(1867-1947)
Femme au Parapluie
lithograph in colours with a duplicate
impression in grey, 1895, on cream
wove paper, published for La Revue
Blanche; together with, Pierre Bonnard
Portrait de Renoir, circa 1916, on laid
paper, Ker Xavier Roussel, Deux
femmes conversant ou la Terrasse,
lithograph, 1893, on buff coloured
paper, and Pompeo Mariani, Les
Elegantes, monotype in colours, on
wove paper, each in apparently good
condition, unexamined out of their
frames
(5)
2,000-2,500
LITERATURE:
Bouvet 33
24
81
$3,300-4,000
2,600-3,200
EUGNE DELATRE
Femme la Voilette
(La Parisienne)
etching and aquatint in colours,
1893, on wove paper, signed in blue
crayon; together with works by, Pierre
Bonnard, Jean-Baptiste-Camille Corot,
Edouard Vuillard, and a collection of
lithographs from Le Barc de Boutteville
Gallery, on various paper, each with
surface defects
(13)
1,800-2,200
$2,900-3,500
2,300-2,800
83
82
85
84
*82
*83
*85
*84
KTHE KOLLWITZ
(1867-1945)
KTHE KOLLWITZ
(1867-1945)
KTHE KOLLWITZ
(1867-1945)
KTHE KOLLWITZ
(1867-1945)
Selbstbildnis
Acht Originalradierungen
Vergewaltigt, from:
Bauernkrieg
Aufruhr
etching. 1912, on heavy wove paper,

signed in pencil, from an unnumbered
edition of 30 on various papers;
together with, Vier Mnner in der
Kneipe (Kn. 15) etching, 1892-97, on
simili Japan paper, signed in pencil;
with, Selbstbildnis am Tisch (Kn. 21)
etching and aquatint, circa 1893,
on wove paper, unsigned, with,
Selbstbildnis (Kn. 171) etching, 1921, on
watermarked Van Gelder laid paper,
signed in pencil, each in generally
good condition
Plate: 140 x 100 mm.,
(4)
seven etchings and aquatint, from

the set of eight, 1950, on wove paper,
each unsigned (as issued) with A. von
der Beckes blindstamp, lacking the
title, text and justification page, the
full sheets, in good condition, with the
original paper folio case, showing signs
of minor wear
490 x 385 x 10 mm. (overall)
(7)
2,000-3,000
$3,300-4,800
2,600-3,800
1,500-2,500
$2,500-4,000
2,000-3,200
etching, 1907/08, on heavy wove

paper, signed in pencil, the full sheet,
with creasing at sheet edges, sheet
slightly toned, otherwise in good
condition; together with, Sturm,
from: Ein Weberaufstand (Kn.38),
etching, 1893-7, on wove paper,
unsigned; with, Beim Dengeln (Kn.
88) etching and aquatint, 1905, on
wove paper, unsigned, the full sheet;
with, berfahren (Kn. 110) etching
and aquatint, 1910, on wove paper,
unsigned, in generally good condition
Plate: 308 x 528 mm.,
(4)
1,500-2,000
etching, 1899, on heavy wove paper,

signed in pencil, an unnumbered
impression (as issued) from before the
numbered edition of 50 published in
1918, counter-signed by the printer Otto
Felsing, the full sheet, slightly toned,
Plate: 299 x 318 mm.,
1,200-1,800
$2,000-2,900
1,600-2,300
LITERATURE:
Knesebeck VI c (of IX b)
$2,500-3,200
2,000-2,500
LITERATURE:
Knesebeck 126 VII c (of VII d)
LITERATURE:
Knesebeck 101 VI b (of VIII)
25
86
PAUL CSAR HELLEU (1859-1927)
Five Studies of Hlne
drypoint, circa 1900, on watermarked Van Gelder laid paper, signed in pencil, the
full sheet, pale staining across the sheet, minor unobtrusive foxing in the margins,
700-1,000
$1,200-1,600
890-1,300
86
*87
ANDERS LEONARD ZORN (1860-1920)
A Collection of Nudes
six etchings, early 20th Century, including: Cabin, Edo, Seaward Skerries, Alder,
Precipice and Cercles DEau II on various laid papers with watermarks, each signed
in pencil, each with minor surface defects
Plate: 297 x 195 mm., Sheet: 475 x 356 mm. (and similar)
(6)
3,000-4,000
$4,900-6,400
3,900-5,100
LITERATURE:
Asplund 213, 214, 228, 256, 277, 279
87
*88
ANDERS LEONARD ZORN (1860-1920)
A Collection of early 20th Century Portraits
eleven etchings, early 20th Century, including Olga Bratt, President William H.
Taft, Beadle, two impressions of Village Violinist, Self Portrait 1904 I, Dalecarlian
Peasant (Lavards Anders), Frida, Madonna (A Mother), Ols Maria, and Rosita Mauri,
on various papers, with time-staining and some with other minor surface defects,
one framed
Plate: 200 x 290 mm., Sheet: 362 x 437 mm. (and smaller)
(11)
1,500-2,500
LITERATURE:
Asplund: 34, 74, 151, 180, 186, 239, 244, 263, 283, 286
88
26
$2,500-4,000
2,000-3,200
89
EMIL NOLDE (1867-1956)

Tischgesellschaft
etching and aquatint in colour, 1906, on Japan paper, signed in pencil, the fourth,
final state, numbered 4, the standard edition was 20 (there were also 12 proofs),
countersigned by Otto Felsing, Berlin, the full sheet, laid down to the backboard,
staining across the whole sheet, other minor defects, framed
2,000-3,000
$3,300-4,800
2,600-3,800
LITERATURE:
Schiefler 38
89
90
PABLO PICASSO (1881-1973)

LAbreuvoir (Chevaux au Bain), from:
La Suite des Saltimbanques
drypoint, 1906, on partially watermarked Van Gelder paper, an unsigned
impression from the edition of 250 after steel facing (there were also 27 or 29
on Japan paper), published by Ambroise Vollard, Paris, 1913, the full sheet, timestaining around the image, pale fox marks in the left and lower margins, otherwise
in good condition
1,200-1,800
$2,000-2,900
1,600-2,300
LITERATURE:
Baer 10
Bloch 8
90
91
HERMANN MAX PECHSTEIN

(1881-1955)
Fischerkopf XI
woodcut, 1912, on tissue-thin laid Japan paper, signed and dated in pencil, from the
edition of 20, published for Gurlitt, with margins, a skilfully repaired diagonal tear
in the lower margin, otherwise, in good condition, framed
2,500-3,000
$4,100-4,800
3,200-3,800
LITERATURE:
Krger H 127
91
27
I felt that I have no right to withdraw from the responsibility of being an advocate. It is my
duty to voice the sufferings of people, the sufferings that never end and are as big as mountains.
Kthe Kollwitz
92
93
94
95
*92
*93
*94
*95
KTHE KOLLWITZ
(1867-1945)
KTHE KOLLWITZ
(1867-1945)
KTHE KOLLWITZ
(1867-1945)
KTHE KOLLWITZ
(1867-1945)
Bewafnung in einem
Gewlbe
Mutter mit Kind auf dem Arm
berfahren
Kleines Selbstbildnis
etching and drypoint, 1910, on

heavy wove paper, signed in pencil,
numbered 27/50, counter-signed by
the printer Otto Felsing, the full sheet,
in good condition
etching and aquatint, 1910, on wove

paper, signed in pencil, the full sheet,
in good condition; together with, Die
Pflger, from: Bauernkrieg (Kn. 99)
etching, drypoint and aquatint, 1907,
on wove paper, signed in pencil, the full
sheet; with, Ende, from: Weberaufstand
(Kn. 38) etching and aquatint, 1897, on
wove paper, unsigned, the full sheet,
each in generally good condition
Plate: 248 x 319 mm.,
(3)
lithograph, 1920, on tissue-thin Japan

paper, signed in pencil, from the
unnumbered (as issued) edition of
50, with margins, unevenly trimmed
at the sheet edges, otherwise in good
condition
2,500-3,000
Knesebeck 162 I b (of III)
etching and aquatint, 1906, on heavy

wove paper, signed in pencil, the full
sheet, creasing and nicks at sheet
edges, otherwise in good condition;
together with, Weberzug, from: Ein
Weberaufstand (Kn. 36) etching, 189397, on wove paper, signed in pencil,
with margins; with, Aufruhr (Kn 46)
etching and aquatint, 1899, on wove
paper, unsigned, the full sheet, each in
generally good condition
Plate: 497 x 327 mm.,
(3)
1,800-2,500
$2,900-4,000
2,300-3,200
2,000-3,000
$3,300-4,800
2,600-3,800
LITERATURE:
Knesebeck 114 IV d (of VII d)
LITERATURE:
28
$3,300-4,800
2,600-3,800
LITERATURE:
$4,100-4,800
3,200-3,800
LITERATURE:
Knesebeck 110 IV c (of IV e)

Knesebeck VII b (of X)
2,000-3,000
The etchings and lithographs of Kthe Kollwitz simultaneously captured the human sentiment at its most raw and tender. The artist
sought to celebrate not only the humanity, but also the struggles of the proletariat; finding inspiration from the poorest of citizens
attending her husbands medical clinic. Living through political upheavals and the horrors of two World Wars, her own anguishes were
documented by her successive self-portraits, yet Kollwitz continued to give a voice to those whom could so easily have been forgotten.
96
97
98
99
*96
97
*98
*99
KTHE KOLLWITZ
(1867-1945)
KTHE KOLLWITZ
(1867-1945)
KTHE KOLLWITZ
(1867-1945)
KTHE KOLLWITZ
(1867-1945)
Nachdenkende Frau
Frauenkopf
Besuch im Krankenhaus
Ruf des Todes, from: Tod
lithograph, 1920, on tissue-thin laid

Japan paper, signed in pencil, from the
unnumbered (as issued) edition of 50,
with margins, in good condition
etching and aquatint, circa 1905, on

heavy wove paper, signed in pencil, an
unnumbered impression (as issued)
impression before the 1918 edition of
50 printed by Richter, with margins, a
band of horizontal creasing along the
lower sheet edge, pale time-staining
in the margins, otherwise in good
condition
Plate: 230 x 141 mm.,
woodcut, 1929, on wove paper, signed

in pencil, with margins, pinpoint foxing
across the sheet, otherwise in good
condition; together with, Die Eltern
(Kn. 142) lithograph, 1919, on wove
paper, signed in pencil, the full sheet;
with Kinderkopf (Kn. 218) lithograph,
1925, on wove paper, signed in pencil,
with margins; with Ende, from: Ein
Weberaufstand (Kn. 38) etching and
aquatint, 1893-7, on heavy wove paper,
signed in pencil, with margins; with
Hunger (Kn. 182) woodcut, 1922, on
wove paper, signed in pencil, with
margins, each in generally good
condition, one framed
Block: 275 x 357 mm.,
Sheet: 312 x 410 mm
(5)
lithograph, 1937, on thin Japan nacr

paper, signed and titled in pencil, an
unnumbered impression from the
edition of 100, published by Alexander
von der Becke, Berlin, with margins,
upper left corner repaired, pale mountstaining around the image, otherwise
in good condition
2,000-3,000
LITERATURE:
$3,300-4,800
2,600-3,800
Knesebeck 161 b (of e)
1,200-1,800
$2,000-2,900
1,600-2,300
LITERATURE:
Knesebeck 93.III.b (of V c)
3,000-5,000
1,200-1,800
$2,000-2,900
1,600-2,300
LITERATURE:
Knesebeck 269 a (of c)
$4,900-8,000
3,900-6,300
LITERATURE:
Knesebeck 247 VI (of VI)
29
*100
SAMUEL PALMER (1805-1881)
The Weary Ploughman
etching, 1858, on chine appliqu, the sixth state of
eight, signed in pencil; together with, The Rising
Moon, etching, 1857, on chine appliqu, the seventh
state of nine, with printed signature as issued,
numbered plate 10 as published for Etchings for the
Art Union of London by the Etching Club, London,
both with minor surface defects, otherwise in good
condition
1,000-1,500
100
$1,700-2,400
1,300-1,900
PROVENANCE:
SH Nazeby Harrington, Birkenhead, L.1349

LITERATURE:
Lister 7, 8
101
SAMUEL PALMER (1805-1881)
The Early Ploughman
etching, circa 1861, on laid paper with a partial
watermark of a shield, the sixth state, of nine, signed
in pencil, trimmed outside or just into the plate mark,
with time and mount staining, other surface defects
2,000-3,000
$3,300-4,800
2,600-3,800
LITERATURE:
Lister 9
101
*102
FRANK BRANGWYN (1867-1956)

A Collection
four etchings, circa 1907, including: Santa Maria Della
Salute, Venice, Char de Foin, Le Marche aux Viandes
Bruges and Champ de Ble Montreuil-Sur-Mer, on
Japan paper, each signed in pencil, with pale timestaining and soft handling creases predominantly at
the sheet corners
1,000-1,500
102
30
$1,700-2,400
1,300-1,900
*103
JAMES MCBEY (1883-1959)

A Collection
etchings with drypoint, circa 1920, including: La
Giudecca, The Doorway, A Fortune Leaving Venice,
Bightlingsea and A Flood in the Fens, each signed in
black ink, on various papers, some with watermarks,
with some mount-staining in the margins
1,800-2,200
$2,900-3,500
2,300-2,800
103
*104
GERALD LESLIE BROCKHURST

(1890-1978)
A Collection of Portraits
four etchings, circa 1926, including: La Tresse, Aglaia,
A Ballynakill Woman, and A Galway Peasant, on wove
paper, each signed in pencil, La Tresse inscribed
Trial (pattern), each with time and mount staining,
1,000-1,500
$1,700-2,400
1,300-1,900
104
*105
ROBIN TANNER (1904-1988)

Full Moon and The Old Road
etchings, 1977, on watermarked BFK Rives paper,
each signed in pencil, published by Robin Garton,
London, the sheets, loose, from the bound edition of
British Etchers 1850-1940 by Kenneth M. Guichard,
with uneven left margins, otherwise in good
condition
500-700
$810-1,100
640-890
105
31
I am no longer an artist. I am a messenger...
106
PAUL NASH (1889-1946)

A Shell Bursting, Passchendale
lithograph, 1918, on watermarked Antique de Luxe
laid paper, signed and dated in pencil, a proof aside
from the standard edition of 25, published by the
Ministry of Information, Scheme 3, the full sheet, three
wormholes in the lower margin, otherwise in good
condition
40,000-60,000
LITERATURE:
Postan L 6
32
$65,000-96,000
51,000-76,000
Paul Nash and Christopher Richard Wynne Nevinson were each invalided out of
the Great War, and subsequently appointed Official War Artists, each respectively
returned to the Western Front in this new capacity in 1917.
Nash returned in the aftermath of the Battle of Passchendaele, recalling
I am no longer an artist. I am a messenger who will bring back word from

the men who are fighting to those who want the war to go on forever. Feeble,
inarticulate will be my message, but it will have a bitter truth and may it burn
their lousy souls.
Lot 106 illustrates his emotional link with the landscape and his portrayal of the
destructive forces of war, where there is no clear distinction between night or
day, man or machine.
Nevinson returned to France as a War Artist in July 1917 for a short tour around
battlefields, artillery batteries and the ruined, historic town of Ypres; some of this
tour was taken from the air.
All artists should go to the front to strengthen their art by a worship of physical
and moral courage and a fearless desire of adventure, risk and daring and free
themselves from the canker of professors, archaeologists, cicerones, antiquaries
and beauty worshippers.
C. R. W. Nevinson
In contrast to Nash, Nevinson portrays in lots 107 and 108 a quiet, relentless
monotony, a chilling calm where the landscape of life has been silenced by the
noise of war. Where there is no distinction between land and sky and no bright
horizon.
The medium of lithography used by both Nash and Nevinson serves to illustrate
the scaring of the landscape through strong diagonal scratches and vertical lines.
Their portrayals of the Western Front have become some of the most devastating
and iconic images of World War I. Their work as printmaker has helped to define
our vision of the Great War and defined them both as great British artists.
107
CHRISTOPHER RICHARD WYNNE

NEVINSON (1889-1946)
After a Push
lithograph, 1918, on watermarked Antique De Luxe
laid paper, signed and dated in pencil, from the
edition of 25, the full sheet, in good condition
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
By decent to the present owner

EXHIBITED:
Ernest Brown & Phillips, The Leicester Galleries label verso,

numbered 42 in brown crayon on the backboard verso
LITERATURE:
Black 27
33
108
CHRISTOPHER RICHARD WYNNE NEVINSON

(1889-1946)
The Road from Arras to Bapaume
lithograph, 1918, on watermarked Antique De Luxe laid paper, signed and dated
in pencil, the full sheet, four unobtrusive wormholes in the lower image, three
wormholes in the lower margin, otherwise in good condition
35,000-50,000
$57,000-80,000
45,000-63,000
PROVENANCE:
By decent to the present owner

EXHIBITED:
Ernest Brown & Phillips, The Leicester Galleries label verso, numbered 40 in brown crayon
on the backboard verso.
LITERATURE:
Black 30
109
CHRISTOPHER RICHARD WYNNE NEVINSON

(1889-1946)
Survivors at Arras
drypoint, 1917, on laid paper, signed and dated in pencil, laid to the backboard,
time-staining across the image, otherwise in good condition, framed
3,000-5,000
$4,900-8,000
3,900-6,300
PROVENANCE:
Captain Charles Kenneth Scott Moncrief (1889-1930), then by descent to the

present owner.
EXHIBITED:
Ernest Brown & Phillips, The Leicester Galleries label verso

LITERATURE:
Black 22
Charles Kenneth Scott Moncrieff served on the Western Front between 1914
and 1917 and was awarded the Military Cross. He was wounded at the Battle
of Arras while commanding the 1st Battalion, the Kings Own Scottish Borderers.
His experiences during the war and his love for literature secured friendships
with Wilfred Owen, Robert Graves and Siegfried Sassoon. As a writer he is
best known for his translations and in particular his monumental translation of
Prousts la recherche du temps perdu under the title Remembrance of Things
Passed. In the early 1920s and in poor health he moved to Italy
109
*110
CHRISTOPHER RICHARD WYNNE

NEVINSON (1889-1946)
Ebb Tide on the Camber
drypoint, 1918, on wove paper, signed in pencil, from
the edition of 40, a richly inked impression, with
margins, the sheet drum mounted, mount staining in
all margins, otherwise in good condition, framed
2,000-3,000
$3,300-4,800
2,600-3,800
LITERATURE:
Black 51
110
35
I first saw the Grosvenor School works nearly 40 years ago and was immediately attracted to their energy, movement, optimism; but above all
to their fascination with the speed of modern life.
The Australian Collector.
*111
CYRIL POWER (1872-1951)

The Sunshine Roof
linocut in colours, circa 1934, on tissue-thin laid Japan
paper, signed, titled and numbered 9/60 in pencil,
countersigned in the lower margin, in good condition,
framed
25,000-35,000
LITERATURE:
Coppel CEP 39
36
$41,000-56,000
32,000-44,000
This exceptional Private Collection of linocuts illustrates the very essence of the
Grosvenor School. The School, founded in the mid 1920s by Claude Flight,
worked exclusively with the innovative medium of linocut, carving out rhythmic
and often hypnotic Vorticist compositions, illustrating the movement and power
of the new Post War Machine Age. Such dynamism spoke to an international
sentiment amongst the artists, which pertains to this day in the global appeal
of these works.
The block printing technique, first used by the German Expressionists in the early
twentieth century, allowed Flight and his students to create strong lines with
bold colours to illustrate the speed and movement of everyday life from London
commuters (lot 111) to Hockey players (lot 115). Their work captures the spirit of
the rapidly changing world of the 1920s and 1930s.
*112
CLAUDE FLIGHT (1881-1955)

Speed
paper with yellow-inked paper backing (as issued),
signed in pencil, numbered 47/50, with margins, in
20,000-30,000
$33,000-48,000
26,000-38,000
LITERATURE:
Coppel CF 7
37
*113

Light Speed (Lifts)
linocut in colours, circa 1930, on laid Japan paper,
signed, titled Light Speed inscribed EP No 10 6th
State in pencil, an experimental proof before the
edition of 50, with the green tablet, further inscribed
EP No.10 6 Specimen in the lower left, with margins,
soft creasing at the extreme sheet edges, otherwise
in good condition, framed
8,000-12,000
LITERATURE:
Coppel CEP 13
38
$13,000-19,000
11,000-15,000
*114

The Tube Station
countersigned in the lower margin, with margins,
intermittently tipped to a backing sheet along the
sheet edges, otherwise in good condition, framed
35,000-50,000
$57,000-80,000
45,000-63,000
LITERATURE:
Coppel CEP 32
39
115
*115

Hockey
linocut in colours, circa 1931, on tissue-thin laid Japan paper, signed, titled twice
and numbered 12/50 in pencil, with margins, in good condition, each corner taped
to a backing sheet, otherwise in good condition, framed
15,000-20,000
$25,000-32,000
20,000-25,000
LITERATURE:
Coppel CEP 23
*116
DORRIT BLACK (DOROTHEA FOSTER) (1891-1951)
Music
linocut in colours, 1927-28, on tissue-thin laid Japan paper, an unsigned proof aside
from the standard edition of 50, with margins, in good condition, framed
1,000-1,500
LITERATURE:
116
40
Coppel DB 1
$1,700-2,400
1,300-1,900
*117
SYBIL ANDREWS (1898-1992)

Concert Hall
linocut in colours, 1929, on tissue-thin Japan paper,
signed, titled and numbered in pencil 38/50 in the
upper left corner and countersigned in the margin, in
30,000-50,000
$49,000-80,000
39,000-63,000
LITERATURE:
Coppel SA 1
41
*118

Mowers
linocut in colours, 1937, on tissue-thin laid Japan
paper, signed and titled in pencil, inscribed 5 EP an
experimental proof before the edition of 60, the
full sheet, taped in the upper corners to the mount,
8,000-12,000
$13,000-19,000
11,000-15,000
LITERATURE:
Coppel SA 39
118
*119

Market Day
the full sheet, in good condition, framed
10,000-15,000
$17,000-24,000
13,000-19,000
LITERATURE:
Coppel SA 38
*120

Speedway
linocut in colours, 1934, on buff laid tissue paper,
signed, titled and inscribed TP.5 one of five trial
proofs aside from the standard edition of 60, the full
sheet, in good condition, framed
60,000-80,000
LITERATURE:
Coppel SA 29
119
42
$97,000-130,000
77,000-100,000
120
121
*121

The Exam Room
annotations in ink along the left margin verso, with
margins, in good condition, framed
18,000-25,000
$29,000-40,000
23,000-32,000
LITERATURE:
Coppel CEP 40
*122
LILL TSCHUDI (1911-2004)
Kiosk in Paris
linocut in colours, 1933, on tissue-thin laid paper,
signed in pencil, numbered 1/50, inscribed Handdrck
(printed by hand), titled in the lower margin, with
narrow margins, in good condition, framed
122
6,000-8,000
LITERATURE:
Coppel LT 29
44
$9,700-13,000
7,700-10,000
*123
ETHEL SPOWERS (1890-1947)
The Gust of Wind
linocut in colours, 1930-31, on tissue-thin laid Japan
paper, signed, titled, dated and numbered 26/50 in
pencil, with margins, in good condition, framed
25,000-35,000
$41,000-56,000
32,000-44,000
LITERATURE:
Coppel ES 15
45
*124
WILLIAM GREENGRASS
(1896-1970)
The Kings Horses
paper, signed, titled, dated and numbered 20 in
pencil, from the edition of 50, with margins, lower
right corner repaired, otherwise in good condition,
framed
3,000-5,000
$4,900-8,000
3,900-6,300
124
*125
Sword Drill
linocut in colours, 1930, on laid Japan paper, signed
in pencil, titled in the margin, numbered 10/50, with
10,000-15,000
LITERATURE:
Coppel LT5
125
46
$17,000-24,000
13,000-19,000
126
127
*126
128
*127
Skaters
Spahis
Golgotha
linocut in colours, 1953, on laid Japan paper, signed,

titled and numbered 17/60 in pencil, in good
condition, the full sheet, remnants of hinging tape
running along the full length of the upper sheet edge,
otherwise in good condition, framed.

paper, signed, titled twice and numbered 4/50, with
linocut in colours, 1931, on tissue-thin Japan paper,

signed, titled and inscribed No 5 EP in pencil, one of
seven experimental proofs before the edition of 60,
with margins, in good condition, framed
12,000-18,000
LITERATURE:
$20,000-29,000
16,000-23,000
3,000-5,000
*128
$4,900-8,000
3,900-6,300
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
Coppel LT 3
LITERATURE:
Coppel SA 15
Coppel SA52
47
PROPERTY FROM AN IMPORTANT PRIVATE

COLLECTION
129
GIORGIO MORANDI (1890-1964)

Paesaggio (Veduta dellOsservanza a
Bologna)
etching, 1921, on wove paper, an unsigned and
unnumbered impression, published posthumously
in 1996 to be included in LItaliano to accompany
an article about Morandi, with the Estate Eredita
Morandi 1996 blindstamp, trimmed to subject, a soft
vertical fold, other minor defects
Sheet: 73 x 124 mm.
129
1,000-1,500
$1,700-2,400
1,300-1,900
LITERATURE:
Vitali 16
130
GIORGIO MORANDI
Paesaggio (Chiesanuova)
etching, 1924, on wove paper, second state (of three),
signed and dated in pencil, an impression aside from
the numbered edition of 15 (Vitali records some other
unnumbered impressions of this state), the full sheet,
very pale light-staining, in good condition
5,000-7,000
130
$8,100-11,000
6,400-8,900
PROVENANCE:
With Libreria Prandi, Reggio Emilia (with their

blindstamp).
LITERATURE:
Vitali 24
131
GIORGIO MORANDI (1890-1964)

Fiori in un cornetto inscritto in un ovoide
etching, circa 1929, on partially watermarked laid
paper, an unsigned and unnumbered impression (as
issued), posthumously published, with the Eredita
Morandi 1996 Estate blindstamp, with margins, some
pinholes, irregular sheet edges, other minor defects
1,000-1,500
LITERATURE:
Vitali 123
131
48
$1,700-2,400
1,300-1,900
VARIOUS PROPERTIES
132
HERMANN MAX PECHSTEIN

(1881-1955)
Beim Haaraufstecken
drypoint, 1922, on ivory coloured Japan paper, signed
in pencil, a proof aside from the standard edition of
50, with margins, mount staining, pale unobtrusive
foxing, otherwise in good condition, framed
1,200-1,800
$2,000-2,900
1,600-2,300
LITERATURE:
Krger R 129
132
133
ROBERT DELAUNAY (1885-1941)

Les Ponts et Notre Dame
lithograph, 1926, on watermarked BFK Rives paper,
a posthumous impression, titled, numbered 56/75,
inscribed pour Robert Delaunay and signed by Sonia
Delaunay in pencil, with the Atelier Robert Delaunay
pink ink stamp, published in 1969, the full sheet, a 2
mm. fox mark in the upper image, otherwise in good
condition
1,000-1,500
$1,700-2,400
1,300-1,900
LITERATURE:
Loyer-Perussaux 13
133
134
ROBERT DELAUNAY (1885-1941)

Arc de Triomphe
lithograph, 1926, on watermarked BFK Rives paper,
a posthumous impression, titled, numbered 59/75,
inscribed pour Robert Delaunay 1926-69 and signed
by Sonia Delaunay in pencil, published in 1969, the
full sheet, a tear at the upper right sheet edge, a 2
mm. fox mark in the image at left, otherwise in good
condition
1,000-1,500
$1,700-2,400
1,300-1,900
134
49
135
ERNST BARLACH (1870-1938)
Moses auf dem Sinai
woodcut, 1928, on laid paper, signed in pencil, from the edition of unknown
size, published in 16. Jahresgabe der freunde Graphischer Kunst, Leipzig,
1928, trimmed into the subject, laid to Japan paper, otherwise in good
condition
4,000-6,000
$6,500-9,600
5,100-7,600
LITERATURE:
Schult 281
135
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
*136

Peintre et Modle Tricotant, from: Le Chef-dOeuvre
Inconnu
etching, 1927, on watermarked Van Gelder paper, signed in brown ink,
numbered 47/99, published by Ambroise Vollard, Paris, 1931, with margins,
the signature faded, with light and mount staining, minor pale foxing,
2,000-3,000
$3,300-4,800
2,600-3,800
PROVENANCE:
Heinrich Neuerburg (1883-1956), Kln (L. 1344a)

LITERATURE:
136
Bloch 85
Baer 126
see Cramer books 20
137

Taureau et Cheval, from: Le Chef dOeuvre Inconnu
etching, 1929, on wove paper, signed in brown ink, numbered 78/99,
from the separate suite (the full book edition was 340), printed by L. Fort,
published by A. Vollard, Paris, 1934, the full sheet, the signature faded, time
and mount staining across the sheet, otherwise in good condition
2,000-3,000
LITERATURE:
Bloch 84
Baer 125
see Cramer Books 20
137
50
$3,300-4,800
2,600-3,800
138

Le Sauvetage, II
etching, 1932, on partially watermarked Arches laid paper, signed in pencil,
numbered 17/50, published by Galerie Louise Leiris, Paris, 1962, the full
sheet, taped to the mount along the upper and lower sheet edge, pale timestaining, otherwise in good condition
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
Bloch 245
Baer 273
138
A PRIVATE COLLECTION FROM BELGRAVIA
139

Tte de Femme, de Profil droite
drypoint, 1933, on Picasso watermarked Montval laid paper, unsigned
(as issued) from the unnumbered (as issued) edition of 50, published by
Lacourire, Paris, 1942, the full sheet, in good condition, framed
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
Bloch 255
Geiser 295
139
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
140

Rembrandt la palette, from: La Suite Vollard
etching, 1934, on Picasso watermarked Montval laid paper, signed in pencil,
from the edition of 260 (there was also an edition of 50 impressions with
wider margins), published by Ambroise Vollard, Paris, 1939, the full sheet, a
diagonal crease across the sheet, some pinpoint foxing, otherwise in good
condition
4,000-6,000
$6,500-9,600
5,100-7,600
LITERATURE:
Bloch 208
Baer 406
140
51
142
141
143
144
VARIOUS PROPERTIES
141
142
143
*144
GIORGIO MORANDI
(1890-1964)
GIORGIO MORANDI
(1890-1964)
GEORGES BRAQUE
(1882-1963)
HENRI MATISSE
(1869-1954)
Gerani dentro un bicchiere
Paesaggio di Grizzana
La Danse
Teeny
etching, circa 1930, on Chine appliqu

on to wove paper, unsigned and
unnumbered impression aside from
the standard edition of 30, with
margins, foxing in all margins, soft
handling creases, other minor defects
Plate: 167 x 199 mm., Sheet: 355 x 244
mm.
etching, 1932, on Japan paper, an

unsigned and unnumbered impression
of the first state (of two), posthumously
published, with the Eredita Morandi
1996 Estate blindstamp, with margins,
creased, skinning verso, other minor
defects
Plate: 199 x 177 mm., Sheet: 248 x 205
mm.
etching, 1934, on watermarked BFK

Rives paper, signed in pencil, from the
unnumbered (as issued) edition of
250, published in the book Georges
Braque by Carl Einstein, ditions des
Chroniques du Jour, Paris, the full
sheet, minor nicks to the lower sheet
edge, taped to the mount, otherwise in
Plate: 240 x 172 mm., Sheet: 283 x 222
mm.
linocut, 1938, on wove paper, from

the unsigned (as issued) edition of
approximately 1,500, published in XXe
Siecle No 4, Christmas, 1938, (there was
also a signed and numbered edition of
100), remnants of adhesive in the left
margin, otherwise in good condition
Block: 293 x 220 mm., Sheet: 310 x 242
mm.
1,000-1,500
$1,700-2,400
1,300-1,900
1,200-1,800
PROVENANCE:
Collezione Alianello
$2,000-2,900
1,600-2,300
1,200-1,800
LITERATURE:
Vitali 95
LITERATURE:
Duthuit 723
LITERATURE:
LITERATURE:
Vitali 79
Vallier 25
52
$2,000-2,900
1,600-2,300
800-1,200
$1,300-1,900
1,100-1,500
146
145
147
148
145
146
147
l*148
AFTER GEORGES
BRAQUE (1882-1963)
PIERRE BONNARD
(1867-1947)
PABLO PICASSO
(1881-1973)
PABLO PICASSO
(1881-1973)
Les Fleurs
La Radiateur, from: Album

Pierre Bonnard
Grce et mouvement, Zurich,

Louis Grosclaude, 1943
Paul luard, Pablo Picasso
lithograph printed in colours, 194246, on wove paper, an unsigned trail

proof, with various annotations in
pencil, before the standard edition of
80 (there was also a further edition
of twenty), with a margin on three
sides, printed to the lower sheet
edge, apparently in good condition,
Lithograph: 655 x 505 mm., Sheet: 665
x 535 mm.
the book of fourteen etchings,

1943, on wove paper, unsigned (as
issued), with title, text and justification
pages, justification signed in pen
by the editor Louis Grosclaude and
numbered 124 from the total edition
of 300, printed by Conzett and Huber,
Zurich, published by Haefli & Cie Arts
Graphiques, Switzerland, minor wear to
the outer boards and spine, otherwise
in good condition
335 x 255 x 15 mm. (overall)
lithograph in colours, on watermarked

BFK Rives paper, signed in pencil,
additionally signed in the lower margin,
inscribed 1/60 Les Fleurs, with Atelier
Crommelynck, Paris blindstamp, also
with L.B.U.F.C.B blindstamp, the sheet,
with a deckle edge on two sides, in
good condition
Lithograph: 444 x 385 mm., Sheet: 666
x 508 mm.
800-1,200
$1,300-1,900
1,100-1,500
700-1,000
$1,200-1,600
890-1,300
1,500-2,000
$2,500-3,200
2,000-2,500
the book, 1945, including one etching,

on wove paper, with title, text in
French, justification and list of contents,
copy number 50 from the edition of
90, the etching signed in pencil, the
full sheet, separated from the bound
book, with scattered foxing and pale
time-staining, the book, signed by
the author in blue ink on fly-leaf, with
surface dirt and other minor defects,
lacking the chemise and slipcase
Plate: 202 x 163 mm., Sheet: 264 x 190
mm.
310 x 210 x 50 mm. (overall)
4,000-6,000
LITERATURE:
$6,500-9,600
5,100-7,600
Bouvet 119
LITERATURE:
see Cramer books 43
53
149
MARC CHAGALL (1887-1985)

Nicolai Gogol Les mes Mortes: Four
Plates
etchings and drypoints, 1948, on watermarked
Arches MBM paper, four working proofs or bon tirer
impressions, one signed, three initialled, with various
inscriptions in pencil, including instructions to the
printer, the full sheets, with various working marks
recto and verso, generally in good condition
4,000-6,000
$6,500-9,600
5,100-7,600
PROVENANCE:
149
Possibly Galeries Georges Petiet, Paris (L. 2022) (V. 44).

LITERATURE:
Vollard 44, 50, 61, 82

see Cramer Books 17
150
JOAN MIR (1893-1983)

Ren Crevel, La Bague daurore, Paris,
Louis Broder, 1957
the complete set of six engravings in colours and
black, hors-texte, with title and text in French, signed
in pencil on the justification, on wove paper, copy
51 of 115 the full sheets, loose (as issued), in Montval
wove wrappers, pale time-staining, in good condition,
with the original wove-covered cardboard slipcase
177 x 154 x 30 mm. (overall)
3,000-5,000
150
$4,900-8,000
3,900-6,300
LITERATURE:
see Cramer books 44

Dupin 122-5, 127-8
151
JOAN MIR (1893-1983)

Derrire le Miroir
lithograph in colours, 1950, on wove paper, signed,
dated and dedicated in blue ink in various places
across the image, the total edition of 1,000 was
unsigned, the full sheet, repaired paper splits, surface
dirt across the sheet, other minor defects, framed
2,000-3,000
LITERATURE:
see Cramer books 23

151
54
$3,300-4,800
2,600-3,800
152

La Danse des Faunes
lithograph, 1957, on watermaked Arches Mourlot
paper, with the artists stamped signature, from the
unsigned edition of 1,000 (there was also a signed
and numbered edition of 200), published in Cannes,
for Le Patriote, the full sheet with a deckle edge
on one side, pale time-staining around the image,
scattered pinpoint foxing across the sheet, otherwise
in good condition
1,000-1,500
$1,700-2,400
1,300-1,900
152
LITERATURE:
Bloch 830
Mourlot 291
*153

Toros en Vallauris 1.957
linocut in colour, 1957, on wove paper, signed in blue
pencil, underlined in red pencil, numbered 146/198,
(there were also approximately 20 artists proofs),
published by Association des potiers de Vallauris,
the full sheet, nicks at all sheet edges, pinpoint foxing
across the sheet, otherwise in good condition
Block: 642 x 534 mm., Sheet: 1000 x 650 mm
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
153
Bloch 1276
Baer 1045
154
AFTER PABLO PICASSO (1881-1973)

Bacchanal
aquatint in colours, circa 1955, on watermarked BFK
Rives paper, signed in pencil, numbered 1500,
printed and published by Atelier Crommelynck
diteur, Paris, with their blindstamp, the full sheet, laid
onto tissue, pale time-staining across the sheet
5,000-7,000
$8,100-11,000
6,400-8,900
154
55
155
WILLI BAUMEISTER (1889-1955)

Komposition in Grn
screenprint in colours, 1954, on wove paper, signed
in pencil, the full sheet, a 45 mm. tear in the upper
margin and 11 mm. paper loss at lower sheet edge,
pale time-staining, framed
Image: 424 x 514 mm., Sheet: 540 x 752 mm.
1,000-1,500
$1,700-2,400
1,300-1,900
LITERATURE:
Spielmann & Baumeister 205
155
*156
ZAO WOU-KI (1920-2013)
Paysage au Soleil
etching and aquatint in colours, on watermarked
BFK Rives paper, signed in pencil, numbered 50/200,
published by La Guilde Internationale de la Gravure,
Paris, the full sheet, in good condition
3,000-5,000
156
$4,900-8,000
3,900-6,300
LITERATURE:
gerup 39
*157
ZAO WOU-KI (1920-2013)
Fort Perdu
lithograph in colours, 1955, on watermarked BFK
Rives paper, signed and dated in pencil, numbered
30/125, published by LOeuvre Grave, Zurich, with
their blindstamp, the full sheet, pale time-staining
4,000-6,000
LITERATURE:
gerup 95
157
56
$6,500-9,600
5,100-7,600
AFTERNOON SESSION 2PM
Whenever I saved a few pennies, I would buy art
Gilles A. Abrioux was born in Versailles, France in 1926 and spent his
childhood and early youth in Avignon and Paris. In 1944, he joined the
American forces in a French unit and fought in Alsace, Germany and
Austria. After the war, in 1957, he settled in Chicago and embraced
his long held love of art. With a strong sense of aesthetic design he
recognised the importance of the graphic works by many artists who
were at the time little known in the United States, but today are well
known figures in the Post War art world.
For instance, in the late 1960s, Monsieur Abrioux started collecting
the graphic works of Henry Moore, obtaining them mostly from
publishers. In this endeavour, he met frequently with Henry Moore in
his home in Much Hadham, Hertfordshire and received assistance from
the artist and from David Mitchinson, Curator of the Henry Moore
Foundation. To compliment his collection, M. Abrioux sought out rare
pieces in Switzerland, Denmark, and even in Tokyo.
Courtesy of Gilles A. Abrioux
GILLES A ABRIOUX COLLECTION
*158
ZAO WOU-KI (1920-2013)
Bain de Soleil
etching, 1950, on wove paper, signed in pencil,
numbered 8/25, printed by G. Leblanc, Paris, the full
sheet, in good condition
4,000-6,000
$6,500-9,600
5,100-7,600
LITERATURE:
gerup 30
158
*159
ZAO WOU-KI (1920-2013)
Lecture par Henri Michaux: Five Plates
five lithographs in colours, 1950, from the complete
set of eight, on chine appliqu on wove paper, each
unsigned (as published) from the edition of 65,
lacking the title, text and justification pages, published
by ditions Euros and Robert J. Godet, Paris, the full
sheets, in good condition
Sheet: 445 x 330 mm. (each)
4,000-6,000
$6,500-9,600
5,100-7,600
LITERATURE:
gerup 51, 53-55
159
57
*160
ZAO WOU-KI (1920-2013)
Bord de mer
etching in colours, 1951, on Rives paper, signed in
pencil, inscribed preuve dartiste an artists proof
aside from the standard edition of 50, printed by G.
Leblanc, Paris, the full sheet, in good condition
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
gerup 63
160
*161
ZAO WOU-KI (1920-2013)
Lescalier
etching in colours, 1951, on Rives paper, signed
in pencil, inscribed H.C. 8/8, an hors commerce
impression aside from the standard edition of 50,
printed by G. Leblanc, Paris, the full sheet, in good
condition
4,000-6,000
$6,500-9,600
5,100-7,600
LITERATURE:
gerup 66
161
*162
ZAO WOU-KI (1920-2013)
Petit paysage au soleil
numbered 3/30 (there were also 6 artists proofs),
printed by G. Leblanc, Paris, the full sheet, in good
condition
2,000-3,000
LITERATURE:
gerup 70
162
58
$3,300-4,800
2,600-3,800
164
163
165
166
*163
*164
*165
*166
ZAO WOU-KI (1920-2013)
ZAO WOU-KI (1920-2013)
ZAO WOU-KI (1920-2013)
ZAO WOU-KI (1920-2013)
Nu debout
Voiles la mer
Paysage rose et bleu
Untitled (Luvre grave)
etching in colours, 1951, on Rives paper,

signed in pencil, inscribed epreuve
dartiste, an artists proof aside from
the standard edition of 50, printed by
G. Leblanc, Paris, the full sheet, in good
condition
Plate: 297 x 237 mm., Sheet: 550 x 380
mm.
lithograph in colours, 1953, on BFK

Rives paper, signed and dated in
pencil, inscribed epreuve dartiste I/V
one of five artists proofs printed in two
colours (gerup records two artists
proofs in two colours), aside from that
standard edition on 120 in five colours,
published by La Hune, Paris, the full
Lithograph: 365 x 490 mm.

paper, signed in pencil, inscribed h.c.e.a
in pencil an hors commerce artists
proof aside from the standard edition
of 250, published by La Hune, Paris, the
full sheet, in good condition
etching, 1954, on Rives paper, signed

and dated in pencil, numbered 95/100
(there were also 10 artists proofs),
bound (as issued) published by
Gutekunst and Klipstein, Berne, the full
2,500-3,000
2,000-3,000
2,000-3,000
$3,300-4,800
2,600-3,800
3,500-4,000
LITERATURE:
$5,700-6,400
4,500-5,100
$4,100-4,800
3,200-3,800
LITERATURE:
LITERATURE:
gerup 86
gerup 92
$3,300-4,800
2,600-3,800
gerup 71
LITERATURE:
gerup 81
59
*167
HENRY MOORE (1898-1986)

Elephant Skull Album
the complete album, 1969-70, including 28 etchings
hors texte, including four small etchings in-text and
an etching for the cover, on handmade Rives paper,
with title and text, signed in black ink by the artist and
numbered 67 on the justification (the total edition
was of 115), published by Grald Cramer, Geneva,
1970, each print signed in pencil and numbered
67/100, the full sheets, loose as issued and contained
in a parchment cover, with the original linen-covered
presentation box, in good condition
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
Cramer 109-146
168 No Lot
167
*169

Two Reclining Figures in Yellow and Red,
from: Meditations on the Efigy
lithograph in colours, 1967, on Japan nacr paper,
signed and dated 67 in pencil, numbered 36/50
(there were also ten artists proofs), published by
Marlborough Fine Art Ltd, London, the full sheet, in
good condition
1,000-1,500
LITERATURE:
Cramer 73
169
60
$1,700-2,400
1,300-1,900
*170

Stonehenge
the complete set of 15 lithographs and 1 etching for
the title-page, 1974, the lithographs on Crisbrook
paper, the etching on Barcham Green paper, with
title, text, justification and introduction by Stephen
Spender, each signed in pencil, copy number 18/60
(there was also 15 artists proofs), the full sheets, in
good condition, loose (as issued), lacking the original
vellum-covered solander box, and cream clothcovered slipcase case, in good condition
3,000-5,000
$4,900-8,000
3,900-6,300
170
LITERATURE:
Cramer 207-222
*171

Violet Torso on Orange Stripes
lithograph in colours, 1967, on Japan nacr paper,
signed and dated 67 in pencil, lettered B/E one of five
artists proofs aside from the standard edition of 180,
co-published by Rembrandt Verlag GmbH, Berlin, the
700-1,000
$1,200-1,600
890-1,300
LITERATURE:
Cramer 86
171
*172

The Reclining Figure Album
the complete album, 1977-78, including eight etchings
hors texte, and an etching for the title page, on
various papers (as issued), with title and text, signed
in black ink by the artist and numbered L16/25 on
the justification, from the Louisiana Edition (the total
edition was of 50), co-published by Ganymed Original
Editions Ltd., London and Louisiana Museum of
Modern Art, Humblebaek, 1978, each print signed in
pencil and numbered L16/25, the full sheets, loose (as
issued), with the original linen-covered presentation
box, in good condition
8,000-12,000
$13,000-19,000
11,000-15,000
LITERATURE:
Cramer 471-479
172
61
*173

La Posie: Two Plates
two lithographs in colours, 197, each on Japan
nacr paper, each signed in pencil, numbered 15/40
(there were also five artists proofs), published by Art
et Posie, Paris, the full sheets, in good condition
700-1,000
$1,200-1,600
890-1,300
LITERATURE:
Cramer 319 & 325
173
*174
ALBERTO GIACOMETTI (1901-1966)
Rue dAlsia - Exposition Giacometti
lithograph in colours, 1954, on Arches paper, signed
in black ballpoint pen, numbered 169/200, from the
edition before text, published by Maeght diteur,
Paris, printed to the edges of the full sheet, in good
condition
Lithograph and Sheet: 740 x 530 mm.
1,000-1,500
$1,700-2,400
1,300-1,900
LITERATURE:
Lust 201
174
*175
ZAO WOU-KI (1920-2013)
Laurore
lithograph in colours, 1956, on Rives paper, signed
and dated in pencil, numbered 95/125 (there were
also ten artists proofs), published by lOeuvre Grave,
Zurich, with their blindstamp, with margins, in good
condition
3,000-5,000
LITERATURE:
gerup 98
175
62
$4,900-8,000
3,900-6,300
*176
ZAO WOU-KI (1920-2013)
La Hune - Exhibition Poster
lithograph in colours, 1956, on wove paper, unsigned
and unnumbered (as issued), there was also a signed
and numbered edition of 12 before text, the full sheet,
in good condition
1,000-1,500
$1,700-2,400
1,300-1,900
LITERATURE:
gerup 102
176
*177
ZAO WOU-KI (1920-2013)
Untitled
lithograph in colours, 1959, on Rives paper, signed
and dated in pencil, inscribed epreuve dartiste, an
artists proof aside from the standard edition of 95,
published by lOeuvre Grave, Zurich, with their
blindstamp, with margins, in good condition
2,500-3,000
$4,100-4,800
3,200-3,800
LITERATURE:
gerup 121
177
*178
ZAO WOU-KI (1920-2013)
Les Terrasses de Jade
the complete portfolio, 1962, on watermarked BFK
Rives paper, including a set of four etchings and
aquatints in colours, title, text by Hubert Juin, signed
in blue ballpoint pen by the author on the justification,
each plate numbered 52/60 in pencil (there were
also 10 impressions on Japan paper), inscribed A M.
Abrioux Zao Wou-Ki Paris Juin 1962 on the title page
in blue ink, the etchings published by Sources, Paris,
and printed by Crommelynck, Paris, the full sheets,
each framed, in good condition, with the black folio
case, in good condition
273 x 243 mm.(overall)
4,000-6,000
$6,500-9,600
5,100-7,600
LITERATURE:
gerup 133-136
178
63
*179
PIERRE SOULAGES (B. 1919)

Eau-forte, VII
etching and aquatint in colours, 1957, on BFK Rives
paper, signed in pencil, inscribed preuve dartiste an
artists proof aside from the standard edition of 100,
published by Berggruen, Paris, the full sheet, in good
condition
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
Rivire VII
179
*180

Eau-forte, VIII
etching and aquatint in colour, 1957, on BFK Rives
paper, signed in pencil, numbered 74/100, published
by Berggruen, Paris, the full sheet, in good condition
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
Rivire VIII
180
*181

Eau-forte, Xa
etching printed in colour, 1957, on BFK Rives paper,
signed in pencil, numbered 90/100, published by
Berggruen, Paris, the full sheet, in good condition
2,500-3,000
LITERATURE:
Rivire X
181
64
$4,100-4,800
3,200-3,800
182
183
*182
*183
JOAN MIR (1893-1983)
JOAN MIR (1893-1983)
Ren Char, Le Marteau sans Maitre, Le

Vent dArles, Paris, 1976
Flux de lAimant: One Plate
the complete set of 23 etchings with aquatint in

colours, hors-texte, title page, text in French, table of
contents and justification, on Arches watermark Au
vent dArles paper, signed by the artist and author on
the justification, copy 102 of 125 (there were also 50
copies in Roman numerals), the full sheets, in good
condition, loose (as issued), original grey Auvergne
paper wrapper with title on cover and paper-covered
portfolio box, in good condition
10,000-15,000
drypoint and aquatint in colours, 1964, on wove

paper, unsigned (as issued) from the edition of 75, the
cover for the portfolio, published by Maeght diteur,
Paris, the full sheet, in good condition
700-1,000
$1,200-1,600
890-1,300
LITERATURE:
see Cramer books 88
$17,000-24,000
13,000-19,000
LITERATURE:
Dupin 944-969
see Cramer books 216
65
*184
VICTOR PASMORE (1908-1998)

Points of Contact No. 23
screenprint in colours, 1974, initialled and dated in
pencil, numbered 64/70; together with, Points of
Contact No. 32 (L. G6) screenprint in colours, 1974, on
wove paper, initialled and dated in pencil, numbered
11/70, each published by Marlborough Fine Art,
London, the full sheets, in good condition
Image: 768 x 543 mm.
(2)
1,000-1,500
$1,700-2,400
1,300-1,900
LITERATURE:
Thames and Hudson 48
184
*185

When the Lute is Broken (melodies are
remembered not)
etching in colour, 1974, on wove paper, initialled and
dated in pencil, numbered 18/60, with printed title (as
issued), published by Marlborough Graphics, London,
the full sheet, in good condition
800-1,200
$1,300-1,900
1,100-1,500
LITERATURE:
Thames and Hudson 40
185
*186

By What Means Can We Know
etching and aquatint in colour, 1974, on wove paper,
initialled in pencil, numbered 28/60; together with,
Linear Motif in Two Movements etching and aquatint
in colours, 1974, on wove paper, initialled in pencil,
numbered 19/60, both published by Marlborough
Graphics, London, the full sheets, both in good
condition
(2)
700-1,000
186
66
$1,200-1,600
890-1,300
*187

The tear that falls
etching and aquatint in colours, 1974, on wove paper,
initialled and dated in pencil, numbered 53/60;
together with, Quiet is the Island (T 39) etching and
aquatint in colours, 1974, on wove paper, initialled and
dated in pencil, numbered 28/60, both published by
Marlborough Graphics, London, the full sheets, both
in good condition
(2)
700-1,000
$1,200-1,600
890-1,300
187
*188

Turning and Turning in the Widening
Gyre
etching and aquatint in colour, 1974, on wove paper,
initialled and dated in pencil, 13/60; together with,
Variation of Points of Contact No. 9 etching and
aquatint in colour, 1974, on wove paper, initialled and
dated in pencil, 14/60, the full sheets, both published
by Marlborough Graphics, London, both in good
condition
(2)
700-1,000
$1,200-1,600
890-1,300
188
*189

Sur le mur den face
the complete set of three screenprints in colours,
1979, on Arches paper, each signed in pencil,
numbered 16/75, with title, text in French and signed
justification, published by Bernard Frize, Paris, in
good condition, within the original cloth covered
portfolio
2,000-3,000
$3,300-4,800
2,600-3,800
189
67
190
191
*190
*191
Stromboli
Burning Water
etching and aquatint in colours, 1980, on Magnani

paper, initialled and dated in pencil, numbered 64/90,
published by Marlborough Fine Art, London, with
margins, in apparently good condition, unexamined
out of the frame
Plate: 720 x 1410 mm.

paper, initialled and dated in pencil, numbered 80/80
(there were also 20 artists proofs) co-published by
2RC Edizioni dArte, Rome, with their blindstamp
and Marlborough Fine Art Ltd., London, printed by
Vigna Antoniniana, Rome, with their blindstamp, with
Plate: 1087 x 1790 mm.
1,500-2,500
$2,500-4,000
2,000-3,200
2,000-3,000
LITERATURE:
Lynton G10
LITERATURE:
Lynton G17
68
$3,300-4,800
2,600-3,800
192
193
*192
*193
Vigna Antoniniana
Uomo e Donna

paper, initialled and dated in pencil, numbered 64/90
(there were also 15 artists proofs), co-published by
2RC Edizioni dArte, Rome, with their blindstamp,
and Marlborough Fine Art Ltd., London, printed by
Vigna Antoniniana, Rome, with their blindstamp, with
out of the frame
Plate: 990 x 1350 mm.
etching and aquatint, 1982, on Magnani paper,

initialled and dated in pencil, numbered 10/70
(there were also 15 artists proofs), co-published by
Marlborough Fine Art Ltd., London, and 2RC Edizioni
dArte, Rome, with their blindstamp, printed by Vigna
Antoniniana, Rome, with their blindstamp, with
Plate: 545 x 1495 mm.
1,000-1,500
2,000-3,000
$3,300-4,800
2,600-3,800
$1,700-2,400
1,300-1,900
LITERATURE:
LITERATURE:
Lynton G24
Lynton G9
69
194
195
*194
*195
CHEN TINGSHIH (1916-2002)
CHEN TINGSHIH (1962-2002)
Vacation of the Stars #4
Calligraphy # 2
woodcut in colours, 1971, on wove paper, signed, titled

and dated in pencil, numbered 4/18, the full sheet, in
good condition
woodcut, 1976, on wove paper, signed, dated and

titled in pencil, numbered 6/40, the full sheet, in good
condition
2,000-3,000
2,000-3,000
70
$3,300-4,800
2,600-3,800
$3,300-4,800
2,600-3,800
196
197
*196
*197
ARNALDO POMODORO (B. 1926)
ARNALDO POMODORO (B. 1926)
Cronaca 2: Gastone Novelli
Foglio Lunga di Urbino
etching in colour, with embossing on copper

and Epoxy plate, 1976, on watermarked Fabriano
Rosaspina paper, signed in pencil, numbered 61/90
(there were also twenty artists proofs); together
with Cronaca 6, etching in colour, with embossing
on copper and Epoxy plate, 1976, on watermarked
Fabriano Rosaspina paper, signed in pencil,
numbered 81/90, each published by 2RC Edizioni
dArte, Rome, with their blindstamps, the full sheets,
each in good condition
(2)
etching in colour, with embossing on copper

and Epoxy plate, 1977, on watermarked Fabriano
Rosaspina paper, signed in pencil, numbered 55/90;
together with, Foglio Lunga di Pavia etching in colour,
with embossing on copper and Epoxy plate, 1977,
on watermarked Fabriano Rosaspina paper, signed
in pencil, numbered 61/90, each published by 2RC
Edizioni dArte, Rome, each in good condition
(2)
1,000-1,500
$1,700-2,400
1,300-1,900
1,000-1,500
$1,700-2,400
1,300-1,900
71
198
199
*198
AD REINHARDT (1913-1967)
MANOLO VALDS (B. 1942)
10 Screenprints
Infanta II
the complete set of ten screenprints in colours,

1966, on wove paper, unsigned (only the first 20
copies were signed) numbered 164/250, published
by Wadsworth Atheneum, Hartford, Connecticut,
with the Ives-Sillman blindstamp, the full sheets,
each in good condition, loose (as issued), each in its
individual, numbered paper folder, within the original
paper wrapper, lacking the original portfolio box, in
good condition
etching and aquatint in colours with collage, 1991,

on wove paper, signed in pencil and numbered
19/51, printed to the edges of the full sheet, in good
condition, framed
6,000-8,000
72
$9,700-13,000
7,700-10,000
*199
2,500-3,000
$4,100-4,800
3,200-3,800
VARIOUS PROPERTIES
*200
SERGE POLIAKOFF (1900-1969)

Composition in Green and Yellow
Rives paper, signed in pencil, numbered 69/75 (there
were also six artists proofs), published by Galerie im
Erker, St. Gallen, printed by Erker-Presse, St. Gallen,
with their blindstamp, the full sheet, in good condition
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
Poliakof & Schneider 60

200
201
VARIOUS ARTISTS
A Collection of 20th Century Prints
fourteen prints, on various papers, including works by
Max Ernst, Henry Moore and Andr Masson; together
with, Andr Lanskoy, La Gense, a portfolio, each
sheet, with various surface defects
640 x 515 mm. (and smaller)
(15)
2,000-3,000
$3,300-4,800
2,600-3,800
201
202
RUFINO TAMAYO (1899-1991)
Afiche avant lettre, from: Las Mujeres
lithograph in colour, 1969, on wove paper, signed in
pencil, numbered 46/150, published by Touchstone
Publishers, New York, the full sheet, in apparently
good condition, unexamined out of the frame
1,200-1,800
$2,000-2,900
1,600-2,300
LITERATURE:
Pereda 122
202
73
203

Larlequin
lithograph in colours, 1961, on watermarked Arches
paper, signed in pencil, numbered 119/200, with
out of the frame
3,000-5,000
$4,900-8,000
3,900-6,300
203
204

Clown
in pencil, numbered 104/200, in apparently good
condition, unexamined out of the frame
2,000-3,000
$3,300-4,800
2,600-3,800
204
205

Anticipation, from: Barcelona Suite
offset lithograph in colours, 1966, on watermarked
Arches paper, signed in pencil, an unnumbered proof
aside from the standard edition of 60, published by
Museu Picasso, Barcelona, with their blindstamp,
the full sheet, pale time-staining across the sheet,
scattered foxing, otherwise in good condition
4,000-6,000
LITERATURE:
Czwiklitzer 233
205
74
$6,500-9,600
5,100-7,600
206
207
208
206
*207
208
GEORGES BRAQUE (1882-1963)
HANS HARTUNG (1904-1989)
SONIA DELAUNAY (1884-1979)
Nature Morte les Pommes, from: Si je

mourais l-bas
Komposition L.26
Untitled

Rives paper, signed in pencil, numbered 14/100;
together with a collection of prints including Ossip
Zadkine, Georges Rouault, Mark Tobey and a
posthumous etching by Paul Cezanne, on various
papers, each with time-staining, other minor surface
defects
(5)

in pencil, numbered 5/45, the full sheet, in good
condition
wood-engraving in colours, 1962, on Japan nacr

paper, signed in pencil, numbered V/X (the total
edition was 180), published by Louis Broder,
Paris, with margins, in apparently good condition,
Block: 185 x 265 mm.
2,000-3,000
$3,300-4,800
2,600-3,800
800-1,000
LITERATURE:
600-800
$970-1,300
760-1,000
$1,300-1,600
1,100-1,300
Vallier 181
LITERATURE:
Schmcking p.89
75
209
JOAN MIR (1893-1983)

Chemin de Ronde II
etching and aquatint in colours, 1966, on wove
paper, signed in pencil, numbered 35/50, published
by Maeght diteur, Paris, the full sheet, in good
condition, framed
1,500-2,000
$2,500-3,200
2,000-2,500
LITERATURE:
Dupin 412
209
210
JOAN MIR (1893-1983)

LOiseau Mongol
etching, aquatint and carborundum in colours, 1969,
on watermarked Arches paper, signed in pencil,
inscribed HC, an hors commerce impression aside
from the standard edition of 75, published by Maeght
diteur, Paris, printed to the edges of the full sheet,
soft creasing in the upper margin, otherwise in good
condition, framed
Sheet: 1035 x 680 mm.
10,000-12,000
LITERATURE:
Dupin 513
210
76
$17,000-19,000
13,000-15,000
211
PIERO MANZONI (1933-1963)

Impronta Pollice destro, Plate Seven,
from: 8 Tavole di Accertamento
photo-lithograph, 1962, on wove paper, signed and
dated 60 in pencil, numbered 7/60, published by
Edizioni di Vanni Scheiwiller, Milan, the full sheet, in
apparently good condition, unexamined out of the
frame
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
Battino and Palazzoli 1049
211
212
AFTER LUCIO FONTANA

(1899-1968)
Concetto Spaziale (red)
multiple in red plastic, 1968, from the edition of
unknown size, co-published by Editions Gustavo
Gili and Galeria Ren Mtras, Barcelona, some
unobtrusive scuffing, otherwise in good condition;
together with the accompanying booklet Lucio
Fontana, Fotografias, Ugo Mulas published by
Editorial Gustavo Gili, S.A. and Galeria Ren Mtras, in
good condition
330 x 300 x 20 mm. (overall)
3,000-5,000
$4,900-8,000
3,900-6,300
212
213
ENRICO CASTELLANI (B. 1930)

Superficie bianca
embossing, 1969, on heavy wove paper, signed in
pencil, numbered 20/100, the full sheet, unobtrusive
staining in the upper and lower margins, otherwise in
good condition
1,000-1,500
$1,700-2,400
1,300-1,900
213
77
David Rubinger \ Yedioth Ahronoth
TEDDY KOLLEK (1911-2007), MAYOR OF JERUSALEM (1965-1993)

Theodore Kollek is well known around the world as the great builder of
modern-day Jerusalem
As a follower of Herzl, the father of modern political Zionism, Kollek turned
Jerusalem into an international centre of culture that carries a message of
peace and tolerance.
Teddy Kollek, Mayor of Jerusalem, with Marc Chagall at the Israel

Museum, 1965.
As Mayor of Jerusalem, Kollek was known a patron of culture. He set up

theatres, museums, community centres, libraries, public sculptures and parks.
Perhaps the greatest contribution Kollek made to Jerusalem was the spirit of
tolerance he managed to infuse into the demographic tinderbox. During Teddys
tenure, many artists and writers were drawn to the city and worked there,
among them Marc Chagall, Pablo Picasso, Jacques Lipschitz, Alexander Calder
and Niki de Saint Phalle, to name but a few. In his memoire, For Jerusalem,
published with his son in 1978, Kollek recalled his long relationship with Marc
Chagall: I first met him in the early 1960s, when he was working on the
twelve stained glass windows for the synagogue in the Hadassah Medical
Centre. Later he did beautiful tapestries for the Knesset building. Chagall and I
got on very well...
PROPERTY FROM THE COLLECTION OF TAMAR AND TEDDY KOLLEK,

MAYOR OF JERUSALEM
*214

Moses
lithograph in colours, on watermarked Arches paper, 1956, signed in pencil,
inscribed epreuve dartiste an artists proof aside from the edition of 50, dedicated
Pour W. Kollek, en bien souvenir/ N.Y. 1967 Marc Chagall, also dedicated in Yiddish,
the full sheet, the paper slightly toned, a band of pale foxing at the upper sheet
edge, framed
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
214
Mourlot 114

MAYOR OF JERUSALEM
*215

Le Ciel bleu
lithograph in colours, 1964, on watermarked Arches paper, signed in pencil,
inscribed H.C. an hors commerce impression aside from the standard edition of
90 dedicated Pour T Kollek amicalement Marc Chagall 1969 and also in Yiddish,
the full sheet, the sheet slightly toned, the occasional soft crease at the sheet
edges, otherwise in good condition, framed
3,000-5,000
LITERATURE:
215
78
Mourlot 409
$4,900-8,000
3,900-6,300

MAYOR OF JERUSALEM
*216
AFTER MARC CHAGALL

(1887-1985)
Jacobs Dream
lithograph in colours, 1964, on watermarked Arches paper, signed in pencil and
inscribed H.C. (one of a few unnumbered proofs bearing a dedication), dedicated
in Yiddish and dated, the full sheet, slight toning to the paper, in apparently good
condition, framed
5,000-7,000
$8,100-11,000
6,400-8,900
LITERATURE:
Sorlier 11
216
MAYOR OF JERUSALEM
*217
AFTER MARC CHAGALL

(1887-1985)
The Tribe of Benjamin, from: Twelve Maquettes of Stained Glass
Windows for Jerusalem
numbered 9/150 (there were also 75 in Roman numerals), dedicated in Yiddish
and dated 1963, published by Editions Fernand Mourlot, Paris, the colours
attenuated, with margins, the sheet reduced below, light, mount and backboard
staining, framed
2,000-3,000
$3,300-4,800
2,600-3,800
LITERATURE:
217
Sorlier 23

MAYOR OF JERUSALEM
*218
AFTER MARC CHAGALL

(1887-1985)
The Tribe of Judah, from: Twelve Maquettes of Stained Glass
Windows for Jerusalem
numbered 108/150 (there were also 75 proofs numbered in Roman numerals)
dedicated Pour Teddy Kollek amicalement Marc Chagall, published by Editions
Fernand Mourlot, Paris, the full sheet, the colours attenuated, with severe lightmount and backboard staining, framed
2,000-3,000
LITERATURE:
$3,300-4,800
2,600-3,800
218
Sorlier 15
79
219
220

MAYOR OF JERUSALEM
*219

MAYOR OF JERUSALEM
*220
AFTER MARC CHAGALL (1887-1985)
Au cirque: Ecuyre, clown et pierrot, from: La Srie 347
Le Bouquet
aquatint, 1968, on watermarked BFK Rives wove paper, signed in pencil,

numbered 1/50 (there were also 17 artists proofs), published by Galerie Louise
Leiris, Paris, the full sheet, light- staining, taped to the mount, otherwise in good
condition, framed

numbered 250/300, dedicated in Yiddish, published by Maeght diteur, Paris, the
full sheet, light and backboard staining, the colours attenuated, framed
3,000-5,000
2,000-3,000
LITERATURE:
Bloch 1522
Baer 1538
80
$3,300-4,800
2,600-3,800
LITERATURE:
Sorlier 8
$4,900-8,000
3,900-6,300
222
221
223
224
PROPERTY FROM AN IMPORTANT

PRIVATE COLLECTION
221

PRIVATE COLLECTION
VARIOUS PROPERTIES
223
222
224
PABLO PICASSO
(1881-1973)
PABLO PICASSO
(1881-1973)
PABLO PICASSO
(1881-1973)
PABLO PICASSO
(1881-1973)
Doble Ensayo sobre Picasso:

One Plate
Three Old Men, Three Nudes

and Cupid, from: from: Sries
347
Observer Viewing Old Painter

and Voluptuous Model, from:
Sries 347
Standing Nude Couple, from:

Sries 347
drypoint, 1967, on Japan paper, signed

in pencil, numbered 11/130, the full
sheet, pinpoint foxing across the sheet,
taped to mount along the upper and
lower sheet edge, otherwise in good
condition.
Plate: 160 x 130 mm.,
etching, 1968, on wove paper, signed

in pencil, numbered 27/50 (there were
also 17 artists proofs), published by
Galerie Louise Leiris, Paris, 1969, the full
Plate: 313 x 414 mm.,
1,000-2,000
4,000-6,000
etching, drypoint and scraper, 1968,

on wove paper, signed in pencil,
numbered 20/50 (there were also
seventeen artists proofs), published
by Galerie Louise Leiris, Paris, 1969, the
full sheet, taped to the mount along the
upper sheet edge, otherwise in good
condition
Plate: 124 x 89 mm.,
$1,700-3,200
1,300-2,500
LITERATURE:
LITERATURE:
Bloch 1854
see Cramer Books 142
Bloch 1512
Baer 1528
$6,500-9,600
5,100-7,600
2,000-3,000
LITERATURE:
Bloch 1547
Baer 1564
$3,300-4,800
2,600-3,800
aquatint, 1968, on wove paper, signed

in pencil and numbered 48/50, (there
were also 17 artists proofs), published
by Galerie Louise Leiris, Paris, 1969, the
full sheet, taped to the mount along the
upper sheet edge, otherwise in good
condition
Plate: 124 x 89 mm.,
Sheet:. 328 x 255 mm.
1,800-2,200
$2,900-3,500
2,300-2,800
LITERATURE:
Bloch 1654
Baer 1670
81
225

Large Nude, Older Man and French
Bulldog, from: Sries 347
published by Galerie Louise Leiris, Paris, 1969, the
full sheet, taped to the mount along the upper sheet
edge, otherwise in good condition
1,800-2,200
$2,900-3,500
2,300-2,800
LITERATURE:
Bloch 1661
Baer 1677
225
EUROPEAN COLLECTION
226

Man Ruminating, Procuress and Nude,
from: Sries 347
aquatint, scraper and drypoint, 1968, on watermarked
Rives paper, signed in pencil, numbered 10/50 (there
were also 17 artists proofs), published by Galerie
Louise Leiris, Paris, 1969, the full sheet, taped to the
mount along the upper sheet edge, otherwise in
good condition
1,500-2,000
$2,500-3,200
2,000-2,500
LITERATURE:
Bloch 1673
Baer 1689
226
VARIOUS PROPERTIES
227

Man, Woman and Youth, from: Sries 347
published by Galerie Louise Leiris, Paris, 1969, the full
2,000-3,000
LITERATURE:
Bloch 1675
Baer 1691
227
82
$3,300-4,800
2,600-3,800
228

Jaime Sabarts, A Los Toros, Andr
Sauret diteur, Monte Carlo, 1961
the set of four lithographs (one in colours), hors-texte,
with title-page and text in English, on wove paper,
from an edition of unknown size, the full sheets,
bound (as issued), in good condition, red clothcovered boards with a reproduction after a drawing
by Picasso on the front, red paper-covered slipcase
with a reproduction after a drawing by Picasso, minor
surface defects, otherwise in good condition
265 x 334 x 30 mm. (overall)
1,200-1,800
228
$2,000-2,900
1,600-2,300
LITERATURE:
Bloch 1014-17
Mourlot 346, 348-50
EUROPEAN COLLECTION
229

Les Transparents: One plate
engraving, 1966, on buff wove paper, signed in brown
crayon, the full sheet, taped to the mount along the
upper and lower sheet edge, a band of foxing running
along the lower sheet edge, otherwise in good
condition
1,000-1,500
$1,700-2,400
1,300-1,900
229
LITERATURE:
Bloch 1236
VARIOUS PROPERTIES
230
AFTER REN MAGRITTE

(1898-1967)
LOeil, from: Le Lien de Paille
etching in colours, 1968, on watermarked BFK Rives
paper, stamp signed (as issued), numbered 136/150
in pencil, published by Editions Georges Visat, Paris,
with their blindstamp, with margins, the upper sheet
trimmed, otherwise in good condition, framed
1,200-1,800
$2,000-2,900
1,600-2,300
LITERATURE:
Kaplan and Baum 17
230
83
231
*231
BEN NICHOLSON (1894-1982)

Patmos Monastery (Fragment)
etching and aquatint, 1967, on wove paper, signed in pencil verso, a proof
aside from the edition of 50, trimmed to within the image, with a platemark
above and at left, in good condition, framed
1,500-2,000
$2,500-3,200
2,000-2,500
LITERATURE:
see Lafranca 75
232
DAVID HOCKNEY (B. 1937)

Rapunzel, Rapunzel, let down your hair, from: Six Fairy
Tales
232
etching, 1969, on wove paper, signed in pencil, numbered 37/100,

published by Petersburg Press, London, 1970, the full sheet as published,
very pale, unobtrusive foxing in the margins, otherwise in good condition,
framed
800-1,200
$1,300-1,900
1,100-1,500
LITERATURE:
Scottish Arts Council 86

Tokyo 83
233

An Imaginary Landscape
lithograph in colours, 1969, on watermarked BFK Rives paper, signed and
dated 69 in pencil, numbered 29/75 (there were also 16 artists proofs), the
full sheet, in good condition, framed
1,200-1,800
LITERATURE:
233
84
$2,000-2,900
1,600-2,300
*234

Motif in Red, Blue and Yellow
lithograph in colours, 1966, on Japon nacr paper,
an unsigned printers proof with registration marks,
aside from the standard edition of 50 (there were
also 10 artists proofs in Roman numerals), published
by Marlborough Fine Art Ltd., London; together with
Reclining Figures and Reclining Mother and Child,
lithograph in colours, 1971/74, on T. H. Saunders
paper, signed in pencil and dedicated For Harry +
Elfrieda, one of 10 dedicated proofs, aside from the
standard edition of 75 (there were also ten artists
proofs in Roman numerals), published by Fischer
Fine Arts Ltd., London, the full sheets, otherwise in
apparently good condition, unexamined out of their
frames
(2)
800-1,200
234
$1,300-1,900
1,100-1,500
LITERATURE:
Cramer 71
Cramer 347
*235
JOHN PIPER (1903-1992)

San Marco, Venice
lithograph in colours, 1961, on Barcham Green paper,
signed in pencil, numbered 13/100 (there were also
ten artists proofs), published by Harley Brothers,
the full sheet, pale staining in the margins, handling
creases
700-1,000
$1,200-1,600
890-1,300
235
LITERATURE:
Levinson 116
236

Jazenne, Charente
screenprint in colours, 1968, on wove paper, signed in
pencil, numbered 37/70 (there were also ten artists
proofs), published by Marlborough Fine Art, London,
with margins, the sheet trimmed, moisture staining in
the upper and lower margins, framed
700-1,000
$1,200-1,600
890-1,300
LITERATURE:
Levinson 196
236
85
*237
VARIOUS ARTISTS
A Collection of 20th Century Prints
fifteen prints, including works by Lynn Chadwick,
Reg Butler, Leonard Baskin, Frank Brangwyn, three
by David Young Cameron, Ernest David Roth,
Geoffrey Heath Wedgewood, Claire Leighton, two
by Donald Shaw MacLaughlan and John Fullwood,
on various papers, twelve signed in pencil, two
unsigned, with surface defects
656 x 506 mm. (and smaller)
(15)
800-1,000
$1,300-1,600
1,100-1,300
237
238
PATRICK HERON (1920-1999)

Plate IV from: Winchester Four
screenprint in colours, 1967, on thin wove paper,
signed, dated and titled in pencil, numbered 33/33,
the full sheet, minor unobtrusive scuffing to the
image, otherwise in good condition
1,500-2,000
$2,500-3,200
2,000-2,500
238
*239
BRIDGET RILEY (B. 1931)

Untitled
lithograph, circa 1960, on wove paper, signed in
pencil, unnumbered, possibly from an unpublished
edition, with margins, in good condition
3,000-5,000
$4,900-8,000
3,900-6,300
This work is not recorded in Karsten

Schuberts catalogue raisonn.
239
86
*240
ALLEN JONES (B. 1937)

Self, from: New York International
and dated 65 in pencil, inscribed O an artists proof
aside from the standard edition of 225 (there were
also 25 artists proofs), published by Tanglewood
Press, Los Angeles, printed by Chiron Press, New
York, with their blindstamp, the full sheet, a pinhole in
the left image, otherwise in good condition
Image and Sheet: 560 x 430 mm.
600-800
$970-1,300
760-1,000
240
LITERATURE:
Lloyd 28
*241
ALLEN JONES (B. 1937)

Pour les lvres, from: 11 Pop Artists,
Volume II
and dated 65 in pencil, numbered 1300 (there were
also 50 artists proofs), published by Original Editions,
New York, printed to the edges of the full sheet, in
good condition
700-1,000
$1,200-1,600
890-1,300
LITERATURE:
Lloyd 30
241
242
ROY LICHTENSTEIN (1923-1997)
Seascape, from: Collection 65
screenprint and die-cut collage in colours, 1965, on
blue Rowlux, signed in ink on a label verso, numbered
54/100 (only 65 were realised, there were no artists
proofs), published by Edition MAT, Cologne, several
areas of moisture staining along the lower panel, the
original box frame showing signs of wear, otherwise
in good condition
335 x 630 x 90 mm. (overall)
4,000-6,000
$6,500-9,600
5,100-7,600
LITERATURE:
Corlett 40
242
87
243

Portrait of a Bearded Man Wearing a Hat
aquatint, 1971, on wove paper, signed in red crayon,
numbered 94/182, after steel-facing, published
by Gustavo Gili, Barcelona, the full sheet, in good
condition, framed
2,000-3,000
$3,300-4,800
2,600-3,800
LITERATURE:
Bloch 2014
Baer 1989
244
l
243
SALVADOR DAL (1904-1989)

After 50 Years of Surrealism
the set of 12 drypoints with pochoir in colours, 1974,
on watermarked Rives wove paper, hors-texte, with
title, text in French and justification, lacking the
additional suite of 12 drypoints with hand-colouring
on Japon nacr paper, signed in ink and numbered
FIII/XXXV on the justification (the total French edition
was 230), published by Transworld Art, S.A., Fribourg,
each print signed in pencil and numbered FIII/XXXV,
the full sheets, some scattered foxing, generally in
good condition, loose (as issued), with the original
black cloth-covered boards and the black velvet
portfolio box with gilt lettering, all the prints framed
(each print)
6,000-8,000
$9,700-13,000
7,700-10,000
LITERATURE:
244
Michler & Lpsinger 665-676

Field 74-8
COLLECTION
245
JOAN MIR (1893-1983)

Dans la Luer Oblique
aquatint in colours, 1976, on wove paper, signed in
pencil, inscribed Robert Dutrou, an artists proof
aside from the standard edition of 120, published
by Fata Morgana, Montpellier, the full sheet, pale
unobtrusive foxing in the upper and right margins,
soft handling creases, otherwise in good condition
1,500-2,000
LITERATURE:
245
88
Dupin IV.937
$2,500-3,200
2,000-2,500
246
247
248
249

PRIVATE EUROPEAN COLLECTION
246

PRIVATE COLLECTION
VARIOUS PROPERTIES
247
248
249
JOAN MIR (1893-1983)
JOAN MIR (1893-1983)
JOAN MIR (1893-1983)
JOAN MIR (1893-1983)
Ma de Proverbis
Le Lzard aux plumes dor:

Plate Twelve
Cntic del Sol: One Plate
Georges Duthuit
etching with aquatint in colours, 1975,

on watermarked Arches paper, signed
in pencil, numbered 5/12, from the
series of 12 printed with wider margins
(the total book edition was 273),
published by Gustavo Gili, Barcelona,
the full sheet with deckle edges on two
sides, a 2 mm. indentation in the lower
left image, otherwise in good condition
Plate 400 x 520 mm., Sheet 633 x 905
mm.
etching with aquatint in colours, 1976,

on watermarked Arches paper, signed
in pencil, numbered 5 H.C/75, an hors
commerce impression aside from the
standard edition of 100, published
by Flammarion, Paris, the full sheet,
minor staining at lower sheet edge,
pale foxing at right image, otherwise in
good condition
lithograph in colours, 1970, on

watermarked Arches paper, signed
in pencil, numbered 45/75, published
by Polgrafa, Barcelona, the full sheet,
water damage lower right and into the
signature, pale time-staining, otherwise
in good condition
1,000-2,000
$1,700-3,200
1,300-2,500

paper, unsigned and unnumbered (as
issued), published by Broder, Paris,
the full sheet, a small stain lower left
corner, otherwise in good condition
600-800
$970-1,300
760-1,000
1,000-1,500
LITERATURE:
LITERATURE:
Mourlot 824
700-1,000
Mourlot 677
$1,200-1,600
890-1,300
$1,700-2,400
1,300-1,900
LITERATURE:
LITERATURE:
Dupin 863
Dupin IV.934
89
VARIOUS PROPERTIES
250
ZAO WOU-KI (1920-2013)
Untitled
Rives paper, signed and dated in pencil, numbered
59/120, published by De Francony, Nice with their
blindstamp, the full sheet, a nick at the lower right
sheet edge, otherwise in good condition
2,500-3,500
$4,100-5,600
3,200-4,400
LITERATURE:
gerup 253
250
251
GERHARD RICHTER (B. 1932)

Landschaft I
helio-gravure in colours, 1971, on Japan paper, signed
and dated 79 in pencil, inscribed probe numbered
II/X a trial proof aside from the standard edition of
100, published by Galerie Heiner Friedrich, Munich,
with margins, scattered pinpoint foxing, otherwise in
apparently good condition, unexamined out of the
frame
800-1,200
$1,300-1,900
1,100-1,500
EXHIBITED:
Butin 34
251
252
MAX ERNST (1891-1976)

Invitation au voyage
etching in colours, 1971, on wove paper, signed in
pencil, inscribed essai a proof aside from the standard
edition of 100, published by Georges Visat, Paris, with
margins, scattered foxing, otherwise in apparently
good condition, unexamined out of the frame
800-1,200
LITERATURE:
Leppien 206
252
90
$1,300-1,900
1,100-1,500
253

Sans Titre
lithograph in colours, circa 1972, on watermarked
Arches paper, signed in pencil, numbered 10/75, the
600-800
$970-1,300
760-1,000
253
254

Composition
lithograph in colours, circa 1970, on watermarked
Arches paper, signed in the plate (as issued),
numbered 66/75, inscribed Rhythmes-Couleurs in
pencil verso, the full sheet, time-staining in the upper,
right and lower margins, otherwise in good condition
700-1,000
$1,200-1,600
890-1,300
254
*255
GRAHAM SUTHERLAND
(1903-1980)
La Tour des Oiseaux
lithograph in colours, 1976, on wove paper, signed in
pencil, numbered 132/175; together with, Life in Wood,
in white crayon, numbered 78/90, published by 2RC
Edizioni dArte, Rome, with their blindstamp; also
with, Hommage to Senefelder, 1971, on watermarked
Arches paper, signed in pencil and inscribed epr.
dartiste, each apparently in good condition, two
unexamined out of their frames
(3)
1,000-1,500
$1,700-2,400
1,300-1,900
255
91
256
FRANK STELLA (B. 1936)
Sidi Ifni, from: Hommage Picasso
lithograph in colours, 1974, on wove paper, signed,
dated 73 and inscribed P.P. III, a printers proof aside
from the unpublished edition of 42, the full sheet, two
worm holes in the upper right sheet, otherwise in
good condition
2,000-3,000
$3,300-4,800
2,600-3,800
LITERATURE:
Axsom 91a
256
257
AFTER FRANK STELLA (B. 1936)
Angrif, from: Conspiracy: The Artist as
Witness
screenprint in black and grey, 1971, on wove paper,
signed, dated and numbered, 37/150 in pencil,
published by the centre for Constitutional Rights,
New York, printed by Styria Studio with their
blindstamp, the full sheet, tipped to the backboard
in the upper corners, otherwise in good condition,
framed
800-1,200
$1,300-1,900
1,100-1,500
LITERATURE:
257
Axsom I.C.
258

French Shop
etching with aquatint in black and red, 1971, on wove
paper, signed and dated 71 in pencil, numbered
332/500 (there were also 60 proofs numbered
in Roman numerals), published by the Observer,
London, with margins, apparently in good condition,
4,000-6,000
LITERATURE:

Tokyo 112
258
92
$6,500-9,600
5,100-7,600
259
EDUARDO CHILLIDA (1924-2002)

Barcelona I
lithograph, 1971, on Guarro paper, signed in pencil,
numbered 29/75 (there were also 25 hors commerce
impressions), published by Sala Gaspar, Barcelona,
printed to the edges of the full sheet, in good
condition, framed
1,500-2,000
$2,500-3,200
2,000-2,500
LITERATURE:
Koelen 71018
259
260

Atzapar
etching, 1973, on watermarked BFK Rives wove
paper, signed in pencil, numbered 36/50 (there were
also five artists proofs), published by Maeght diteur,
Paris, the full sheet, in good condition, framed
2,500-3,500
$4,100-5,600
3,200-4,400
LITERATURE:
Koelen 73023
260
261

A moving still life, from: The Blue Guitar
etching and aquatint in colours, 1976-77, on wove
paper, signed in pencil, inscribe P.P. numbered 1/1
a printers proof aside from the standard edition of
200, published by Petersburg Press, New York and
London, the full sheet, pinpoint foxing in a band along
the lower margin, pale mount-staining, otherwise in
1,500-2,000
$2,500-3,200
2,000-2,500
LITERATURE:

Tokyo 195
261
93
262 (part lot)
*262
CARLOS CRUZ-DEZ (B. 1923)
Induction Chromatique
the complete set of six screenprints in colours, 1974,
on watermarked Arches paper, with title page, each
signed and dated in pencil, numbered 23/200, also
numbered on the justification, published by Denis
Ren Edition, Paris, 1975, with their blindstamp, the
full sheets, in good condition, within the original white
portfolio, with surface dirt and scuffing
10,000-15,000
$17,000-24,000
13,000-19,000
263
EQUIPO CRNICA
Conde Duque
acrylic on papier-mach, 1972, signed in white on the
base, inscribed H.C., an hors commerce impression
by Gustavo Gili, Barcelona, in good condition;
accompanied with Bodegn Nacional, pop-up book in
colours, 1972, signed in pencil and inscribed H.C,, an
hors commerce impression, soft creasing along the
central folds, otherwise in good condition
100 x 210 x 75 mm. (approximately)
1,000-1,500
94
$1,700-2,400
1,300-1,900
263
264
BRIDGET RILEY (B. 1931)

To Midsummer
screenprint in colours, 1989, signed, titled and
numbered 36/100 in pencil, printed by Graham
Henderson, London, published by the artist, the full
sheet, in apparently good condition, unexamined out
of the frame
5,000-7,000
$8,100-11,000
6,400-8,900
LITERATURE:
Schubert 34
264
265
BRICE MARDEN (B. 1938)
Tiles: One Plate
etching and aquatint, 1979, on wove paper, signed
and dated in pencil, numbered 5/50 (there were also
12 artists proofs), published by Parasol Press, New
York, printed by Stephen Thomas Crown Print Press
with his blindstamp, the full sheet, in apparently good
2,000-3,000
$3,300-4,800
2,600-3,800
LITERATURE:
Lewison 31a
265
266
ANTONI TPIES (B. 1923)

La Taca Vermella
aquatint in colours, 1972, on watermarked La Cometa
Guarro paper, signed in pencil, numbered 4/100,
published by Gustavo Gili, Barcelona, printed to the
edges of the full sheet, in good condition
Sheet: 770 x 1015 mm.
2,500-3,500
$4,100-5,600
3,200-4,400
LITERATURE:
Galfetti 309
266
95
267
268

COLLECTION
267
VARIOUS PROPERTIES
268
FRANCIS BACON (1909-1992)
Metropolitan Museum of Art

(Exhibition Poster)
Parade, Metropolitan Opera
lithograph in colours, 1975, on watermarked Arches

paper, signed in green felt-tip pen, numbered 153/170,
published by the Metropolitan Museum, New York,
the full sheet, in good condition
3,000-5,000
screenprint in colours, 1981, on wove paper, unsigned

(as issued) from the edition of unknown size,
published by Petersburg Press, London and New
York, the full sheet, in good condition, framed
Sheet: 2053 x 1046 mm.
1,000-1,500
$4,900-8,000
3,900-6,300
LITERATURE:
LITERATURE:
Sabatier 11.
96
Baggott 94
$1,700-2,400
1,300-1,900
269
ANDY WARHOL (1928-1987)
Queen Margrethe II of Denmark, from:
Four Reigning Queens
screenprint in colours, 1985, on Lenox Museum
Board, an unsigned impression aside from the
standard edition of 40 (there were also five
artists proofs), published by George C.P. Mulder,
Amsterdam, with the Andy Warhol copyright
inkstamp verso, printed to the edges of the full
sheet, spot glued in several places to the backboard,
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
269
Feldman & Schellmann 342
From the archive of the publisher.
270
ANDY WARHOL (1928-1987)
Mildred Scheel
screenprint in colours with diamond dust, 1980,
on watermarked Arches paper, signed in pencil,
numbered 271/1000, published by Deutsche
Krebshilfe E.V., Cologne, with their blindstamp, with
the Andy Warhol Copyright inkstamp verso, printed
to the edges of the full sheet, in good condition
Image and Sheet 775 x 555 mm.
1,500-2,000
$2,500-3,200
2,000-2,500
LITERATURE:
Feldman & Schellman II. 238
Dr. Mildred Scheel, then first Lady of West

Germany, founded the Deutsche Krebshilfe
(German Cancer Aid) on 24th September
1974. The foundation celebrated its 40th
anniversary in 2014.
270
*271
KEITH HARING (1958-1990)
Free South Africa: One Plate
lithograph in colour, 1985, on wove paper, signed
and dated in pencil, inscribed HC, an hors commerce
impression aside from the standard edition of 60
(there were also 15 artists proofs), published by
Edition Schellmann, New York, the full sheet, pinpoint
foxing, otherwise in good condition
3,000-5,000
LITERATURE:
see Littmann p.43
$4,900-8,000
3,900-6,300
271
97
272
PATRICK CAULFIELD (1936-2005)

Wall Plate Screen, from: Wall Plates
screenprint in colour, 1987, on wove paper, signed in
pencil, inscribed AP, an artists proof aside from the
standard edition of 50, published by Waddington
Graphics, London, printed by Kelpra Studios, London,
with their blindstamp, the full sheet, time-staining
600-800
$970-1,300
760-1,000
272
273

White Ware: Three Plates
screenprints in colours, 1990, on wove paper, each
signed in pencil, two inscribed AP numbered 2/10,
one inscribed AP numbered 1/10, artists proofs
by Waddington Graphics, London, with their
blindstamps, the full sheets, minor creasing in the
image of (C.75), otherwise in good condition
Image: 795 x 535 mm., Sheet: 812 x 1073 mm. (each) (3)
2,000-3,000
$3,300-4,800
2,600-3,800
LITERATURE:
Cristea 75, 76 & 80
273
274

Coach Lamp
screenprint in colours, 1994, on wove paper, signed in
pencil, inscribed AP numbered 2/10, an artists proof
aside from the standard edition of 50, published by
Waddington Graphics, London, the full sheet, areas of
creasing with resultant ink loss in the grey and black
areas, otherwise in good condition
700-1,000
LITERATURE:
Cristea 87
98
274
$1,200-1,600
890-1,300
275

Wymondham, Norfolk
in pencil, inscribed AP, an artists proof, aside from
the standard edition of 70 (there were also five hors
commerce and five printers proofs), published by
Marlborough Art, London, printed by Kelpra Studio,
with their blindstamp, the sheet, with pale timestaining, otherwise apparently in good condition,
1,000-1,500
$1,700-2,400
1,300-1,900
275
LITERATURE:
Levinson 324
*276

Mother and Child: Four Plates
four etchings and aquatints, 1983, on Arches paper,
each signed in pencil, C. 679 and C.685 numbered
58/65, C. 691 and C.699 numbered 45, from the
standard album edition of 65 (there was also an
album edition of 15 hors commerce), published by
Raymond Spencer Company Ltd., for the Henry
Moore Foundation, Much Hadham, printed by
James Collyer and John Crossley, London with their
blindstamp, lacking the title page, justification, and
portfolio case, the full sheets, in good condition, two
framed
(4)
2,000-3,000
$3,300-4,800
2,600-3,800
276
LITERATURE:
Cramer 679, 685, 691, 699
277
AVIGDOR ARIKHA (B. 1929)

A Collection
three etchings and two lithographs, one in colours,
circa 1978, on various papers, each signed in pencil;
together with, one etching by Georges Bull, on
wove paper, one sheet with pale moisture staining,
otherwise each in good condition
Lithograph: 305 x 405 mm., Sheet: 390 x 485 mm. (and
smaller)
(5)
1,500-2,000
$2,500-3,200
2,000-2,500
277
99
278 (part lot)
278

Zedatu I-IV
the complete set of four aquatints, 1991, on Japan
paper, each signed in pencil, numbered 25/75 (there
were also 25 proofs), published by Museo del Prado,
Madrid, the full sheets, each tipped down to the
backboard at all corners, otherwise in good condition,
framed
(4)
4,000-6,000
$6,500-9,600
5,100-7,600
LITERATURE:
Koelen 91001-91004
279
BERNARD BUFFET (1928-1999)

Torero
lithograph, 1998, on wove paper, signed in pencil,
inscribed EA XII/XX an artists proof before text, aside
from the poster edition, the full sheet, soft handling
creases in the upper and lower image, otherwise in
apparently good condition, framed
700-1,000
279
100
$1,200-1,600
890-1,300
(part lot)
280
GARY HUME (B. 1962)

Portraits
the of ten screenprints in colours, 1998, on sturdy
wove paper, each signed and titled in pencil, from
the edition of 36 (there were also ten artists proofs),
published by The Paragon Press, London, the full
sheets, in good condition, each framed (lacking the
title page, justification and portfolio case)
Image: 908 x 608 mm., Sheet: 1084 x 780 mm. (and
similar)
(10)
10,000-15,000
$17,000-24,000
13,000-19,000
LITERATURE:
see Paragon catalogue, 1995-2000, p. 146-157
101
281
JOAN MIR (1893-1983)

La Mlodie Acide: Four Plates
four lithographs in colours, 1980, on Japan nacr
paper, each signed in pencil, numbered VII/XII, from
the deluxe edition of 12 printed for the publishers
collaborators (the total edition of 145), published by
Polgrafa, Barcelona, the full sheets, with pale mount
staining, (M.1217) with time-staining across the sheet,
otherwise in good condition, each framed
3,000-5,000
$4,900-8,000
3,900-6,300
LITERATURE:
281
Mourlot 1213, 1215, 1217 & 1222

282
BERNARD BUFFET (1928-1999)

La Chambre de Van Gogh
drypoint, 1992, on wove paper, signed in pencil,
inscribed EA, an artists proof aside from the standard
edition of 120, the full sheet, moisture staining along
the right margin, otherwise in apparently good
800-1,200
$1,300-1,900
1,100-1,500
282

COLLECTION
283
JOAN MIR (1893-1983)

La Rvolte des Caractres
etching and aquatint in colours, 1982, on wove paper,
signed in pencil, numbered 94/100, published by Fata
Morgana, Montpellier, the full sheet, in good condition
Plate: 200 x 158 mm., Sheet:. 325 x 247 mm.
2,000-3,000
LITERATURE:
Dupin IV.1171
283
102
$3,300-4,800
2,600-3,800
VARIOUS PROPERTIES
284
PETER BLAKE (B. 1932)

Motif 10
the complete set of seven inkjets with screenprint in
colours, 2003, on wove paper, each signed in pencil,
numbered 15/50, the full sheets, minor scuffing in
the upper margin of one sheet, otherwise in good
condition
1,500-2,000
$2,500-3,200
2,000-2,500
284
285
PETER BLAKE (B. 1932)

Venice Suite
the complete portfolio of 20 screenprints in colours,
2009, on wove paper, each signed in pencil and
numbered 1/75, also numbered on the justification
page (there were eight artists proofs) the first 50 sets
published as a portfolio, co-published by Coriander
Studio and Paul Stolper, London, the full sheets, in
good condition, loose (as issued) within the mustard
coloured cloth covered portfolio case, in good
condition
435 x 330 x 35 mm. (overall)
5,000-7,000
$8,100-11,000
6,400-8,900
285
286
MARLENE DUMAS (B. 1953)
Semite
lithograph, 2004, on wove paper, signed, dated and
titled in pencil, numbered 70/100, the full sheet, in
good condition
2,000-3,000
$3,300-4,800
2,600-3,800
286
103
287

Vase, from: The Royal Academy of Arts
Members Portfolio
in pencil, inscribed AP numbered V/XX, an artists
proof aside from the edition of 100, published by The
Royal Academy of Arts, London, printed to the edges
of the full sheet, in good condition
800-1,200
$1,300-1,900
1,100-1,500
287
288
JOHN LATHAM (1921-2006)

5 Photo Etchings
the complete set of five photo-etchings in colours,
2004, on chine appliqu on wove paper, each
with the artists monogram blindstamp (as issued),
numbered 14/30 verso, signed and numbered on
the title page, the full sheets, each in good condition,
complete with the grey cloth covered portfolio, in
good condition, two framed
825 x 102 x 12 mm. (overall)
2,000-3,000
$3,300-4,800
2,600-3,800
288
289
VARIOUS ARTISTS
A Collection of Exhibition Catalogues
from Stadtisches Museum
Monchengladbach, Germany
twenty seven exhibition catalogues with
their cardboard presentation boxes (katalogkassette) as published by Stadtisches Museum
Monchengladbach, Germany, including Blinky
Palermo, Jasper Johns, Richard Long, Jannis
Kounellis and Lawrence Weiner amongst others,
each with various surface defects
(27)
3,000-5,000
289
104
$4,900-8,000
3,900-6,300
290
DAMIEN HIRST (B. 1965)

Ciclopirox Olamine
aquatint in colours, 2004, on Hahnemhle paper,
signed in pencil, numbered 133/145 verso (there
were also 35 artists proofs), published by Paragon
Press, London, with full margins, in apparently good
Sheet: 1145 x 1125 mm.
5,000-7,000
$8,100-11,000
6,400-8,900
LITERATURE:
see Paragon Press vol II., p. 158-160
This lot has been authenticated by the Hirst

Authentication Committee.
290
*291

Cupric Bromide
woodcut in colours, 2012 , on wove paper, signed
in pencil, numbered, 32/55 and verso, published
by Paragon Press, London, the full sheet, in good
condition, framed
1,200-1,800
$2,000-2,900
1,600-2,300
This lot has been authenticated by The Hirst

291
*292

Phenyl Salicylate
woodcut in colours, 2012, signed in pencil, numbered
14/55 verso, published by Paragon Press, London, the
full sheet, in good condition, framed
1,200-1,800
$2,000-2,900
1,600-2,300
This lot has been authenticated by The Hirst

292
105
294
293
295
295
294
293
MARK WALLINGER (B. 1959)
RACHEL WHITEREAD (B. 1963)
JULIAN OPIE (B. 1958)
Ghost
Herringbone Floor
Woman Taking Of a Mans Shirt in

Five Stages
screenprint, 2001, on card, signed in pencil, titled

and numbered 324/500 verso, published by the
Whitechapel Gallery, London, the full sheet, in good
condition, framed
laser-cut relief in Finnish birch plywood, 2001,

initialled, titled and dated in pencil on the mount,
numbered 156/450, published by Counter Editions,
London, in good condition, framed (as issued)
500 x 435 x 32 mm. (overall)
1,500-2,000
1,000-1,500
$2,500-3,200
2,000-2,500
$1,700-2,400
1,300-1,900
screenprint, 2004, on wove paper, signed in pencil,

published by K21 Kunstsammlung NordrheinWestfalen, Dsseldorf, the full sheet, in good
condition, framed
3,000-5,000
LITERATURE:
Cristea 49
106
END OF SALE
$4,900-8,000
3,900-6,300
Index
A
Aldegrever, H., 10
Andrews, S., 112, 118-120, 126,
128
Arikha, A., 277
Bacon, F., 267

Barlach, E., 135
Baumeister, W., 155
Beatrizet, N., 12
Beham, H., 11
Black, D., 116
Blake, P., 284, 285
Blake, W.
Butts, T., 57
Bonnard, P., 67, 80, 146
Brangwyn, F., 102
Braque, G., 143, 206
Braque, G. (after), 145
Brockhurst, G., 104
Buffet, B., 279, 282
Callot, J., 15
Canaletto, A., 37
Castellani, E., 213
Caulfield, P., 272-274, 287
Cezanne, P., 76
Chagall, M., 149, 214-216
Chagall, M. (After), 217, 218,
220
Chen, T., 194, 195
Chillida, E., 259, 260, 278
Cranach, L., 5, 6
Cruz-Diez, C., 262
DalL, S., 244

Delatre, E., 81
Delaunay, R., 133, 134
Delaunay, S., 208, 253, 254
Denis, M., 71, 72, 73
Dumas, M., 286
DZrer, A., 3, 4, 7, 8
DZrer, A. (After), 9
Ensor, J., 59-61

Equipo Crnica, 263
Ernst, M., 252
Fantin-Latour, H., 78
Flight, C., 117
Fontana, L. (After), 212
Giacometti, A., 174

Gillray, J., 49-56
Greengrass, W., 124
Haring, K., 271

Hartung, H., 207
Helleu, P., 86
Hermann-Paul, R. G., 68
Heron, P., 238
Hirst, D., 290-292
Hockney, D., 232, 233, 258,
261, 268
Hogarth, W., 48
Hume, G., 280
Huys, F., 14
Jones, A., 240, 241

Jongkind, J., 58
Kollwitz, K., 82-85, 92-99
Latham, J., 288

Lichtenstein, R., 242
Magritte, R. (After), 230

Mantegna, A. (After), 1, 2
Manzoni, P., 211
Marden, B., 265
Mars, E., 75
Matisse, H., 144
McBey, J., 103
Mir, J., 150, 151, 182, 183,
209, 210, 245-249, 281, 283
Moore, H., 167, 169-173, 234,
276
Morandi, G., 129-131, 141, 142
Nash, P., 106

Nevinson, C., 107, 108, 109,
110
Nicholson, B., 231
Nolde, E., 89
Opie, J., 295
Palmer, S., 100, 101

Pasmore, V., 184, 185, 186, 187,
188, 190, 191, 192, 193
Pechstein, H., 91, 132
Pencz, G., 13
Picasso, P., 90, 136, 137-140,
147, 148, 152, 153, 219, 221229, 243
Picasso, P. (After), 154, 203-205
Piper, J., 235, 236, 275
Piranesi, G., 38-43
Pissarro, C., 74
Poliakoff, S., 200
Pomodoro, A., 196, 197
Power, C., 111, 113-115, 121
Redon, O., 62, 63, 65, 66

Reinhardt, A., 198
Rembrandt, H., 16-26, 28-30,
32-34
Richter, G., 251
Riley, B., 239, 264
Soulages, P., 179-181, 189

Spowers, E., 123
Stella, F., 256
Stella, F. (After), 257
Sutherland, G., 255
Tamayo, R., 202

Tanner, R., 105
TGpies, A., 266
Tissot, J., 64
Toulouse-Lautrec, H., 70
Toulouse-Lautrec, H. de, 69
Tschudi, L., 122, 125, 127
ValdJs, M., 199

Van Ostade, A., 27, 31, 35, 36
Vuillard, E., 77
Wallinger, M., 293

Warhol, A., 269, 270
Whiteread, R., 294
Wou-Ki, Z., 156-166, 175-178,
250
Zorn, A., 87, 88
107
IMPORTANT NOTICES AND EXPLANATION OF

CATALOGUING PRACTICE
IMPORTANT NOTICES
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is
identified in the catalogue with the symbol next to
its lot number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include
guaranteeing a minimum price or making an
advance to the consignor that is secured solely by
consigned property. Where Christies holds such
financial interest on its own we identify such lots
with the symbol next to the lot number.
Where Christies has financed all or part of such
interest through a third party the lots are identified
in the catalogue with the symbol u. When a
third party agrees to finance all or part of Christies
interest in a lot, it takes on all or part of the risk of
the lot not being sold, and will be remunerated in
exchange for accepting this risk based on a fixed fee
if the third party is the successful bidder or on the
final hammer price in the event that the third party
is not the successful bidder. The third party may also
bid for the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against the
final purchase price. If the lot is not sold, the third
party may incur a loss. Please see http://www.
christies.com/financial-interest/ for a more detailed
explanation of minimum price guarantees and third
party financing arrangements.
Where Christies has an ownership or financial
interest in every lot in the catalogue, Christies will
not designate each lot with a symbol, but will state
its interest in the front of the catalogue.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION
Christies catalogues include references to condition
only in descriptions of multiple works (such as
prints, books and wine). For all other property,
only alterations or replacement components are
listed. Please contact the Specialist Department
for a condition report on a particular lot. The
nature of the lots sold in our auctions is such that
they will rarely be in perfect condition, and are
likely, due to their nature and age, to show signs
of wear and tear, damage, other imperfections,
restoration or repair. Any reference to condition
in a catalogue entry will not amount to a full
description of condition. Condition reports are
usually available on request, and will supplement
the catalogue description. In describing lots, our
staff assess the condition in a manner appropriate to
the estimated value of the item and the nature of
the auction in which it is included. Any statement
as to the physical nature or condition of a lot, in a
catalogue, condition report or otherwise, is given
honestly and with appropriate care. However,
Christies staff are not professional restorers or
trained conservators and accordingly any such
statement will not be exhaustive. We therefore
recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to
you in advance of bidding.
30/09/14
108
PROPERTY INCORPORATING MATERIALS

FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. Such material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whale bone and certain species of
coral, together with Brazilian rosewood. Prospective
purchasers are advised that several countries prohibit
altogether the importation of property containing
such materials, and that other countries require a
permit (e.g., a CITES permit) from the relevant
regulatory agencies in the countries of exportation
as well as importation. Accordingly, clients should
familiarise themselves with the relevant customs laws
and regulations prior to bidding on any property
with wildlife material if they intend to import the
property into another country. Please note that it is
the clients responsibility to determine and satisfy the
requirements of any applicable laws or regulations
applying to the export or import of property
containing endangered and other protected wildlife
material. The inability of a client to export or import
property containing endangered and other protected
wildlife material is not a basis for cancellation or
rescission of the sale. Please note also that lots
containing potentially regulated wildlife material are
marked as a convenience to our clients, but Christies
does not accept liability for errors or for failing to
mark lots containing protected or regulated species.
RECENT CHANGES TO IMPORTS OF
ELEPHANT IVORY AND OTHER WILDLIFE
MATERIAL INTO THE USA
The USA has recently changed its policy on the
import of property made of or containing elephant
ivory. Only Asian Elephant ivory may be imported
into the USA, and imports must be accompanied by
DNA analysis and confirmation the object is more
than 100 years old. We have not obtained a DNA
analysis on any lot prior to sale and cannot indicate
whether the elephant ivory in a particular lot is
African or Asian elephant. Buyers purchase these
lots at their own risk and will be responsible for the
costs of obtaining any DNA analysis or other report
required in connection with their proposed import of
such property into the USA.
The USA is also currently requiring all imports of
property made of or containing wildlife material
to be accompanied by a scientific confirmation of
species and in some cases an additional confirmation
of age. We have not obtained such confirmations
prior to sale (unless specifically indicated) and
buyers will be responsible for the costs of any such
additional confirmations or opinions required for
their proposed import into the USA.
A buyers inability to export or import any lot
containing elephant ivory or other wildlife material
is not a basis for cancelling the purchase.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works
of art. These items may not comply with the
provisions of the Furniture and Furnishings (Fire)
(Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations). Accordingly, these items
should not be used as furniture in your home in
their current condition. If you do intend to use such
items for this purpose, you must first ensure that
they are reupholstered, restuffed and/or recovered
(as appropriate) in order that they comply with the
provisions of the Regulations.
EXPLANATION OF
CATALOGUING PRACTICE
The following expressions with their accompanying explanations are used by Christies as standard
cataloguing practice. Our use of these expressions
does not take account of the condition of the lot or
of the extent of any restoration.
Buyers are recommended to inspect the property
themselves. Written condition reports are usually
available on request.
Name(s) or Recognised Designation of an Artist
without any Qualifcation
In Christies opinion a work by the artist.
*Attributed to
In Christies qualifed opinion probably a work by
the artist in whole or in part.
*Studio of /Workshop of
In Christies qualifed opinion a work executed in
the studio or workshop of the artist, possibly under
his supervision.
*Circle of
In Christies qualifed opinion a work of the period
of the artist and showing his infuence.
*Follower of
the artists style but not necessarily by a pupil.
*Manner of
the artists style but of a later date.
*After
In Christies qualifed opinion a copy (of any date)
of a work of the artist.
Signed /Dated /
Inscribed
In Christies qualifed opinion the work has been
signed/dated/inscribed by the artist.
With signature /With date /
With inscription
In Christies qualifed opinion the signature/
date/inscription appears to be by a hand other than
that of the artist.
The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date
when prefxed with circa) on which the matrix
was worked and not necessarily the date when the
impression was printed or published.
Prints
The date given for Prints is the date (or approximate
date when prefxed with ca) on which the matrix
was worked and not necessarily the date when the
impression was printed or published. Measurements
are taken where possible, from the platemark (P),
otherwise they record the size of the sheet (S) or
the borderline of the subject (L).
GLOSSARY OF CATALOGUING TERMS

AQUATINT
An etching process in which tone is created by
treating a plate with fne particles of acid-resistant
material (like powdered resin) and then placing the
plate in an acid bath. The acid bites into the plate
between the grains of resin and, when printed, the
mass of tiny spots produces a textured area with
tonal effects similar to watercolor wash.
ARTISTS PROOF/EPREUVE DARTISTE
Impressions printed especially for the artist and
excluded from the numbering of an edition, but
exactly like the editioned prints in every other
respect. Usually appears as A.P. or E.A.
BLINDSTAMP/CHOP
The embossed, inked, or stamped symbol used by
printers and print workshops, usually in the margin
of the paper as a mark of identifcation.
BON TIRER/RIGHT TO PRINT
The proof approved by the artist which establishes
the standard for all of the other prints in the edition.
BURR
When using a drypoint needle or other engraving
tool to draw directly into a metal plate, small, fne
pieces of metal are raised up on both sides of the
scored line. This burr holds additional ink during
the printing process and gives the lines a velvety or
fuzzy texture. Burr is very delicate and consequently
is easily worn down during the pressures of the
printing process. Early pulls or impressions taken
from such plates are characterized by rich burr. In
the case of Old Master prints especially, the quantity
and evidence of burr can sometimes be used as an
aid in determining how early the impression was
pulled.
CANCELLATION PROOF
When the edition is complete, the matrix a block,
plate, stone, mylar or other is effaced, crossed out
or otherwise cancelled.
An impression is then taken from this matrix,
showing that the plate has been cancelled. This
ensures that no further uncancelled impressions can
be pulled.
CARBORUNDUM
The trade name for silicon carbide, carborundum
began its use in printmaking as an abrasive which
was used in effacing lithographic stones. The
particles, when mixed together with glue, can also
be used to draw on a platesometimes creating
a raised surfacewhich is then inked and printed
with the ink being held in the spaces between the
particles. The resulting prints are often textured due
to the raised areas of the printing surface.
CATALOGUE RAISONN
A scholarly catalogue which should include all the
known works by an artist at the time of publication.
Essential information by which works are identifed
is included.
CHINE APPLIQU/CHINE COLL
A method of adhering a thin paper, sometimes of
a different color or texture, onto a larger, heavier
sheet during the printing process using glue or water
to dampen and coat the papers.
COLOPHON/JUSTIFICATION
A note, usually at the end of a book or portfolio
of prints, giving all or some of the following
information: name of work, author, printer, place of
printing, date, size of edition.
ENGRAVING
An intaglio process in which a plate is marked or
incised directly with a burin or other metal-marking
tool. No acid is used in this process since the design
is dug out by hand. An engraved line can range
from very deep and wide, to lighter and thinner and
is often characterized by a pointed end signaling the
exit of the v shaped burin from the metal.
ETCHING
An intaglio process in which a plate is treated with
an acid-resistant ground. The artist then draws
through the ground with various tools to expose the
metal. The plate is then immersed in an acid bath
where the acid bites or chemically dissolves the
exposed lines. The metal plate is therefore carved
or etched by the acid rather than by a tool directly
in the metal.
FOUL-BITING
When the acid-resistant ground on a metal plate
does not keep the acid entirely out, irregularities can
appear. These bitten areas will, when the plate
is printed, catch ink and appear as spots or oddly
inked areas.
FRONTISPIECE
Illustration in a book opposite the title page.
DECKLE EDGE
The natural, untrimmed edge of handmade paper
usually slightly uneven and sometimes slightly
thinner than the rest of the sheet.
HELIOGRAVURE
A method of making a photo-etched or
photogravure plate using an aquatint texture directly
on the plate to create tone.
DRYPOINT
An intaglio process in which a plate is marked or
incised directly with a needle. The drypoint line can
look very much like an etched line but is usually
lighter and characterized by the existence of burr.
HORS-COMMERCE/H.C.
Meaning outside of the commercial edition,
these proofs, not originally intended for sale, are
excluded from the numbering of an edition, but are
otherwise exactly like the editioned prints in every
other respect.
EDITION
The total number of impressions pulled off a single
image or set of images from the same matrix. To
this number the artist usually authorizes the addition
of a small number of artists, printers, publishers
and other proofs.
EMBOSSING
A process used to create a raised surface or raised
element, but printed without ink.
INTAGLIO
All matrices which have either been cut into or
bitten into. The resulting dug out lines are
printed. Intaglio processes include etching, aquatint,
engraving, mezzotint and metal engravings, among
others.
LINOCUT/LINOLEUM CUT
A relief process, like a woodcut, where the artist
carves the design out of the linoleum or linoleum
mounted onto wood. What remains is printed,
rather than what is cut away.
Please note all lots are unframed unless stated.

Full condition reports can be found online at www.christies.com
109
GLOSSARY OF CATALOGUING TERMS

LITHOGRAPHY
A planographic printing process where a drawing
is made directly on a stone or other smooth matrix
with greasy materials such as lithographic crayon.
The surface is then dampened with water, which
is repelled by the greasy areas. The surface is then
rolled with greasy printing ink which adheres only
to the greasy areas and is itself repelled by the areas
which have water. The drawn image is then printed.
MASTER PRINTER
A highly skilled printer who works very closely
with the artist to produce the edition.
MATRIX
The base from which the print is made. This can
be anything a standard metal plate or lithographic
stone, a potato or vinyl record,
a stencil anything from which you print.
MEZZOTINT
An intaglio method in which the entire surface of
the plate is roughened by a spiked tool (rocker)
so that, if inked, the entire plate would print in
solid black. The artist then works from black to
white by scraping (or burnishing) out areas to
produce lighter tones.
MONOTYPE
A unique image printed from an unworked,
smooth, metal or glass surface painted in ink by
the artist.
MONOPRINT
A print which has as its base an etching, lithograph
or woodcut and which is then uniquely altered by
monotype coloring, unique inking, or choices in
paper color.
OFFSET PRINTING
Method of printing in which the inked image from
a lithographic stone, a metal plate or other matrix is
frst transferred to an intermediary such as a rubber
cylinder or blanket and then to paper, thus creating
an image in the same direction as the original.
PHOTO-ETCHING/PHOTOGRAVURE
An intaglio process in which an image is produced
on an etching plate by photographic means. (See
also Heliogravure)
PHOTO-LITHOGRAPH
A process in which an image is produced on a
lithographic plate by photographic means.
110
PLANOGRAPHIC PRINT
Printing from a flat surface. Planographic processes
include lithography and some forms of commercial
printing.
PLATE MARK
The imprint in the paper resulting from the edge
of a metal plate being pushed into it during the
pressure of the printing process.
PLATE TONE
A veil of ink intentionally left on the surface of the
plate during printing which creates delicate areas of
tone or shading.
POCHOIR
A printing process using stencils, originally used to
simulate hand-coloring.
PRINTERS PROOFS
Impressions printed especially for the printer(s)
and excluded from the numbering of an edition,
but exactly like the editioned prints in every other
respect. Usually appears as P.P.
PROGRESSIVE PROOFS
Series of proofs taken to show each individual color
plate and each combination of them culminating in
the fnal, complete version.
PUBLISHER
The person or entity who subsidizes and often
initiates the making of a print edition or portfolio
and who also disseminates the prints.
RELIEF PRINTING
When the image is printed from the raised or
uncarved portion of the matrix. Relief processes
include woodcuts and linocuts, among others.
SCREENPRINT/SILKSCREEN
A printing process using stencils to block out areas
which are then printed through silk, other fabric or
metal mesh.
SOFT-GROUND ETCHING
An etching technique where a soft ground is laid
on the metal plate. The artist draws onto a piece
of paper which is laid down on top of the ground.
The ground adheres to the paper where the pencil
or other tool has pressed down into it through the
paper and pulls away when the paper is lifted. The
resulting marked plate is placed in an acid-bath
where the acid bites into the more exposed areas
where the ground has been lifted.
The line created is often soft and grainy.
STATE
An impression taken from the plate at a particular
moment or stage of development and distinguished
from impressions taken at other times during that
process. The fnal State is the state from which
editions are generally pulled, although some artists
pull several impressions in each state.
STEEL FACING
When a metal intaglio plate is covered with a thin
deposit of steel using electrolysis creating a much
harder surface which can accommodate larger
numbers of printings before wear becomes evident.
TRIAL PROOF
An early proof, often incorporating artists revisions
and changes and generally not identical to the
numbered, editioned prints. Also referred to as
Working Proof.
TUSCHE
Grease in stick or liquid form used principally for
drawing in lithography.
WATERMARK
Design in the paper seen when held against the
light. A manufacturers mark, it is used to trace the
origin and date of the paper.
WAXTYPE
A process like screenprinting where pigmented
beeswax is used rather than traditional printers ink.
WOODCUT
A relief technique where the image or design is left
raised above what is carved out of the wood. What
is not carved is printed.
BUYING AT CHRISTIES
CONDITIONS OF SALE
Christies Conditions of Sale and Limited Warranty are set out
later in this catalogue. Bidders are strongly encouraged to read
these as they set out the terms on which property is bought
at auction.
ESTIMATES
Estimates are based upon prices recently paid at auction for
comparable property, condition, rarity, quality and provenance.
Estimates are subject to revision. Buyers should not rely upon
estimates as a representation or prediction of actual selling
prices. Estimates do not include the buyers premium or VAT.
Where Estimate on Request appears, please contact the
Specialist Department for further information.
RESERVES
The reserve is the confidential minimum price the consignor
will accept and will not exceed the low pre-sale estimate. Lots
that are not subject to a reserve are identified by the symbol
next to the lot number.
BUYERS PREMIUM
Christies charges a premium to the buyer on the final bid
price of each lot sold at the following rates: 25% of the final
bid price of each lot up to and including 50,000, 20% of
the excess of the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and Cigars: 17.5%
of the final bid price of each lot. VAT is payable on the
premium at the applicable rate.
PRE-AUCTION VIEWING
Pre-auction viewings are open to the public free of charge.
Christies specialists are available to give advice and condition
reports at viewings or by appointment.
BIDDER REGISTRATION
Prospective buyers who have not previously bid or consigned
with Christies should bring:
Individuals: government-issued photo identification (such as
a photo driving licence, national identity card, or passport) and,
if not shown on the ID document, proof of current address, for
example a utility bill or bank statement.
Corporate clients: a certificate of incorporation.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at + 44 (0)20 7839 2825 for advice on the
information you should supply.
A financial reference in the form of a recent bank statement
or a reference from your bank in line with your expected
purchase level. Christies can supply a form of wording for the
bank reference if necessary.
Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies should bring
identification documents not only for themselves but also for
the party on whose behalf they are bidding, together with a
signed letter of authorisation from that party.
To allow sufficient time to process the information, new clients
are encouraged to register at least 48 hours in advance of a sale.
Prospective buyers should register for a numbered bidding
paddle at least 30 minutes before the auction. Clients who have
not made a purchase from any Christies office within the last
one year and those wishing to spend more than on previous
occasions, will be asked to supply a new bank reference.
For assistance with references, please contact Christies Credit
Department at +44 (0)20 7389 2862 (London, King Street)
or at +44 (0)20 7752 3137 (London, South Kensington). We
may at our option ask you for a financial reference or a
deposit as a condition of allowing you to bid.
REGISTERING TO BID ON SOMEONE ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to act
on the clients behalf. Please note that Christies does not
accept payments from third parties. Christies can only accept
payment from the client, and not from the person bidding
on their behalf.
BIDDING
The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or by absentee written bids left
with Christies in advance of the auction. The auctioneer may
also execute bids on behalf of the seller up to the amount of
the reserve. The auctioneer will not specifically identify bids
placed on behalf of the seller. Under no circumstances will the
auctioneer place any bid on behalf of the seller at or above the
reserve. Bid steps are shown on the Absentee Bid Form at the
back of this catalogue.
ABSENTEE BIDS
Absentee bids are written instructions from prospective buyers
directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies staff will attempt to
execute an absentee bid at the lowest possible price, taking
into account the reserve price. Absentee bids submitted on no
reserve lots will, in the absence of a higher bid, be executed
at approximately 50% of the low pre sale estimate or at the
amount of the bid if it is less than 50% of the low pre-sale
estimate.The auctioneer may execute absentee bids directly
from the rostrum, clearly identifying these as absentee bids,
book bids, order bids or commission bids. Absentee
Bids Forms are available in this catalogue, at any Christies
location, or online at christies.com.
20/11/13
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated below
2,000. Arrangements must be confirmed with the Bid
Department at least 24 hours prior to the auction at +44 (0)20
7389 2658 (London, King Street) or +44 (0)20 7752 3225
(London, South Kensington). Arrangements to bid in languages
other than English must be made well in advance of the sale
date. Telephone bids may be recorded. By bidding on the
telephone, prospective purchasers consent to the recording of
their conversation.
SUCCESSFUL BIDS
While Invoices are sent out by mail after the auction we do not
accept responsibility for notifying you of the result of your bid.
Buyers are requested to contact us by telephone or in person as
soon as possible after the sale to obtain details of the outcome
of their bids to avoid incurring unnecessary storage charges.
Successful bidders will pay the price of the final bid plus
premium plus any applicable VAT.
PAYMENT
Buyers are expected to make payment for purchases
immediately after the auction. To avoid delivery delays,
prospective buyers are encouraged to supply bank or other
suitable references before the auction. Please note that Christies
will not accept payments for purchased Lots from any party
other than the registered buyer.
Lots purchased in London may be paid for in the following
ways: wire transfer, credit card: Visa and MasterCard & American
Express only (up to 25,000), and cash (up to 5,000 (subject
to conditions)), bankers draft (subject to conditions) or cheque
(must be drawn in GBP on a UK bank; clearance will take 5 to
10 business days).
Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217
72 Lombard Street, London
EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for
international transfers, SWIFT LOYDGB2LCTY. For banks
asking for an IBAN: GB81 LOYD 3000 0200 1727 10.
Credit Card: Visa and MasterCard & American Express only. A
limit of 25,000 for credit card payments will apply. This limit
is inclusive of the buyers premium and any applicable taxes.
Credit card payments at London sale sites will only be accepted
for London sales. Christies will not accept credit card payments
for purchases made in any other sale site. The fax number to
send completed CNP (Card Member not Present) authorisation
forms to is +44 (0) 20 7389 2821. The number to call to make
a CNP payment over the phone is +44 (0) 20 7752 3388.
Alternatively, clients can mail the authorisation form to the
address below.
Cash is limited to 5,000 (subject to conditions).
Bankers Draft should be made payable to Christies (subject to
conditions).
Cheques should be made payable to Christies (must be
drawn in GBP on a UK bank, clearance will take 5 to 10
business days).
In order to process your payment efficiently, please quote
sale number, invoice number and client number with all
transactions.
All mailed payments should be sent to:
Christies, Cashiers Department,
8 King Street, St Jamess, London, SW1Y 6QT
Please direct all inquiries to King Street
Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863
VAT
VAT payable at 20% on hammer price and buyers premium

*
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable (at
5%) on the Hammer price. VAT is also payable (at 20%) on
the buyers Premium on a VAT inclusive basis. This VAT is
not shown separately on the invoice. When a buyer of such a
lot has registered an EU address but wishes to export the lot or
complete the import into another EU country, he must advise
Christies immediately after the auction.
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable
(at 20%) on the Hammer price. VAT is also payable (at 20%)
on the buyers Premium on a VAT inclusive basis. This VAT
is not shown separately on the invoice. Where applicable
Customs duty will be charged (per rate specified by HMRC
guidance) on the Hammer price and VAT will be payable at
20% on duty. When a buyer of such a lot has registered an EU
address but wishes to export the lot or complete the import
into another EU country, he must advise Christies immediately
after the auction.
BuyersfromwithintheEU:
VAT payable at 20% on just the buyers premium (NOT the
hammer price).
BuyersfromoutsidetheEU:
VAT payable at 20% on hammer price and buyers premium.
If a buyer, having registered under a non-EU address, decides
that the item is not to be exported from the EU, then he
should advise Christies to this effect immediately
q Z
ero rated
No VAT charged.
(no symbol) Auctioneers Margin Scheme
In all other circumstances no VAT will be charged on the
hammer price, but VAT payable at 20% will be added to the
buyers premium which is invoiced on a VAT inclusive basis.
WineAuctions
This wine is in bond. You can choose to take the wine
in bond or duty paid. See the additional conditions of sale
relating to wine for further details.
VATRefunds
Refunds cannot be made where lots have been purchased with
an inside EU address. Christies can only refund Import VAT
(Lots with * or symbol) if lots are exported within 30 days
of collection. Valid export documents must be returned within
the stipulated time frame. No refund will be paid out where
the total amount is less than 100. UK & EU private buyers
cannot reclaim VAT. Christies will charge 35 for each
refund processed. For detailed information please see the leaflets
available, or email info@Christies.com
Where non-EU buyers have failed to export their lots outside
of the EU within the required time, HM Revenue & Customs
will not allow a VAT refund to be made. This is a requirement
of UK legislation and Christies do not have discretion to make
exceptions to the rule. UK and EU private buyers cannot
reclaim any VAT charged.
ARTISTS RESALE RIGHT (DROIT DE SUITE)
If a lot is affected by this right it will be identified with the
symbol next to the lot number. The buyer agrees to pay to
Christies an amount equal to the resale royalty. Resale royalty
applies where the Hammer Price is 1,000 Euro or more and
the amount cannot be more than 12,500 Euro per lot. The
amount is calculated as follows:
Royalty
4.00%
3.00%
1.00%
0.50%
0.25%
For the portion of the Hammer Price (in Euro)

up to 50,000
between 50,000.01 and 200,000
between 200,000.01 and 350,000
between 350,000.01 and 500,000
in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the

purposes of calculating the resale royalty the Pounds Sterling/
Euro rate of exchange will be the European Central Bank
reference rate on the day of the sale.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers request and expense. Buyers should request an
estimate for any large items or property of high value that
require professional packing. A shipping form is enclosed with
each invoice, alternatively buyers can visit www.christies.com/
shipping to request a shipping estimate. For more information
please contact the Shipping Department at + 44 (0)20 7389
2712 or via
ArtTransport_London@christies.com for both London,
King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
ChristiesArtTransport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
ChristiesVATauthorisedShipper:
If you use a Christies VAT authorised shipper you will not be
required to pay the VAT at the time of settlement.
OwnShipper:
VAT will be charged on the invoice, refundable by the VAT
Department upon receipt of the appropriate official documents
sent to us by your shipper.
Hand-Carried:
VAT will be charged on the invoice.This will be refunded by
the VAT Department upon receipt of the appropriate official
document.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies Shipping Department .This document must be
stamped by UK Customs on leaving the UK.
(no symbol)
Margin Scheme lots Please obtain GB Tax Free form from
the Cashiers. This document must be stamped by UK Customs
on leaving the UK.
Starred or Omega lots must be exported within 30 days of the
date of collection. All other lots not subject to import VAT
must be exported within three months of collection, and proof
of export provided in the appropriate form.
EXPORT/IMPORT PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers sole responsibility to obtain any
relevant export or import licence. The denial of any licence or
any delay in obtaining licences shall neither justify the rescission of
any sale nor any delay in making full payment for the lot.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
cannot ensure that a licence will be obtained. Local laws may
prohibit the import of some property and/or may prohibit
the resale of some property in the country of importation.
For more information, please contact Christies Shipping
Department at +44 (0)20 7389 2828 or the Museums, Libraries
and Archives Council: Acquisitions, Export and Loans Unit at
+44 (0)20 7273 8269/8267.
111

STORAGE & COLLECTION CHARGES
Specified lots, marked with a filled square ( ) not
cleared from Christies by 5.00 pm on the day of
the sale and all sold and unsold lots not cleared from
Christies by 5.00 pm on the fifth Friday following
the sale will be removed to the warehouse of:
Cadogan Tate Fine Art Logistics Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
Lots will be available for collection on the first full
business week after transfer to Cadogan Tate Fine
Art Logistics Ltd and every business weekday from
9.00 am to 5.00 pm.
Property, once paid, can be released to Christies
Fine Art Storage Services (CFASS) in London,
New York or Singapore FreePort at any time for
environmentally controlled long term storage, per
client request. CFASS is a separate subsidiary of
Christies and clients enjoy complete confidentiality.
Visit www.cfass.com, or contact london@cfass.com.
Telephone: +44 (0)20 7622 0609 for details.
TRANSFER, STORAGE & RELATED
CHARGES (PER LOT)
CHARGES
Furniture/
Large Objects
Transfer/Admin
Storage per day
Extended
Liability Charge:
42.00
21.00
5.25
2.65
The lower amount of 0.6% of
Hammer Price or 100% of the
above charges
Pictures/
Small Objects
All charges are subject to VAT. Very large or heavy

items may be subject to a surcharge.
COLLECTION & PAYMENT OF ANY

CHARGES DUE
Lots will be available for collection from
Cadogan Tate at
Cadogan Tate Fine Art Logistics Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
on every business day after the day of transfer,
from 9.00 am until 5.00 pm.
Lots may only be released by Cadogan Tate upon
a) production of the Collection Order obtained
from the cashiers office at Christies, 85 Old
Brompton Road, London SW7 or Christies,
8 King Street, London SW1
b) payment of any charges that may be due to
Cadogan Tate
To assist Cadogan Tate to provide a swift release
please telephone on the business day prior to
collection to ensure that Lots are available and to
ascertain any charges due. If sending a carrier please
ensure that they are provided with all necessary
information, your written authority to collect, the
Collection Order and the means to settle any charges.
COLLECTION FROM CADOGAN TATE
Please note that Cadogan Tates opening hours
are Monday to Friday 9.00 am to 5.00 pm, and
purchases transferred to their warehouse are not
available for collection at weekends.
EXTENDED LIABILITY CHARGES

All services provided by Fine Art Logistics Ltd
(Cadogan Tate) will be subject to their standard
Conditions of Business, copies of which are
available at Christies South Kensington. Please
note in particular that Cadogan Tate
does not accept any liability for damage or loss,
due to its negligence or otherwise, exceeding the
Hammer Price of a Lot plus associated Buyers
Premium, or, at its sole option, the cost of repairing
or replacing the damaged or missing Lot and
it reserves a lien over all goods in its possession
for payment of storage and all other charges due
to it and
it automatically arranges on behalf of the Lots
owner and at the owners cost, insurance of the
Lot for the sum of the Hammer price plus Buyers
Premium. The Extended Liability Charge covers
the Lot from the time of collection from the
saleroom until release of the Lot to the owner or
the owners agent. The Extended Liability Charge
payable by the owner of the Lot is 0.6% of the
sum of the Hammer Price and Buyers Premium or
100% of the transfer and storage charges, whichever
is the smaller. This Extended Liability will not be
arranged and no charge will be payable only on
receipt by Cadogan Tate of advance written notice
from the owner of the lot together with formal
waiver of subrogation from the owners insurers.
Christies Fine Art Storage Services (CFASS)
also offers storage solutions for fine art, antiques and
collectibles in New York and Singapore FreePort.
CFASS is a separate subsidiary of Christies and
clients enjoy complete confidentiality.
Visit www.cfass.com for charges and other details.
Please note that there will be no charge to

purchasers who collect their lots within two
weeks of this sale.
Cadogan TaTe Warehouse

241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
112
10/06/14
CONDITIONS OF SALE
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out the
terms governing the legal relationship of Christies
and the seller with the buyer. You should read them
carefully before bidding.
3. AT THE SALE
(a) Refusal of admission
Christies has the right, at our complete discretion,
to refuse admission to the premises or participation
in any auction and to reject any bid.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent for
the seller. The contract for the sale of the property is
therefore made between the seller and the buyer.
(b) Registration before bidding

Prospective buyers who wish to bid in the saleroom
can register online in advance of the sale, or
can come to the saleroom on the day of the sale
approximately 30 minutes before the start of the
sale to register in person. Prospective buyers must
complete and sign a registration form with his
or her name and permanent address, and provide
identification before bidding. We may require the
production of bank details from which payment will
be made or other financial references.
2.
CATALOGUE DESCRIPTIONS
AND CONDITION
Lots are sold as described and otherwise in the
condition they are in at the time of the sale, on the
following basis.
(a) Condition
The nature of the lots sold in our auctions is such that
they will rarely be in perfect condition, and are likely,
due to their nature and age, to show signs of wear
and tear, damage, other imperfections, restoration or
repair. Any reference to condition in a catalogue entry
will not amount to a full description of condition.
Condition reports are usually available on request,
and will supplement the catalogue description. In
describing lots, our staff assess the condition in a
manner appropriate to the estimated value of the item
and the nature of the auction in which it is included.
Any statement as to the physical nature or condition
of a lot, in a catalogue, condition report or otherwise,
is given honestly and with appropriate care. However,
Christies staff are not professional restorers or trained
conservators and accordingly any such statement will
not be exhaustive. We therefore recommend that you
always view property personally, and, particularly
in the case of any items of significant value, that
you instruct your own restorer or other professional
adviser to report to you in advance of bidding.
(b) Cataloguing Practice
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice, which appear after the catalogue entries.
(c) Attribution etc
Any statements made by Christies about any lot,
whether orally or in writing, concerning attribution
to, for example, an artist, school, or country of origin,
or history or provenance, or any date or period, are
expressions of our opinion or belief. Our opinions and
beliefs have been formed honestly and in accordance
with the standard of care reasonably to be expected
of an auction house of Christies standing, due regard
having been had to the estimated value of the item
and the nature of the auction in which it is included.
It must be clearly understood, however, that, due to
the nature of the auction process, we are unable to
carry out exhaustive research of the kind undertaken
by professional historians and scholars, and also that, as
research develops and scholarship and expertise evolve,
opinions on these matters may change. We therefore
recommend that, particularly in the case of any item of
significant value, you seek advice on such matters from
your own professional advisers.
(d) Estimates
Estimates of the selling price should not be relied on
as a statement that this is the price at which the item
will sell or its value for any other purpose.
(e) Fitness for Purpose
Lots sold are enormously varied in terms of age, category
and condition, and may be purchased for a variety
of purposes. Unless otherwise specifically agreed, no
promise is made that a lot is fit for any particular purpose.
(c) Bidding as principal

When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Christies, and that Christies will only
look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone. Bids
must be placed in the currency of the place of the
sale. Please refer to the catalogue for the Absentee
Bids Form. If we receive written bids on a particular
lot for identical amounts, and at the auction these
are the highest bids on the lot, it will be sold to
the person whose written bid was received and
accepted first. Execution of written bids is a free
service undertaken subject to other commitments
at the time of the sale and provided that we have
exercised reasonable care in the handling of written
bids, the volume of goods is such that we cannot
accept liability in any individual instance for failing
to execute a written bid or for errors and omissions
in connection with it arising from circumstances
beyond our reasonable control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them to
participate in the bidding by telephone but we do
not accept liability for failure to do so or for errors
and omissions in connection with telephone bidding
arising from circumstances beyond our reasonable
control.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of
the currency converter. Where these arise from
circumstances beyond our reasonable control we
do not accept liability to bidders who follow the
currency converter rather than the actual bidding in
the saleroom.
(g) Video or digital images
At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
next to the lot number. The auctioneer may open
the bidding on any lot below the reserve by placing
a bid on behalf of the seller. The auctioneer may
continue to bid on behalf of the seller up to the
amount of the reserve, either by placing consecutive
bids or by placing bids in response to other bidders.
(i) Auctioneers discretion
The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the bidding
in such a manner as he may decide, withdrawing or
dividing any lot, combining any two or more lots
and, in the case of error or dispute, and whether
during or after the sale, determining the successful
bidder, continuing the bidding, cancelling the sale
or reoffering and reselling the item in dispute. If
any dispute arises after the sale, then, in the absence
of any evidence to the contrary the sale record
maintained by the auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion, the
highest bidder accepted by the auctioneer will be
the buyer and the striking of his hammer marks the
acceptance of the highest bid and the conclusion of
a contract for sale between the seller and the buyer.
Risk and responsibility for the lot (including frames
or glass where relevant) passes to the buyer at the
expiration of seven calendar days from the date of
the sale or on collection by the buyer if earlier.
4. AFTER THE SALE
(a) Buyers premium
In addition to the hammer price, the buyer agrees
to pay to us the buyers premium together with any
applicable value added tax. The buyers premium
is 25% of the final bid price of each lot up to and
including 50,000, 20% of the excess of the hammer
price above 50,000 and up to and including
1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and
Cigars: 17.5% of the final bid price of each lot, VAT
is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply to
the lot the buyer also agrees to pay to us an amount
equal to the resale royalty provided for in those
Regulations. Lots affected are identified with the
symbol next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers premium
and any applicable taxes or resale royalty)
immediately after the sale. This applies even if
the buyer wishes to export the lot and an export
licence is, or may be, required. The buyer will not
acquire title to the lot until all amounts due to us
from the buyer have been received by us in good
cleared funds even in circumstances where we have
released the lot to the buyer.
09/08/13
113
(d) Collection of purchases

We shall be entitled to retain items sold until all
amounts due to us, or to Christies International
plc, or to any of its affiliates, subsidiaries or parent
companies worldwide, have been received in full in
good cleared funds or until the buyer has performed
any other outstanding obligations as we, at our sole
discretion, shall require, including, for the avoidance
of doubt, completing any anti-money laundering or
anti-terrorism financing checks we may require to our
satisfaction. In the event a buyer fails to complete any
anti-money laundering or anti-terrorism financing
checks to our satisfaction, Christies shall be entitled
to cancel the sale and to take any other actions that are
required or permitted under applicable law. Subject
to this, the buyer shall collect purchased lots within
two calendar days from the date of the sale unless
otherwise agreed between us and the buyer.
transactions, to apply any amount paid to

discharge any amount owed in respect of any
particular transaction, whether or not the buyer
so directs;
(viii) to 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;
(ix) to exercise all the rights and remedies of a
person holding security over any property in our
possession owned by the buyer, whether by way
of pledge, security interest or in any other way,
to the fullest extent permitted by the law of the
place where such property is located. The buyer
will be deemed to have granted such security to
us and we may retain such property as collateral
security for such buyers obligations to us;
(x) to take such other action as we deem necessary
or appropriate.
(e) Packing, handling and shipping

Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot and in selecting third parties for these purposes,
we are not responsible for the acts or omissions of
any such third parties. Similarly, where we suggest
other handlers, packers or carriers if so requested,
our suggestions are made on the basis of our general
experience of such parties in the past and we are not
responsible to any person to whom we have made
a recommendation for the acts or omissions of the
third party concerned.
If we resell the property under paragraph (iv) above,

the defaulting buyer shall be liable for payment of
any deficiency between the total amount originally
due to us and the price obtained upon resale as well
as for all reasonable costs, expenses, damages, legal
fees and commissions and premiums of whatever
kind associated with both sales or otherwise arising
from the default. If we pay any amount to the seller
under paragraph (v) above, the buyer acknowledges
that Christies shall have all of the rights of the seller,
however arising, to pursue the buyer for such amount.
(f) Export licence

Unless otherwise agreed by us in writing, the fact
that the buyer wishes to apply for an export licence
does not affect his or her obligation to make payment
immediately after the sale nor our right to charge
interest or storage charges on late payment. If the
buyer requests us to apply for an export licence on his
or her behalf, we shall be entitled to make a charge for
this service. We shall not be obliged to rescind a sale
nor to refund any interest or other expenses incurred
by the buyer where payment is made by the buyer in
circumstances where an export licence is required.
(g) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within 7 days after the sale, we shall
have the right to exercise a number of legal rights
and remedies. These include, but are not limited to,
the following:
(i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;
(ii) to hold the defaulting buyer liable for the
total amount due and to commence legal
proceedings for its recovery together with
interest, legal fees and costs to the fullest extent
permitted under applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid
by the defaulting buyer;
(vi) to set off against any amounts which we,
or Christies International plc, or any of its
affiliates, subsidiaries or parent companies
worldwide, may owe the buyer in any other
transactions, the outstanding amount remaining
unpaid by the buyer;
(vii) where several amounts are owed by the buyer
to us, or to Christies International plc, or
to any of its affiliates, subsidiaries or parent
companies worldwide, in respect of different
(h) Failure to collect purchases

Where purchases are not collected within two calendar
days from the date of the sale, whether or not payment
has been made, we shall be permitted to remove the
property to a third party warehouse at the buyers
expense, and only release the items after payment in full
has been made of removal, storage, handling, and any
other costs reasonably incurred, together with payment
of all other amounts due to us.
(i) Selling Property at Christies
In addition to expenses such as transport, all
consignors pay a commission according to a fixed
scale of charges based upon the value of the property
sold by the consignor at Christies in a calendar year.
Commissions are charged on a sale by sale basis.
5. LIMITED WARRANTY
In addition to Christies liability to buyers set out in
clause 2 of these Conditions, but subject to the terms
and conditions of this paragraph, Christies warrants for
a period of five years from the date of the sale that any
property described in headings printed in UPPER CASE
TYPE (i.e. headings having all capital-letter type) in
this catalogue (as such description may be amended by
any saleroom notice or announcement) which is stated
without qualification to be the work of a named author
or authorship, is authentic and not a forgery. The term
author or authorship refers to the creator of the
property or to the period, culture, source or origin, as the
case may be, with which the creation of such property
is identified in the UPPER CASE description of the
property in this catalogue. Only UPPER CASE TYPE
headings of lots in this catalogue indicate what is being
warranted by Christies. Christies warranty does not
apply to supplemental material which appears below
the UPPER CASE TYPE headings of each lot and
Christies is not responsible for any errors or omissions
in such material. The terms used in the headings are
further explained in Important Notices and Explanation
of Cataloguing Practice. The warranty does not apply
to any heading which is stated to represent a qualified
opinion. The warranty is subject to the following:
(i)
(ii)
(iii)
(iv)
(v)
(vi)
It does not apply where (a) the catalogue

description or saleroom notice corresponded
to the generally accepted opinion of scholars
or experts at the date of the sale or fairly
indicated that there was a conflict of opinions;
or (b) correct identification of a lot can be
demonstrated only by means of either a
scientific process not generally accepted for
use until after publication of the catalogue or
a process which at the date of publication of
the catalogue was unreasonably expensive or
impractical or likely to have caused damage to
the property.
The benefits of the warranty are not assignable
and shall apply only to the original buyer of the
lot as shown on the invoice originally issued by
Christies when the lot was sold at auction.
The original buyer must have remained the
owner of the lot without disposing of any
interest in it to any third party.
The buyers sole and exclusive remedy against
Christies and the seller, in place of any other
remedy which might be available, is the
cancellation of the sale and the refund of the
original purchase price paid for the lot. Neither
Christies nor the seller will be liable for any
special, incidental or consequential damages
including, without limitation, loss of profits
nor for interest.
The buyer must give written notice of claim
to us within five years from the date of the
auction. It is Christies general policy, and
Christies shall have the right, to require the
buyer to obtain the written opinions of two
recognised experts in the field, mutually
acceptable to Christies and the buyer, before
Christies decides whether or not to cancel the
sale under the warranty.
The buyer must return the lot to the Christies
saleroom at which it was purchased in the same
condition as at the time of the sale.
6. COPYRIGHT
The copyright in all images, illustrations and written
material produced by or for Christies relating to a
lot including the contents of this catalogue, is and
shall remain at all times the property of Christies
and shall not be used by the buyer, nor by anyone
else, without our prior written consent. Christies
and the seller make no representation or warranty
that the buyer of a property will acquire any
copyright or other reproduction rights in it.
7. SEVERABILITY
If any part of these Conditions of Sale is found by
any court to be invalid, illegal or unenforceable,
that part shall be discounted and the rest of the
conditions shall continue to be valid to the fullest
extent permitted by law.
8. LAW AND JURISDICTION
The rights and obligations of the parties with
respect to these Conditions of Sale, the conduct of
the auction and any matters connected with any
of the foregoing shall be governed and interpreted
by the laws of England. By bidding at auction,
whether present in person or by agent, by written
bid, telephone or other means, the buyer shall
be deemed to have submitted, for the benefit of
Christies, to the exclusive jurisdiction of the courts
of the United Kingdom.
05/01/10
114
WORLDWIDE SALEROOMS AND EUROPEAN OFFICES
AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
+43 (0)1 533 8812

Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova
+91 (98) 1032 2399

Sanjay Sharma
SPAIN
BARCELONA
NORTH
ISRAEL
TEL AVIV
+34 (0)93 487 8259

Carmen Schjaer
+44 (0)20 7752 3004

Thomas Scott
+972 (0)3 695 0695

Roni Gilat-Baharaff
MADRID
SOUTH
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
+44 (0)1730 814 300

Mark Wrey
EAST
SWEDEN
STOCKHOLM
+44 (0)20 7752 3004

Thomas Scott
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)
NORTHWEST AND
WALES
+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 (0)9 608 212

Barbro Schauman
(Consultant)
FRANCE
PARIS
ITALY
MILAN
+39 02 303 2831

ROME
+39 06 686 3333

Marina Cicogna
Business Development
Director
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+33 (0)1 40 76 85 85
+31 (0)20 57 55 255
GERMANY
DSSELDORF
PEOPLES REPUBLIC
OF CHINA
BEIJING
+49 (0)21 14 91 59 30
Arno Verkade
+86 (0)10 8572 7900
FRANKFURT
HONG KONG
+49 (0)61 74 20 94 85
Anja Schaller
SHANGHAI
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
+852 2760 1766

+86 86 (0)21 6355 1766
Jinqing Cai
PORTUGAL
LISBON
SWITZERLAND
GENEVA
+41 (0)22 319 1766

Eveline de Proyart
ZURICH
+44 (0)20 7839 9060
+44 (0)20 7930 6074
+44 (0)20 7752 3004

Jane Blood
SCOTLAND
+44 (0)131 225 4756

Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN
+44 (0)20 7389 2032
+41 (0)44 268 1010

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27/05/14
116
History of Art and

Art-world Practice:
Explore the Monuments of European Art

from Antiquity to the Renaissance
Arts of Europe
Masters and
Postgraduate Diploma
Christies, in collaboration with The University of Glasgow, offers

a Master of Arts degree in History of Art and Art-world Practice.
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history of art, including feld-trips to European sites. Embedded
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Christies unparalleled access to artworks and
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Contact
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Sam Francis: The Substance of Light

Prints and Works on Paper
Online Only 19 November 2 December 2014

Contact
Murray Macaulay
mmacaulay@christies.com
+44 (0)20 7389 2252
SAM FRANCIS (1923-1994)

Untitled
lithograph in colours, 1967
signed in pencil, inscribed trial proof
Image, Sheet: 559 x 432 mm.
2,000 3,000
Old Master Prints

London, King Street 3 December 2014
Viewing
Contact
28 November2 December 2014

8 King Street
London SW1Y 6QT
Tim Schmelcher
tschmelcher@christies.com
+44 (0)20 7389 2268
ALBRECHT DRER (1471-1528)

The Rhinoceros (B. 136; M., Holl. 241; S.M.S 241)
woodcut, after 1620
8,000 12,000
EDWARD BAWDEN, R.A.

The engravers table
signed Edward Bawden (lower right) pencil and watercolour 19 x 24 in. (49.5 x 62.8 cm.)
2,0003,000
Modern British and Irish Art

London, South Kensington 12 December 2014
Viewing
Contact
5-11 December
85 Old Brompton Road
London SW7 3LD
Angus Granlund
agranlund@christies.com
+44 (0)20 7752 3240
christies.com
Prints and Multiples
ABSENTEE BIDS FORM
THURSDAY 4 DECEMBER 2014

AT 10.30 AM AND 2.00 PM
CHRISTIES SOUTH KENSINGTON
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CODE NAME: PRT
SALE NUMBER: 5882
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Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com
5882
BID ONLINE FOR THIS SALE AT CHRISTIES.COM

Client Number (if applicable)
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85 Old Brompton Road London SW7 3LD
+44 (0)20 7930 6074 telephone +44 (0)20 7389 2869 facsimile

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PRIN TS & M ULTIPL E S

4 DECEMBER 2014 SOUTH KENSINGTON

SPECIALISTS FOR THIS AUCTION

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First initial followed by last name @christies.com

AUCTION CALENDAR 2014

PRINTS & MULTIPLES

STORAGE AND COLLECTION

Thursday 4 December 2014

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AUCTION CODE AND NUMBER

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PROPERTY FROM A DISTINGUISHED

PROPERTY FROM A PRIVATE CENTRAL

Triumph of Caesar, Soldiers

The Small Horse

Coat of Arms of the Empire

The Senators, from: The

engraving in brown, circa 1495, on laid

engraving, 1505, on laid paper with an

woodcut, 1521, on laid paper without

PROPERTY FROM A DISTINGUISHED

LUCAS CRANACH THE

LUCAS CRANACH THE

The Judgement of Paris

St. Paul, from: Christ, The

The Virgin and Child seated

woodcut, circa 1515, on laid paper

engraving, 1513, on laid paper, a Meder

woodcut, 1508, on laid paper with an

PROPERTY FROM A DISTINGUISHED

engraving, 1519, on laid paper without

PROPERTY FROM A PRIVATE CENTRAL EUROPEAN COLLECTION

Richard Leendertz (L. 1708).

Friedrich Koch (c.1770-1832), Mannheim (L. 1020) (Bartsch 165)

PROPERTY FROM THE ESTATE OF MAY GRUBER

Bastelaer, Hollstein 205

Sheet: 202 x 289 mm. (and smaller)

A beardless Man in a Fur Cloak and Cap: Bust

Heneage Finch, Fifth Earl of Aylesford, (1786-1859), London, (L. 58)

Bartsch, Hollstein 307

Bartsch, Hollstein 198

C. Delanglade (died 1870), Marseilles (L. 660).

C. Delanglade (died 1870), Marseilles (L. 660).

Bartsch, Hollstein 210

Bartsch, Hollstein 281

Young Man in a Velvet Cap

A Peasant in a high Cap,

Prints & Multiples

Prints & Multiples