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PRINTS & MULTIPLES

PRINTS & MULTIPLES 17 SEPTEMBER 2014 LONDON

17 SEPTEMBER 2014

LONDON

Specialists for this Auction

Specialists for this Auction Tim Schmelcher Murray Macaulay Lucia Tro Santafe HEAD OF DIRECTOR SPECIALIST DEPARTMENT
Specialists for this Auction Tim Schmelcher Murray Macaulay Lucia Tro Santafe HEAD OF DIRECTOR SPECIALIST DEPARTMENT
Specialists for this Auction Tim Schmelcher Murray Macaulay Lucia Tro Santafe HEAD OF DIRECTOR SPECIALIST DEPARTMENT

Tim Schmelcher

Murray Macaulay

Lucia Tro Santafe

HEAD OF

DIRECTOR

SPECIALIST

DEPARTMENT

Charlie Scott

Charlie Scott

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AUCTION CALENDAR 2014

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05/02/14

To include your property in these sales please consign ten weeks before the sale date. Contact the specialists or representative office for further information.

18

SEPTEMBER

MODERN MASTERS & POLÍGRAFA:

CELEBRATING 50 YEARS OF PRINTMAKING

LONDON, SOUTH KENSINGTON

22

SEPTEMBER

SWISS ART

 

ZURICH

16

OCTOBER

POST-WAR & CONTEMPORARY ART

EVENING AUCTION

LONDON, KING STREET

16

OCTOBER

THE ITALIAN SALE

LONDON, KING STREET

16-28 OCTOBER

NOW IN TECHNICOLOUR:

PRINTS FROM THE 1960’S TO NOW

ONLINE ONLY

17 OCTOBER

POST-WAR & CONTEMPORARY ART DAY AUCTION

LONDON, KING STREET

23-24 OCTOBER

PRINTS & MULTIPLES

NEW YORK

4-5 NOVEMBER

POST-WAR & CONTEMPORARY ART

AMSTERDAM

5

NOVEMBER

IMPRESSIONIST & MODERN ART

EVENING AUCTION

NEW YORK

6

NOVEMBER

IMPRESSIONIST & MODERN

WORKS ON PAPER AUCTION

NEW YORK

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

3

DECEMBER

OLD MASTER PRINTS

LONDON, KING STREET

4

DECEMBER

PRINTS & MULTIPLES

LONDON, SOUTH KENSINGTON

12

DECEMBER

MODERN BRITISH & IRISH ART

LONDON, SOUTH KENSINGTON

  • 16 DECEMBER

MODERN ART

AMSTERDAM

29/07/14

Prints & Multiples

Wednesday 17 September 2014

PROPERTIES FROM

The Ahlers Collection The Peter Bendixen Collection The Mira Jacob Collection

AUCTION

Wednesday 17 September 2014 at 2.00 pm

8 King Street, St. James’s London SW1Y 6QT

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VIEWING

Saturday

13 September

12.oopm - 5.00pm

Sunday

14 September

1.oopm - 5.00pm

Monday

15 September

9.ooam - 4.30pm

Tuesday

16 September

9.ooam - 8.00pm

AUCTIONEER

Richard Lloyd

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred

to as REAPER -1553

CONDITIONS OF SALE

This auction is subject to Important Notices, Conditions of Sale and to reserves.

[20]

COPYRIGHT NOTICE

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by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Christie’s. © COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2014)

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Contents

  • 2 Calendar of Auctions

  • 2 Christie’s International Print Department

  • 2 Specialists and Services for this Auction

  • 3 Auction Information

  • 6 Property for Sale

    • 132 Index

    • 133 Important Notices and Explanation of Cataloguing Practice

    • 134 Buying at Christie’s

    • 135 Storage and Collection

    • 136 Conditions of Sale and Limited Warranty

    • 138 Salerooms and Offices Worldwide

    • 140 Christie’s Specialist Departments and Services

    • 145 Absentee Bids Form

    • 146 Catalogue Subscriptions front

cover :

Lot 100 (detail) © Succession Picasso/DACS, London 2014

inside

front

cover :

Lot 173 (detail)

opposite :

Lot 37 (detail)

inside

back

cover :

Lot 156 (detail)

back

cover :

Lot 53

christies.com

19TH CENTURY PRINTS (LOTS 1-37)

19TH CENTURY PRINTS (LOTS 1-37) 1 RUDOLPHE BRESDIN (1822-1885) Le Bon Samaritain lithograph, 1861, on two
19TH CENTURY PRINTS (LOTS 1-37) 1 RUDOLPHE BRESDIN (1822-1885) Le Bon Samaritain lithograph, 1861, on two

1

RUDOLPHE BRESDIN (1822-1885)

Le Bon Samaritain

lithograph, 1861, on two types of chine collé, a good, clear impression, Préaud’s frst state B, before the transfer to a new stone and the addition of the title in the lower margin, one of approximately 175 impressions from the second or third edition on these papers (there were also 125 on a single sheet of chine collé), printed by Lemercier, Paris, 1867, on a wove support sheet, probably the full sheet, a few pale foxmarks mainly in the margins, the support sheet with pale mount-staining and surface dirt, a short tear at the lower sheet edge, the subject in very good condition L. 565 x 445 mm., S. 890 x 629 mm.

£2,500-3,500

$4,300-5,900

€3,200-4,400

LITERATURE:

Van Gelder 100; Préaud 29

2

RUDOLPHE BRESDIN

La comédie de la mort

lithograph, 1854, on chine appliqué, a fne impression of Préaud’s very rare frst state (of fve), with wide margins, a small surface abrasion in the upper subject, a pale stain in the upper right margin, other minor defects L. 218 x 151 mm., S. 320 x 240 mm.

£6,000-8,000

$11,000-13,000

€7,600-10,000

LITERATURE:

Van Gelder 84; Préaud 129

Préaud records seven impressions of the frst state, including the present one. Four of these are in public collections: The Hague, Gemeentemuseum; Paris, Bibliothèque National; Washington National Gallery; and New York, Public Library.

3 FÉLICIEN ROPS (1833 -1898) Les Sataniques the complete set of fve burnished heliogravures, circa 1880,

3

FÉLICIEN ROPS (1833 -1898)

Les Sataniques

3 FÉLICIEN ROPS (1833 -1898) Les Sataniques the complete set of fve burnished heliogravures, circa 1880,
3 FÉLICIEN ROPS (1833 -1898) Les Sataniques the complete set of fve burnished heliogravures, circa 1880,
3 FÉLICIEN ROPS (1833 -1898) Les Sataniques the complete set of fve burnished heliogravures, circa 1880,
3 FÉLICIEN ROPS (1833 -1898) Les Sataniques the complete set of fve burnished heliogravures, circa 1880,

the complete set of fve burnished heliogravures, circa 1880, the frontispiece Satan semant l’ivraie (Le Semeur d’Ivraie) (E. 783) on cream simili Japan paper, a fne proof impression, inscribed ‘Les Démoniques/ No. 1 Le Semeur d’Ivraie’ in pencil, presumably by the artist, plates 1-4 on wove paper, watermark J. WHATMAN TURKEY MILL 1889, fne proof impressions, signed in red crayon, titled and inscribed with extensive explanations by the artist in pencil, the full sheets with deckle edges, paper tape along the sheet edges verso, the sheets slightly cockled, generally in good condition

P. 282 x 207 mm. (and similar), S. 568 x 390 mm. (and similar)

(5)

£6,000-8,000

$11,000-13,000

€7,600-10,000

PROVENANCE:

Roger Marx (1859-1913), Paris (L. 1800b); probably his posthumous sale, Drouot (expert L. Delteil), Paris, 26 April – 2 May 1914, lot 1105 (fr. 340). Heinrich Stinnes (1867-1932), MIhlheim a. d. Ruhr, Cologne (L. 1376) (frontispiece only); possibly R. Puppel, Berlin, 19-20 May 1938. Sotheby’s, London, 14 December 1978, lot 359 (frontispiece; £220) and lot 360 (plate 1-4, £900).

LITERATURE:

Exsteens 784-787

4 ODILON REDON (1840-1916) Tentation de Saint Antoine – Texte de Gustave Flaubert the complete set
4 ODILON REDON (1840-1916) Tentation de Saint Antoine – Texte de Gustave Flaubert the complete set
4 ODILON REDON (1840-1916) Tentation de Saint Antoine – Texte de Gustave Flaubert the complete set
4 ODILON REDON (1840-1916) Tentation de Saint Antoine – Texte de Gustave Flaubert the complete set

4

ODILON REDON (1840-1916)

4 ODILON REDON (1840-1916) Tentation de Saint Antoine – Texte de Gustave Flaubert the complete set

Tentation de Saint Antoine – Texte de Gustave Flaubert

the complete set of ten lithographs, 1888, on chine appliqué paper, fne, rich impressions, from the edition of sixty, printed by Becquet, published by Deman, Brussels, the full sheets, within the original paper folder with the lithographic frontispiece and title (some repaired tears and creases, the back of folder replaced), generally in good condition (portfolio) L. 291 x 208 mm. (and smaller), S. 450 x 310 mm. (and similar), 451 x 317 mm. (overall)

(10)

£30,000-50,000

$51,000-84,000

€38,000-63,000

PROVENANCE:

Sotheby’s, London, 5 December 1984, lot 251 (£13,000).

LITERATURE:

Mellerio 83-93

4 ODILON REDON (1840-1916) Tentation de Saint Antoine – Texte de Gustave Flaubert the complete set
4 ODILON REDON (1840-1916) Tentation de Saint Antoine – Texte de Gustave Flaubert the complete set
5 ODILON REDON Songes the complete set of six lithographs, 1891, on chine appliqué paper, fne,
5 ODILON REDON Songes the complete set of six lithographs, 1891, on chine appliqué paper, fne,
5 ODILON REDON Songes the complete set of six lithographs, 1891, on chine appliqué paper, fne,
5 ODILON REDON Songes the complete set of six lithographs, 1891, on chine appliqué paper, fne,
5 ODILON REDON Songes the complete set of six lithographs, 1891, on chine appliqué paper, fne,
5 ODILON REDON Songes the complete set of six lithographs, 1891, on chine appliqué paper, fne,

5

ODILON REDON

Songes

the complete set of six lithographs, 1891, on chine appliqué paper, fne, rich impressions from the edition of eighty, printed by Becquet, published by Dumont, Paris, the full sheets, the support sheets each with a moisture stain at upper left, scattered foxing mostly in the margins, within the original grey paper folder with the title on the front (some minor wear and discolouration) (portfolio) L. 275 x 208 mm. (and smaller), S. 454 x 317 mm. (and similar),

464 x 325 mm. (overall)

(6)

£25,000-35,000

$43,000-59,000

€32,000-44,000

PROVENANCE:

Christie’s, London, 6 December 1984, lot 344 (£10,000).

LITERATURE:

Mellerio 110-115

5 ODILON REDON Songes the complete set of six lithographs, 1891, on chine appliqué paper, fne,
l 6 JAMES ENSOR (1860-1949) Mon portrait en 1960 etching, 1888, on simili Japan paper, signed,

l6

JAMES ENSOR (1860-1949)

Mon portrait en 1960

etching, 1888, on simili Japan paper, signed, dated and titled in pencil, counter-signed and titled in pencil verso, light-staining, pale scattered foxing, framed P. 63 x 112 mm., S. 227 x 275 mm.

£3,000-5,000

$5,100-8,400

€3,800-6,300

PROVENANCE:

With Bob de Gryse, Ostende. Purchased from the above, then by descent.

LITERATURE:

Delteil, Croquez, Taevernier, Elesh 34

l 6 JAMES ENSOR (1860-1949) Mon portrait en 1960 etching, 1888, on simili Japan paper, signed,

l7

JAMES ENSOR

La Mort poursuivant le troupeau des humains

etching and drypoint, 1896, on simili Japan paper, Elesh’s third state (of four), signed, dated, titled and dedicated ‘pour Ernestine Mollet’ in pencil, counter-signed and titled in pencil verso, with wide margins, light-staining, a few pale foxmarks in the upper subject, a small stain in the left margin, other staining at the upper and lower sheet edges, otherwise generally in good condition P. 240 x 182 mm., S. 476 x 353 mm.

£7,000-10,000

$12,000-17,000

€8,800-13,000

PROVENANCE:

Ernestine Mollet, a gift from the artist. With Bob de Gryse, Ostende. Purchased from the above, then by descent.

LITERATURE:

Delteil, Croquez, Taevenier 104; Elesh 106

Ernestine Mollet was the wife of Ensor’s servant August Van Yper.

l 8 JAMES ENSOR L’orgueil, from: Les sept péchés capitaux etching extensively handcoloured with watercolour, gouache

l8

JAMES ENSOR

L’orgueil, from: Les sept péchés capitaux

etching extensively handcoloured with watercolour, gouache and crayon, 1904, on Japan paper, Elesh’s fourth, fnal state, signed in pencil, with small margins, remains of old glue at the upper sheet corners verso, otherwise in very good condition P. 98 x 150 mm., S. 160 x 251 mm.

l9

JAMES ENSOR

La luxure, from: Les sept péchés capitaux

etching extensively handcoloured with watercolour, 1888, on Arches laid paper, signed, dated and titled in pencil, counter-signed and titled in pencil verso, with wide margins, pale time staining, otherwise in good condition P. 96 x 137 mm., S. 226 x 298 mm.

£10,000-15,000

$17,000-25,000

£8,000-12,000

$14,000-20,000

€13,000-19,000

€11,000-15,000

PROVENANCE:

PROVENANCE:

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

EXHIBITED:

James Ensor - Oeuvre gravé Collection Mira Jacob, Editions Les Musée de la Ville, Strasbourg/ Kunstmuseum Basel, 1995-96, no. 145.

LITERATURE:

Delteil; Croquez; Taevernier 122; Elesh 127

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

EXHIBITED:

James Ensor - Oeuvre gravé Collection Mira Jacob, Editions Les Musée de la Ville, Strasbourg/ Kunstmuseum Basel, 1995-96, no. 70.

LITERATURE:

Delteil, Croquez, Taevernier, Elesh 59

l 8 JAMES ENSOR L’orgueil, from: Les sept péchés capitaux etching extensively handcoloured with watercolour, gouache
l 10 JAMES ENSOR Rue de Bon Secours f Bruxelles drypoint, 1887, on light simili Japan
l 10 JAMES ENSOR Rue de Bon Secours f Bruxelles drypoint, 1887, on light simili Japan

l10

JAMES ENSOR

Rue de Bon Secours f Bruxelles

drypoint, 1887, on light simili Japan paper, signed and dated 1888 in pencil, a fne early impression, printing with considerable burr and a light plate tone, with margins, taped to the front paper mount, generally in good condition P. 129 x 90 mm., S. 175 x 132 mm.

£1,000-1,500

$1,700-2,500

€1,300-1,900

PROVENANCE:

Auguste Joye (1878-1959), Brussels (L. 3084); possibly his posthumous sale, Galerie Georges Giroux, Brussels, 9-10 June 1960. Sotheby’s, London, 6 December 1983, lot 473 (£450).

LITERATURE:

Deleteil, Croquez, Taevernier, Elesh 17

l11

JAMES ENSOR

Prise d’une ville étrange

etching extensively handcoloured with watercolour and touches of zinc white, 1888, on simili Japan paper, Elesh’s fourth, fnal state, signed, dated, titled, and dedicated ‘Epreuve teinté de mes couleurs/ pour mon grand ami de France/ Albert Croquez./ James Ensor’ in pencil, countersigned and titled by the artist and inscribed by Croquez ‘Epreuve coloriée par J. Ensor en aowt 1930’ in pencil verso, with wide margins, some soft creasing in the margins, remains of old tape at lower left verso, faintly showing through recto, otherwise in good condition P. 179 x 239 mm., S. 355 x 477 mm.

£8,000-12,000

$14,000-20,000

€11,000-15,000

PROVENANCE:

Albert Croquez (1886-1949), Paris; a gift from the artist in 1930. Mira Jacob Wolfovska (1912-2004), Paris, with her blindstamp (not in Lugt).

EXHIBITED:

James Ensor - Oeuvre gravé Collection Mira Jacob, Editions Les Musée de la Ville, Strasbourg/ Kunstmuseum Basel, 1995-96, no. 40.

LITERATURE:

Delteil, Croquez, Taevernier, Elesh 33

l 10 JAMES ENSOR Rue de Bon Secours f Bruxelles drypoint, 1887, on light simili Japan

l12

JAMES ENSOR

La kermesse au moulin

etching extensively handcoloured with watercolour, 1889, on China paper, signed, dated and titled in pencil, with wide margins, in very good condition P. 139 x 178 mm., S. 233 x 284 mm.

£4,000-6,000

$6,800-10,000

€5,100-7,500

PROVENANCE:

Mira Jacob Wolfovska (1912-2004), Paris, without her blindstamp.

LITERATURE:

J. Janssens, James Ensor, Bonfni Press Corporation, Naefels, Switzerland, Paris, p. 42 (this impression illustrated). Delteil, Croquez, Taevernier, Elesh 72

13

CAMILLE PISSARRO (1830-1903)

Cours-la-Reine, ou Bords de la Seine, f Rouen

etching with touches of drypoint, 1884, on light wove paper, not signed but titled and annotated ‘bords de la seine f Rouen/ Zinc’ in pencil, inscribed ‘no. 1-2e etat (a revoir?)’ (partially erased), a very fne, unique impression of the second state (of three), printing with much tone and sharp plate edges, probably the full sheet, with deckle edges at left and below, a few pinpoint foxmarks, otherwise in very good condition P. 123 x 139 mm., S. 205 x 260 mm.

£7,000-10,000

$12,000-17,000

€8,800-13,000

PROVENANCE:

Christie’s, London, 2 December 1982, lot 208 (£3,600).

LITERATURE:

Delteil 49

Loys Delteil records one impression of the frst state; the present, unique impression of the second state; two of the third state and a posthumous edition of 18 impressions.

14

CAMILLE PISSARRO

Rue du Gros-Horloge f Rouen

etching with drypoint, 1883-84, on Van Gelder laid paper, signed in pencil, titled and annotated ‘cuivre’ and ‘2e etat – no 2’, a fne, rich impression of the rare second state (of three), printing with much tone, the full sheet, with deckle edges at left and below, some mount-staining and a few foxmarks, otherwise in good condition P. 192 x 147 mm., S. 370 x 270 mm.

£4,000-6,000

$6,800-10,000

€5,100-7,500

PROVENANCE:

Christie’s, London, 2 December 1982, lot 210 (£1,600).

LITERATURE:

Delteil 54

Loys Delteil records two impressions of the frst state; fve of the present second state (four of which are numbered); about 12 of the third, fnal state and another 15 posthumous impressions.

15

CAMILLE PISSARRO

Mendiant a la Béquille

lithograph, 1897, on chine collé, a fne impression of this very rare print, second, fnal state, numbered No. 1 in pencil, with wide margins, scattered foxing and other minor defects in the margins, otherwise generally in good condition L. 252 x 308 mm., S. 314 x 452 mm.

£8,000-12,000

$14,000-20,000

€11,000-15,000

LITERATURE:

Delteil 182

Delteil cites only two impressions of the frst state, and three to four impressions of this, the second, fnal state.

13 CAMILLE PISSARRO (1830-1903) Cours-la-Reine, ou Bords de la Seine, f Rouen etching with touches of
13 CAMILLE PISSARRO (1830-1903) Cours-la-Reine, ou Bords de la Seine, f Rouen etching with touches of
13 CAMILLE PISSARRO (1830-1903) Cours-la-Reine, ou Bords de la Seine, f Rouen etching with touches of
16 CAMILLE PISSARRO Baigneuse debout et Baigneuse agenouillée monotype in colours, circa 1895-6, on laid paper,

16

CAMILLE PISSARRO

Baigneuse debout et Baigneuse agenouillée

monotype in colours, circa 1895-6, on laid paper, signed with the monogram in ink, with margins, some discolouration and minor staining in the margins, a small hole towards the right sheet edge, generally in very good condition, framed in a fne early Louis XIV carved and gilt oak frame L. 125 x 178 mm., S. 170 x 225 mm.

£15,000-20,000

LITERATURE:

$26,000-34,000

€19,000-25,000

cf. Pissarro & Venturi 941; cf. Wildenstein 1103

Pissarro referred to his monotypes as ‘dessins imprimés’, or printed drawings, and, like Degas, he revelled in the experimentation and freedom the monotype technique allows. From letters written to his son Lucien, we know that Pissarro worked frst in black in order to defne composition and tonal values, later heightening the composition with colour (Letters, pp. 339-40). In the present example, the black ink was applied and then wiped to create the tree. The pointed end of a brush was used to defne the two bathers. Whilst the majority of the colour appears to be printed, there are areas where the pigment remains proud of the surface, suggesting that the artist continued working on the sheet after the plate was printed.

The present work relates directly to a painted version of Baigneuse debout et Baigneuse agenouillée (The Nikon Television Corporation collection, Japan). In common with other instances where Pissarro re-interpreted subjects in different media, the present monotype displays great spontaneity with brisk application of pigment and bold colour.

17

JAMES ABBOTT MCNEILL WHISTLER (1834-1903)

Yellow House, Lannion

lithograph in colours, 1893, on Japan paper, a very good impression of this rare print, third, fnal state, with wide margins, time staining, a soft horizontal crease in the subject, scattered pinpoint foxing L. 242 x 162 mm., S. 381 x 279 mm.

£15,000-25,000

$26,000-42,000

€19,000-31,000

PROVENANCE:

Unidentifed collectors mark, initials P.P. in a diamond (not in Lugt).

LITERATURE:

Way 101; Levy 196; Spink/Stratis/Tedeschi 67

18

JAMES ABBOTT MCNEILL WHISTLER

Churchyard

lithograph, 1887, on wove paper, a good lifetime impression of

the only state (Way calls for 12 impressions only), with margins, in good condition; together with Drury Lane Rags, lithograph, 1888, on laid paper, a good lifetime impression of the only state (Way calls for 14 impressions), with margins, some foxing and time staining at the sheet edges, generally in good condition S. 320 x 201 mm.

S. 325 x 203 mm.

(2)

£3,000-4,000

$5,100-6,700

€3,800-5,000

PROVENANCE:

Churchyard: Mlle. Rosalind Birnie Philip (1921), London (Lugt 406). Drury Lane Rags: Roger Marx (1859-1913), Paris (Lugt 2229).

LITERATURE:

Way 17; Levy 30; Spink, Stratis & Tedeschi 21 Way 21; Levy 34; Spink, Stratis & Tedeschi 25

17 JAMES ABBOTT MCNEILL WHISTLER (1834-1903) Yellow House, Lannion lithograph in colours, 1893, on Japan paper,
17 JAMES ABBOTT MCNEILL WHISTLER (1834-1903) Yellow House, Lannion lithograph in colours, 1893, on Japan paper,
20

20

19

HENRI DE TOULOUSE-LAUTREC (1864-1901)

 

Sortie de thé:tre

lithograph, 1896, on wove paper, a fne impression of this rare print, with wide margins, deckle edges above and below, the sheet slightly toned, otherwise in very good condition

L.

320 x 265 mm., S. 474 x 349 mm.

£5,000-7,000

$8,500-12,000

€6,300-8,800

 

LITERATURE:

Delteil 169; Adhémar 218; Adriani 195; Wittrock 147

 

Wittrock records an edition of approximately twenty impressions, eleven of which are in public collections.

 
20 19 HENRI DE TOULOUSE-LAUTREC (1864-1901) Sortie de thé:tre lithograph, 1896, on wove paper, a fne

PAUL CÉSAR HELLEU (1859-1927)

Madame Helleu derri–re la harpe

drypoint, circa 1900-05, on Arches laid paper, a superb impression of this very rare, presumably unique subject, printing with rich burr, signed in black crayon, inscribed in pencil by another hand ‘planche détruite / unique épreuve’, with margins, the sheet slightly reduced at left, pale time staining, otherwise in very good condition P. 437 x 335 mm., S. 558 x 380 mm.

 

£6,000-8,000

$11,000-13,000

€7,600-10,000

PROVENANCE:

J. Chavasse (d. 1919) (L. 1430). Unidentifed collector’s mark, initials P.P. in a diamond (not in Lugt).

 

EXHIBITED:

Paul Helleu 1859-1927, Musée Eugène Boudin, Honfeur, 1993, no. 124.

 
21

21

ÉMILE BERNARD (1868 – 1941)

 

Le retour du pardon ou Bretons en barque

lithograph printed in black with hand-colouring in yellow and pale blue, 1889, on wove paper, initialled in ink at lower left, light and mount staining, backboard staining verso, framed

S.

329 x 251 mm.

£2,500-3,500

$4,300-5,900

€3,200-4,400

 

LITERATURE:

Morane 10

THE PARIS RAGE FOR PRINTS

`No one pays attention nowadays to anything but prints; it’s a rage, the young generation produces nothing else’.

(Camille Pissarro, in a letter to his son Lucien, 1897, quoted in: Carvalho/Vellekoop, p. 11).

In the 1890’s a passion for printmaking swept through Paris. Inspired by the vivid, fat 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 artist’s known as the Nabis. The name derived from the Hebrew word ‘navi’ for ‘prophet’, refected the group’s 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 infuential publishers, critics and collectors, most notably André Marty, the publisher of seminal quarterly print album L’Estampe originale, the art critic and writer Claude Roger-Marx, and the publicist and editor André Mellerio. In addition to the Nabis - Pierre Bonnard, Maurice Denis, Paul Ranson and Edouard Vuillard - lithography was enthusiastically embraced by other imminent artists of the Parisian avant-garde, perhaps most famously by Henri de Toulouse-Lautrec, whose prints and posters came to defne the Belle Epoque.

The present collection comprises several key works of the period as well as great rarities, including: a trial proof for Bonnard’s famous La Petite Blanchisseuse (lot 28); colour decompositions for Maurice Denis’s Tendresse (lot 32); the Album de la Revue Blanche (lot 24), a ground-breaking publication of the its time, rarely found complete and in good condition; Bonnard’s series Quelques aspects de la vie de Paris (lot 29), a beautiful evocation of Parisian street-life in the 1890’s; and Paul Elie Ranson’s delightfully fierce and comical Tigre dans les jungles (lot 37), which perhaps reveals its Asian influence most clearly.

The second part of the collection will be offered in the sale of Prints and Multiples at Christie’s South Kensington on 4 December 2014.

L I T E R A T U R E :

  • C. Feller Ives, The Great Wave - The Infuence of Japanese Woodcuts on French Prints, Metropolitan Museum of Art, New

York, 1974.

  • P. Dennis Cate/ G. B. Murray/ R. Thompson, Prints Abound - Paris in the 1890’s, National Gallery of Art,

Washington, D.C., London, 2000.

  • F. Roos Rosa de Carvalho/M. Vellekoop, Printmaking in Paris - The rage for prints at the fn de siècle, Van Gogh

Museum, Amsterdam, Brussels, 2013.

l22

PIERRE BONNARD (1867-1947)

Affche de La Revue Blanche

lithograph in colours, 1894, on thin wove paper, a very good impression, printed by E. Ancourt, Paris, probably the full sheet, laid on canvas, a repaired tear in the lower subject, occasional soft creasing S. 798 x 614 mm.

£3,000-5,000

$5,100-8,400

€3,800-6,300

LITERATURE:

Roger-Marx 32; Bouvet 30

THE PARIS RAGE FOR PRINTS `No one pays attention nowadays to anything but prints; it’s a
l 23 PORTFOLIO L’Estampe Moderne the complete edition in 24 volumes, 1897-99, comprising 96 lithographs and
l 23 PORTFOLIO L’Estampe Moderne the complete edition in 24 volumes, 1897-99, comprising 96 lithographs and
l 23 PORTFOLIO L’Estampe Moderne the complete edition in 24 volumes, 1897-99, comprising 96 lithographs and
l 23 PORTFOLIO L’Estampe Moderne the complete edition in 24 volumes, 1897-99, comprising 96 lithographs and

l23

PORTFOLIO

L’Estampe Moderne

l 23 PORTFOLIO L’Estampe Moderne the complete edition in 24 volumes, 1897-99, comprising 96 lithographs and

the complete edition in 24 volumes, 1897-99, comprising 96 lithographs and collotypes after designs by contributing artists, mostly in colours, on simili Japan, with the suite of 96 duplicate impressions printed in black only, on China paper, and the four additional prints reserved for subscribers, all stamped TIRAGE de LUXE and numbered No. 89 verso, each

subject with title and commentary on a tissue-thin cover sheet, with two text folders with title, cover-page, preface and table of contents (without the second year), from the deluxe edition of 150 (the total edition was 2000), published by Ch. Masson & H. Piazza, Paris, each with the publisher’s blindstamp (Lugt 2790) recto, the full sheets, in very good condition, loose (as issued), in the original greenish-grey paper wrappers with title and cover design by Alphonse Mucha, each covered with glacine, in two brown, marbled portfolio boxes, not original, all in very good condition (portfolio)

  • 560 x 415 mm. (each volume)

  • 600 x 440 mm. (each box)

£4,000-6,000

$6,800-10,000

€5,100-7,500

Including works after:

  • A. Agache, A. Artigue, P. Balluriau, J. Baseilhac, C. Bellanger, H. Bellery-Desfontaines, E. Berchmans,

  • A. Berton, J. G. Besson, L. Borgex, P. Bouisset, H. Boutet, P. Braquemond, L. Breslau, E. Burne-Jones,

  • G. Bussière, A. Calbet, P. de Chavannes, H. Christiansen, R. Collin, Cormon, G. Darbour, E. Delatre,

  • M. Delorme, M. Desvallières, H. Detouche, Dillon, E. Dinet, A. Donnay, C. Doudelet, G. Dubufe,M. Eliot,

  • R. Engels, E. Evenepoele, H. Fantin-Latour, G. de Feure, J. Flandrin, A. Giraldon, L. –A. Girardot,

F.-A. Gorguet, F. Gottlob, J. Granès, E. Grasset, C. Guérin, F. Guiguet, H. Guinier, M. Guyon,

L.-W. Hawkins, P.-C. Helleu, H. Héran, C. Huard, A. Ibels, P. Jouve, J. Jacquemin, A. Jean, F. Jourdain,

  • A. Laurens, G. de Latenay, E. Laurent, C. Léandre, M. Lenoir, A. Lepère, P. Leroy, A. Lévy, Lévy-Dhurmer,

  • F. Luigini, L. Malteste, H. Martin, F. –M. Melchers, R. Ménard, L.-O. Merson, H. Meunier, L.-H. Monod,

  • A. Mucha (Bridges R10b & R10c), A. Muller, J.-A. Muenier, F. Piet, A. Point, R.-X. Prinstet, V. Prouvé,

  • R. Ranft, A. Rassenfosse, M. Réalier-Dumas, P. Renouard, L. Rhead, M. Robbe, Roedel,

  • H. le Sidaner, L. Simon, T. Steinlen, G.-H. Stevens, E. Trigoulet, R.-A. Ulmann, J. Wély, E.-A. Wéry,

  • A. Willette and A. Yank.

l 24 PORTFOLIO Album de la Revue Blanche the rare complete portfolio comprising 11 lithographs, including
l 24 PORTFOLIO Album de la Revue Blanche the rare complete portfolio comprising 11 lithographs, including

l24

PORTFOLIO

Album de la Revue Blanche

l 24 PORTFOLIO Album de la Revue Blanche the rare complete portfolio comprising 11 lithographs, including
l 24 PORTFOLIO Album de la Revue Blanche the rare complete portfolio comprising 11 lithographs, including
l 24 PORTFOLIO Album de la Revue Blanche the rare complete portfolio comprising 11 lithographs, including
l 24 PORTFOLIO Album de la Revue Blanche the rare complete portfolio comprising 11 lithographs, including

the rare complete portfolio comprising 11 lithographs, including seven printed in colours, and one wood engraving, 1895, on various papers, signed in pencil or crayon, the print by Ibels unsigned, each numbered, copy number 10, from the edition of ffty, published by the Natanson Brothers, Paris, the full sheets, time-staining to several sheets, some minor defects, generally in good condition, loose (as issued), in the original folder with a lithograph by Bonnard on the cover, with cloth ties, in very good condition (portfolio) 398 x 290 mm. (album)

£8,000-12,000

$14,000-20,000

€11,000-15,000

The portfolio includes: Pierre Bonnard, cover (Roger-Marx 33) and Femme au paraplui (R.-M. 35); Charles Cottet, Bretonnes; Maurice Denis, La visitation; Henri-Gabriel Ibels, Paysanne avec panier; Paul Ranson, La liseuse couchée; Odilon Redon, Cheval ailé (Mellerio 127); József Rippl-Ronai, La liseuse avec la lampe; Ker Xavier Roussel, La fantôme; Paul Sérusier, La marchande de chiffons; Henri de Toulouse-Lautrec, Carnaval (Delteil 64; Adriani 42; Adhémar 54; Wittrock 61); Felix Vallotton, Les trois baigneuses (Godefroy 132) and Edouard Vuillard, La couturiere (R.-M. 13).

l26 PIERRE BONNARD
l26
PIERRE BONNARD

Couverture du 2me Album d’estampes originales

lithograph in colours, 1897, on cap China paper, from the edition of one hundred, printed by A. Clot, published by A. Vollard, Paris, with irregular margins, the sheet reduced, some handling creases, repairs and made-up losses at the sheet edges L. 570 x 870 mm., S. 670 x 920 mm.

£2,000-3,000

$3,400-5,100

€2,600-3,800

LITERATURE:

Roger-Marx 41; Bouvet 41

l26 PIERRE BONNARD Couverture du 2me Album d’estampes originales lithograph in colours, 1897, on cap China

l25

PIERRE BONNARD (1867-1947)

Sc–ne de famille

lithograph in colours, 1893, on smooth wove paper, signed in pencil, numbered 59, from the edition of one hundred, published by Claude Roger-Marx and André Marty for the third issue of L’Estampe Originale, Paris, printed by Charpentier with his blindstamp, with wide margins, irregularly trimmed at left and right, the upper and lower sheet edges with horizontal creases, pale foxing, some adhesive stains and surface dirt L. 310 x 180 mm., S. 580 x 400 mm.

£4,000-6,000

$6,800-10,000

€5,100-7,500

LITERATURE:

Roger-Marx, Bouvet 4

l27 PIERRE BONNARD
l27
PIERRE BONNARD

Dans la rue

lithograph in colours, circa 1900, on wove paper, signed in pencil, numbered 25, from the edition of one hundred, with wide margins, presumably the full sheet, with light-and time staining, a backed tear at the lower sheet edge, another, shorter tear at the upper left sheet edge, some small nicks and paper losses at the sheet edges L. 265 x 130 mm., S. 490 x 320 mm.

£2,000-3,000

$3,400-5,100

€2,600-3,800

LITERATURE:

Roger-Marx 46; Bouvet 71

l28 PIERRE BONNARD
l28
PIERRE BONNARD

La petite blanchisseuse

lithograph in colours, 1896, on China paper, signed in pencil, inscribed ‘4e etat’, a rare trial proof, lacking the yellow stone, before the edition of one hundred, published in L’Album des Peintres-Graveurs, printed by A. Clot, Paris, the full sheet, the colours fresh, an unobtrusive scuff in the upper subject, otherwise in very good condition L. 295 x 200mm., S. 573 x 437 mm.

£25,000-35,000

$43,000-59,000

€32,000-44,000

LITERATURE:

Roger-Marx 42; Bouvet 40

l 29 PIERRE BONNARD Quelques aspects de la vie de Paris the complete set of 12
l 29 PIERRE BONNARD Quelques aspects de la vie de Paris the complete set of 12
l 29 PIERRE BONNARD Quelques aspects de la vie de Paris the complete set of 12
l 29 PIERRE BONNARD Quelques aspects de la vie de Paris the complete set of 12

l29

PIERRE BONNARD

Quelques aspects de la vie de Paris

the complete set of 12 lithographs in colours and the title-page, 1899, the title-page on China paper, otherwise on fne wove paper, R.-M. 61, 68 & 70 signed in pencil, R.-M. 61 numbered no. 66, R.-M. 68 & 70 numbered no. 16, published by A. Vollard, Paris, R.-M. 63 trimmed above and below, otherwise the full sheets, some with pale mount staining and scattered foxing in the margins, generally in good condition S. 530 x 403 mm. (and similar)

(12)

£15,000-20,000

$26,000-34,000

€19,000-25,000

LITERATURE:

Roger-Marx 56-68; Bouvet 58-70

‘No one better captures the look of the street, the coloured patch seen through the Parisian mist, the passing silhouettes, a young girl’s frail grace. A searching hand moving with simian pliancy seizes the passing gesture, the evanescent faces of the street, born and vanished on the instant. It is the poetry of life that is gone, a remembrance of things, of animals, of human beings’. (Gustave Geffroy, quoted in: Rediscovered Printmakers of the 19th Century, Merrill Chase Gallery, Chicago, 1978).

l 29 PIERRE BONNARD Quelques aspects de la vie de Paris the complete set of 12

30

EDOUARD VUILLARD (1868-1940)

Cuisini–re, from: Paysages et Intérieurs

lithograph in colours, 1899, on China paper, signed in pencil, second, fnal state, a rare signed impression from the mostly unsigned edition of one hundred, published by A. Vollard, Paris, with narrow margins, laid on card (as issued), very pale discolouration at the sheet edges, otherwise in good condition L. 350 x 280 mm., S. 370 x 290 mm.

£6,000-8,000

$11,000-13,000

€7,600-10,000

LITERATURE:

Roger-Marx 42

31

EDOUARD VUILLARD

Intérieur aux tentures roses, from: Paysages et Intérieurs

lithograph in colours, 1899, on China paper, not signed, from the edition of one hundred, published by A. Vollard, Paris, the full sheet, in good condition; with Int6rieur a la suspension, from the same series, trimmed just within the image R.-M. 36: L. 340 x 273 mm., S. 391 x 308 mm. R.-M. 35: S. 345 x 273 mm.

(2)

£4,000-6,000

$6,800-10,000

€5,100-7,500

LITERATURE:

Roger-Marx 35 & 36

30 EDOUARD VUILLARD (1868-1940) Cuisini–re, from: Paysages et Intérieurs lithograph in colours, 1899, on China paper,
30 EDOUARD VUILLARD (1868-1940) Cuisini–re, from: Paysages et Intérieurs lithograph in colours, 1899, on China paper,
l 32 MAURICE DENIS (1870-1943) Tendresse, from: L’Estampe originale, Album I lithograph in colours, 1893, on
l 32 MAURICE DENIS (1870-1943) Tendresse, from: L’Estampe originale, Album I lithograph in colours, 1893, on
l 32 MAURICE DENIS (1870-1943) Tendresse, from: L’Estampe originale, Album I lithograph in colours, 1893, on

l32

MAURICE DENIS (1870-1943)

Tendresse, from: L’Estampe originale, Album I

lithograph in colours, 1893, on wove paper, signed in purple ink, numbered No 1, published in the Journal des Artistes, Paris, the full sheet with deckle edges on three sides, very pale light-staining, scattered foxing, otherwise generally in good condition; with three working proofs, one signed in pencil L. 250 x 298 mm., S. 580 x 415 mm. (and smaller)

(4)

£3,000-5,000

$5,100-8,400

€3,800-6,300

PROVENANCE:

Henri M. Petiet (1894-1980), Paris (not in Lugt).

LITERATURE:

Callier 70

The three proofs include an impression printed in red ink only, from the red and brown stones, inscribed ‘refaire les mains/les cheveux/ couvres la main d’ombre/ marques les plis très foncés’; another printed from the red and blue stones; and an impression from the red, blue and brown stones, signed in pencil.

l33

MAURICE DENIS

Amour

twelve lithographs in colours including the title-page, 1892-99, the title-page on laid paper, otherwise on wove paper, , plates III, V and XI signed in pencil (C. 110, 112 & 118), plates V and XI numbered No. 96 (?) and 6 respectively, lacking plate X (C. 117), from an edition of one hundred, printed by A. Clot, published by A. Vollard, Paris, 1910, with wide margins, the colours slightly attenuated on some plates, mount-staining, occasional unobtrusive scattered foxing, the title-page with a short tear in the lower margin, otherwise generally in good condition; with two addition impressions, a duplicate of the title-page (C. 107) and of plate III (C. 110)

S. 527 x 400 mm. (approximately)

(14)

£5,000-7,000

$8,500-12,000

€6,300-8,800

LITERATURE:

Cailler 107-116, 118-119

l 32 MAURICE DENIS (1870-1943) Tendresse, from: L’Estampe originale, Album I lithograph in colours, 1893, on
l 32 MAURICE DENIS (1870-1943) Tendresse, from: L’Estampe originale, Album I lithograph in colours, 1893, on
l 32 MAURICE DENIS (1870-1943) Tendresse, from: L’Estampe originale, Album I lithograph in colours, 1893, on

34

JÓZSEF RIPPL-RÓNAI (1861-1927)

La fxte de village

lithograph in colours, 1896, on Ingres Ecoles Canson laid paper, signed in pencil, inscribed no.1, from the edition of one hundred, published in the Album des Peintres-Gravures by Ambroise Vollard, Paris, with wide margins, light-staining, pale scattered foxing in the margins, taped to the front mount, framed L. 395 x 535 mm., S. 450 x 600 mm.

£3,000-5,000

$5,100-8,400

€3,800-6,300

LITERATURE:

Jackson 36

35

ÉMILE BERNARD (1868-1941)

La promenade ou Cinq femmes f Paris

lithograph, circa 1888, on thin wove paper, signed and dated 89 in pencil, dedicated ‘A mon ami Albert Aurier’, with margins, a short repaired tear in the upper margin just touching the subject, other minor defects L. 198 x 230 mm., S. 240 x 317 mm.

£1,200-1,800

$2,100-3,000

€1,600-2,300

LITERATURE:

cf. Morane 4

36

PAUL GAUGUIN (1848-1903)

Mahna No Varua Ino

woodcut printed in red, yellow and black with touches of handcolouring in red watercolour, 1893-94, on heavy Japan paper, an impression of the fourth, fnal state, from the edition of approximately 25-35 impressions printed by Louis Roy, Paris, 1894, the sheet reduced by circa 130 mm. into the subject at right, otherwise trimmed to the subject, a tiny paper loss at the left sheet edge S. 202 x 226 mm.

£10,000-15,000

$17,000-25,000

€13,000-19,000

LITERATURE:

Guérin, Mongan, Kornfeld 19.IV.D

34 JÓZSEF RIPPL-RÓNAI (1861-1927) La fxte de village lithograph in colours, 1896, on Ingres Ecoles Canson
34 JÓZSEF RIPPL-RÓNAI (1861-1927) La fxte de village lithograph in colours, 1896, on Ingres Ecoles Canson
34 JÓZSEF RIPPL-RÓNAI (1861-1927) La fxte de village lithograph in colours, 1896, on Ingres Ecoles Canson
37 PAUL ELIE RANSON (1864-1909) Tigre dans les jungles lithograph in black and canary yellow, 1893,

37

PAUL ELIE RANSON (1864-1909)

Tigre dans les jungles

lithograph in black and canary yellow, 1893, on simili Japan paper, signed in pencil, numbered N. 1, from the edition of one hundred, published by Le Journal des Artistes in L’Estampe Original (album I), Paris, with margins, the sheet reduced, the subject in good condition L. 369 x 283 mm., S. 450 x 323 mm.

£12,000-18,000

$21,000-30,000

€16,000-23,000

MODERN PRINTS (LOTS 38-117)

MODERN PRINTS (LOTS 38-117) VARIOUS PROPERTIES l 38 EDVARD MUNCH (1863-1944) Self-Portrait lithograph, 1895, on soft

VARIOUS PROPERTIES

l38

EDVARD MUNCH (1863-1944)

Self-Portrait

lithograph, 1895, on soft laid China paper, signed in pencil, a fne,

rich impression of Woll’s second state (of four), printing very evenly, with wide margins, trimmed slightly irregularly at left, a diagonal printer’s crease at upper right, some minor creases and surface dirt in the margins, generally in very good condition

  • L. 462 x 320 mm., S. 587 x 382 mm.

£50,000-70,000

PROVENANCE:

$85,000-120,000

€63,000-88,000

Christie’s, London, 6 December 1984, lot 241 (£13,500).

LITERATURE:

Schiefer 31; Woll 37

  • E. Prelinger/ M. Parke-Taylor, The symbolist prints of Edvard Munch – The

Vivian and David Campbell Collection, Art Gallery of Ontario, Toronto

(exh. cat.), 1997, no. 14, p. 93-96 (another impression illustrated).

In his best prints Munch perfectly matched medium and content and created highly condensed images, which are visually as simple as they are complex. Self-Portrait is reduced to four elements charged with meaning: the skeleton arm alludes to the hand of the artist, whilst presaging his inevitable death; his white disembodied face hovers on a dark surface, calling to mind a death mask, as well as that frst of all prints, the veil of Veronica with the face of Christ; the inscription of the artist’s name and the date of the print at the top mimics the entablature of a tombstone, a reference also to the lithographic stone; and fnally the intense, velvety black of the background, the colour of mourning, signifying eternal night.

The present second state is the defnitive version of Edvard Munch’s Self- Portrait. In the frst, unfnished state the background is still patchy, without the impenetrable blackness. In the third and fourth states, the skeleton arm and the inscription at the top are obliterated, thus losing all the memento mori connotations, which make this image one of the most chilling yet touching self-portraits of modern art – reminiscent in essence, if not in spirit or style, to James Ensor’s Mon portrait en 1960 (see lot 6).

l 39 EDVARD MUNCH Madonna lithograph, 1895, on thin greyish-white China paper, not signed, a fne,

l39

EDVARD MUNCH

Madonna

lithograph, 1895, on thin greyish-white China paper, not signed, a fne, early impression of this highly important print, Woll’s rare frst state (of seven), with narrow margins outside the borderline, laid down onto tan card, the upper left corner torn and with associated paper losses partially made up, a short tear at the lower left sheet corner, a long vertical crease from the upper left to the chin, some pinpoint foxing, various other, lesser defects L. 605 x 441 mm., S. 610 x 443 mm., support sheet 703 x 531 mm.

£50,000-70,000

$85,000-120,000

€63,000-88,000

LITERATURE:

Schiefer 33; Woll 39

PROPERTY FROM THE AHLERS COLLECTION l 40 EDVARD MUNCH The Brooch (Eva Mudocci) lithograph, 1903, on

PROPERTY FROM THE AHLERS COLLECTION

l40

EDVARD MUNCH

The Brooch (Eva Mudocci)

lithograph, 1903, on tissue-thin Japan paper, signed in pencil, a fne, early impression of the very rare frst state (of fve), before the image was transferred to a new stone, printing quite lightly and transparently (Woll’s type 1), with wide margins, presumably the full sheet, with deckle edges at left and right, the tip of the lower right corner made-up, a skilfully repaired tear in the upper margin, another at the upper right sheet corner, pale mount staining in the margins, some minor adhesive stains at the sheet edges, otherwise in good condition, framed L. 605 x 460 mm., S. 775 x 575 mm.

£80,000-120,000

$140,000-200,000

€110,000-150,000

LITERATURE:

Schiefer 212; Woll 244

Woll records only four impressions of the frst state, excluding this example: two in the Munch Museum, Oslo; one in the Bergesen Collection, Oslo; and one in another private collection. Another impression, with the upper left part of the subject made up, was sold in these room on 18 September 2013.

THE PETER BENDIXEN COLLECTION

THE PETER BENDIXEN COLLECTION

l41

MAX BECKMANN (1884-1950)

Martyrium, from: HZlle

lithograph, 1919, on simiiliJapan paper, signed and titled in pencil, numbered 34/75, published by I. B. Neumann, Berlin, with wide margins, the sheet slightly reduced in width, a few small brown stains in the upper margin at centre, tape stains at upper right and lower left sheet edges, two short tears at the sheet edges, the lower left sheet edge creased, pinpoint foxing in the margins, and other minor defects, the subject in good condition L. 545 x 750 mm., S. 622 x 823 mm.

£15,000-25,000

$26,000-42,000

€19,000-31,000

LITERATURE:

Hofmaier 142

THE PETER BENDIXEN COLLECTION THE PETER BENDIXEN COLLECTION l 41 MAX BECKMANN (1884-1950) Martyrium, from: HZlle

Although published in an edition of 75, Hölle is today perhaps the rarest of Beckmann’s graphic cycles. At the time of publication, 25 of the sets were taken apart and the prints sold individually by the publisher I. B. Neumann. Of the remaining ffty complete sets, very few seem to have remained intact. Only two complete sets have been offered at auction within the last thirty years and even individual plates rarely come to the market. The large format – the largest in Beckmann’s printed oeuvre – and the unusually dark and gruesome nature of the scenes depicted probably contributed to the low survival rate of these lithographs.

With an unfinching eye and a wicked sense of humour - reminiscent of Otto Dix’s most morbid and grotesque images – Beckmann in eleven plates summarized his experience of life in Berlin in 1918-19. It is a vision of a society torn apart by war, poverty, hunger, violence, ideology and decadence; a journey into the abyss.

Martyrium (lot 41) depicts the assassination of the socialist leader Rosa Luxemburg in Berlin on 15 January 1919, as it was reported in the communist newspaper ‘Die Rote Fahne’ nearly a month later. Luxemburg was hit with the butt of a rife, then shot in the head by members of the Social-Democratic Party’s militia.

l42

MAX BECKMANN

Malepartus, from: HZlle

lithograph, 1919, on simili Japan paper, signed and titled in pencil, numbered 5/75, a fne, rich and slightly tonal impression, published by I. B. Neumann, Berlin, with margins, the sheet reduced on all sides, a pale moisture stain in the right margins, a short tear at the right sheet edge, some minor creases and handling marks in the margins, the subject in very good condition L. 662 x 403 mm., S. 710 x 545 mm.

£20,000-30,000

$34,000-51,000

€26,000-38,000

LITERATURE:

Hofmaier 146

Malepartus was the name of a nightclub in Frankfurt, which borrowed its name from the fox’s residence in Goethe’s epic poem ‘Reineke Fuchs’. It is the juxtaposition of images of violence and misery with those of glamour and decadence, which gives Beckmann’s depictions of the inter-war years their bite.

THE PETER BENDIXEN COLLECTION THE PETER BENDIXEN COLLECTION l 41 MAX BECKMANN (1884-1950) Martyrium, from: HZlle

l43

MAX BECKMANN

Die Familie, from: HZlle

lithograph, 1919, on simili Japan paper, signed and titled in pencil, numbered 31/75, published by I. B. Neumann, Berlin, the full sheet, the upper left sheet corner torn and re-attached, a few small brown stains in the upper right margin, two very short tears at the upper sheet edge, some minor creases in the margins, generally in good condition L. 745 x 440 mm., S. 870 x 613 mm.

£15,000-25,000

$26,000-42,000

€19,000-31,000

LITERATURE:

Hofmaier 149

In Die Familie Beckmann shows how war and violence has entered his own domestic world, as his little son Peter plays enthusiastically with a soldier’s helmet and hand grenades.

l 43 MAX BECKMANN Die Familie, from: HZlle lithograph, 1919, on simili Japan paper, signed and

l44

MAX BECKMANN

Eislauf

lithograph, 1922, on laid paper, signed in pencil, numbered 5/40 (one of forty numbered impressions from the total edition of two hundred), published by Verlag R. Piper, Munich, the full sheet, in very good condition L. 405 x 240 mm., S. 707 x 527 mm.

£8,000-12,000

$14,000-20,000

€11,000-15,000

LITERATURE:

Hofmaier 223

This print was probably intended for the portfolio ‘Berliner Reise’, which shows the life and amusements of different strata of society in 1920s Berlin. The plate which became plate 5 of the portfolio, ‘Der Schlittschuhläufer’ (H. 217) is also a skating scene, but decidedly more gloomy and ‘under-class’ than this rather cheerful plate.

l 43 MAX BECKMANN Die Familie, from: HZlle lithograph, 1919, on simili Japan paper, signed and
l 45 PABLO PICASSO (1881-1973) L’homme au chien (Rue Schœlcher) etching, 1915, on laid vieux japon
l 45 PABLO PICASSO (1881-1973) L’homme au chien (Rue Schœlcher) etching, 1915, on laid vieux japon

l45

PABLO PICASSO (1881-1973)

L’homme au chien (Rue Schœlcher)

etching, 1915, on laid vieux japon paper, signed in red crayon, a very good, tonal and selectively wiped impression from the edition of forty on this paper (there were also sixty impressions on Arches and two on japon nacré), Baer’s third, fnal state, after the steel-facing of the plate, published by Lucien Vollard-Marcel Lecomte, printed by Macquart, Paris, 1947, the full sheet, with deckle edges at left, above and below, very pale mount staining and a few small, unobtrusive stains at the deckle edges, generally in good condition P. 280 x 219 mm., S. 462 x 295 mm.

£7,000-10,000

$12,000-17,000

€8,800-13,000

LITERATURE:

Bloch 28; Baer 39

Picasso frst composed this print in 1915, but must have printed only a few proofs at the time - Baer records only two impressions from this period. He returned to the plate 15 years later, together with the printer Louis Fort, and made a few small changes with the scraper, but again printed only a handful of impressions (one before and a total of four after some changes to the image), before an edition was fnally printed in 1947.

46

ROBERT DELAUNAY (1885-1941)

Saint Severin 1907

lithograph, 1926-28, on Arches wove paper, not signed, a very rare proof, for the planned edition to be published by Editions Spes, Paris, the full sheet, a deckle edge at left and below, a short repaired tear the upper sheet edge at centre, otherwise in good condition L. 550 x 390 mm., S. 765 x 568 mm.

£2,500-3,500

$4,300-5,900

€3,200-4,400

LITERATURE:

cf. Loyer & Perussaux 2 (this version not recorded)

Delaunay frst created a lithograph (L. & P. 2) of this subject, closely related to his cubist painting of 1909 (Solomon R. Guggenheim Museum, New York) around 1923-1925. Not much later, probably in 1926, the idea arose of producing a portfolio of ten lithographs, all based on Delaunay’s paintings of the church of Saint-Severin in Paris - a building he had been fascinated by since 1907. The portfolio was to be accompanied by a text on the history of the church by Joris- Karl Huysmans and published by Editions Spes in Paris. However, the project was abandoned and the present lithograph is the only plate realised and presumably was printed in only a few proof impressions.

In 1992 an impression of this lithograph, printed in black and ochre, was offered at Kornfeld in Bern (26 June 1992, lot 22); together with a maquette of the portfolio case, covered with cloth designed by Sonia Delaunay, and a label reading ‘DIX LITHOGRPAHIES /DE / SAINT SEVERIN /PAR /R. DELAUNAY/ EDITIONS SPES/ PARIS, as well as the printed text by Huysmans and two printed prospects for the publication. It remains unclear why the portfolio was never produced.

47

LYONEL FEININGER (1871-1956)

The Gate

etching and drypoint, 1912, on tan simili Japan paper, signed in pencil, a very good impression printing with much burr, from the edition of 125 signed impressions (there was also a numbered edition of 125 impressions), published by Paul Westheim, Weimar, in the portfolio Die Schaffenden, 1919 (vol. 1), with their blindstamp, the sheet trimmed on all sides, the blindstamp partially trimmed and with a paper split, otherwise in good condition P. 270 x 198 mm., S. 326 x 288 mm.

£6,000-8,000

$11,000-13,000

€7,600-10,000

LITERATURE:

Prasse E 52

48

LYONEL FEININGER

Strasse in Paris

woodcut, 1918, on thin, fbrous Kozo Japan paper, signed and titled in pencil, erroneously inscribed with the work number 1880 at lower centre and with the correct work number 1883 at lower right, a good impression of this rare, monumental print, second, fnal state, with wide margins, probably the full sheet, pale mount staining, a small paper loss at the upper sheet edge and the upper right corner, a few minor nicks at the sheet edges and corners, pale mount staining, generally in good condition B. 543 x 412 mm., S. 696 x 496 mm.

£8,000-12,000

$14,000-20,000

€11,000-15,000

LITERATURE:

Prasse W 97

47 LYONEL FEININGER (1871-1956) The Gate etching and drypoint, 1912, on tan simili Japan paper, signed
47 LYONEL FEININGER (1871-1956) The Gate etching and drypoint, 1912, on tan simili Japan paper, signed
l 49 OTTO DIX (1891-1969) Matrose und MJdchen lithograph printed in three colours, 1923, on laid
l 49 OTTO DIX (1891-1969) Matrose und MJdchen lithograph printed in three colours, 1923, on laid

l49

OTTO DIX (1891-1969)

Matrose und MJdchen

lithograph printed in three colours, 1923, on laid paper, signed and dated in pencil, numbered 15/65, Karsch’s third, fnal state b (with the third stone printing in pink), from the edition published by Karl Nierendorf, Berlin, with margins, the sheet probably slightly reduced above and below, some soft creases at the corners, generally in good condition L. 483 x 375 mm., S. 584 x 465 mm.

£8,000-12,000

$14,000-20,000

€11,000-15,000

LITERATURE:

Karsch 68 IIIb

l50

CONRAD FELIXMÜLLER (1897-1977)

Menschen im Wald

woodcut printed from four blocks in pink, green, blue and black, 1918, on cream laid paper, signed in pencil, an impression from the edition of 75 published by the Frauenbund zur FUrderung neuer deutscher Kunst, Hamburg, hand-printed by Voigt, Berlin, the full sheet, the colours fresh, a thin spot with associated tiny hole in the upper right margin, a short tear at the lower sheet edge, another at the right sheet edge, some minor creases, pinpoint foxmarks and small stains in the margins, otherwise in good condition B. 250 x 300 mm., S. 349 x 420 mm.

£2,500-3,500

$4,300-5,900

€3,200-4,400

LITERATURE:

SUhn 135

FOR OTHER IMPORTANT PRINTS FROM THE PETER BENDIXEN COLLECTION, PLEASE SEE LOTS 147-152 AND 180-183 OF THIS CATALOGUE. OTHER WORKS FROM THE COLLECTION WILL ALSO BE OFFERED IN THE SALE AT SOUTH KENSINGTON ON 18 SEPTEMBER 2014 AND IN THE SALES OF POST-WAR AND CONTEMPORARY ART IN AMSTERDAM ON 4 AND 5 NOVEMBER 2014.

VARIOUS PROPERTIES

l51

CONRAD FELIXMÜLLER

Geliebte Frau

steel-drypoint printed in sanguine, 1921, on stiff cream wove paper, signed, dated, titled and inscribed ‘Probedruck Stahlstich’, a trial proof of an unrecorded frst state, before the monogram at upper right and before the edition of 25, a fne, rich impression printing with much burr and plate tone, with margins, possibly the full sheet, a deckle edge below, light-stained, remains of adhesive tape at the sheet edges verso P. 259 x 199 mm., S. 310 x 221 mm.

£4,000-6,000

$6,800-10,000

€5,100-7,500

PROVENANCE:

Christie’s, London, 26 June 1984, lot 102 (£ 2,000).

LITERATURE:

SUhn 252

VARIOUS PROPERTIES l 51 CONRAD FELIXMÜLLER Geliebte Frau steel-drypoint printed in sanguine, 1921, on stiff cream

l *52

MAX PECHSTEIN (1881-1955)

Mutter und Kind

woodcut with watercolour in pink and green, 1912, on thin laid Japan paper, signed and dated in pencil, from the edition of ten hand- coloured impressions on this paper (there was also an edition of ten with hand-colouring on laid paper), the full sheet, some creases and surface dirt in the margins, generally in good original condition B. 198 x 185 mm., S. 530 x 410 mm.

£4,000-6,000

$6,800-10,000

€5,100-7,500

LITERATURE:

KrIger H 140

VARIOUS PROPERTIES l 51 CONRAD FELIXMÜLLER Geliebte Frau steel-drypoint printed in sanguine, 1921, on stiff cream

PROPERTY FROM THE AHLERS COLLECTION

53

ERNST LUDWIG KIRCHNER (1880-1938)

Akt mit schwarzem Hut

woodcut, 1911/12, on laid paper, watermark initials SUG, signed in pencil, inscribed Eigendruck, the only known impression of the frst state (of three, according to Gercken), a very fne, atmospheric impression, printing with much shading and subtle tone in places within the body and before further changes to the block, the vertical crack in the block partially re-touched with grey wash by the artist, further touches of wash in the upper left corner, with margins, slightly irregularly trimmed, pale light-staining, some minor nicks, creases and surface dirt in the margins, generally in good condition B. 658 x 215 mm., S. 733 x 340 mm.

£200,000-300,000

$340,000-510,000

€260,000-380,000

PROVENANCE:

A private American Collection; Galerie Kornfeld, Bern, 17 June 1988, lot 17 (CHF 410,000).

EXHIBITED:

Expressionistische Bilder - Sammlung Firmengruppe Ahlers, Lenbachhaus, Munich; Wilhelm Lehmbruck Museum, Duisburg; Kunsthalle Emden; Kunsthalle Bielefeld; Rupertinum, Salzburg; Schirn Kunsthalle, Frankfurt am Main; Germanisches Nationalmuseum, Nuremberg, 1993-1997.

LITERATURE:

Schiefer H 182; Dube H 207. Magdalena M. Moeller, Ernst Ludwig Kirchner – Meisterwerke der Druckgraphik, Stuttgart, 1990, no. 58, p. 130-31 (another impression illustrated). Jutta Hülsewig-Johnen (ed.), Expressionistische Bilder – Sammlung Firmengruppe Ahlers, Käthe Kollwitz-Museum (exh. cat.), Berlin (et al.), Stuttgart, 1993, no. 24, p. 114 (the present impression illustrated). Magdalena M. Moeller, Kirchner as a German Artist, in: Jill Lloyd, Magdalena M. Moeller (eds.), Ernst Ludwig Kirchner: the Dresden and Berlin Years, Royal Academy of Arts, London, 2003, p. 23-25 (another impression illustrated). Ina Conzen, Katja Nellman (et al.), Brycke, Bauhaus, Blauer Reiter – SchJtze der Sammlung Max Fischer, Staatsgalerie Stuttgart (exh. cat.), Stuttgart, 2010, no. 81, p. 98-100 (another impression illustrated). Felix Krämer (ed.), Ernst Ludwig Kirchner – Retrospective, Städel Museum (exh. cat.), Frankfurt am Main, 2010, no. 26, p. 86 and 254 (another impression illustrated).

PROPERTY FROM THE AHLERS COLLECTION 53 ERNST LUDWIG KIRCHNER (1880-1938) Akt mit schwarzem Hut woodcut, 1911/12,

Lucas Cranach the Elder, Cupid complaining to Venus, circa 1525 © The National Gallery, London, UK

Kirchner’s Akt mit schwarzem Hut is one of Kirchner’s boldest, most confrontational depictions of the female nude and an icon of German Expressionism. This image of a standing woman, dressed only in slippers, black hat and choker, was inspired by a reproduction of Lucas Cranach’s Venus (Städel Museum, Frankfurt am Main), which Kirchner had seen in the studio of his fellow artist Otto Mueller. Whilst this was certainly the frst inspiration, he presumably also knew Cranach’s Cupid complaining to Venus, possibly the version in London (National Gallery), in which Venus wears an equally incongruous wide- brimmed hat. This large woodcut portrait of Dodo Große, the artist’s girlfriend during his Dresden years, was created in 1912, following his move to Berlin and the break-up with Dodo. It is a highly ambiguous image, poised between seduction and confrontation, and one of the most haunting Expressionist works in any medium. For Kirchner, Dodo remained the ideal model, muse and lover: even many years later, in a diary entry of 1919, he praised her beauty as superior to a Cranach Venus.

The woodcut, which was probably begun in Dresden and completed in Berlin, is closely related to Kirchner’s painting Stehender Akt mit Hut of 1910 (Gordon 163; Städel Museum, Frankfurt am Main). In the woodcut however, Kirchner intensifed the mannerist tendencies - already present in Cranach’s Venus – by distorting the proportions and elongating the fgure even further. It is in woodcuts such as the present Akt mit schwarzem Hut that Kirchner, as Magdalena Moeller wrote, ‘produced his fnest pictorial solutions’ (Moeller, Kirchner as a German Artist, p. 25).

We are grateful to Professor Dr. Günther Gercken, Lütjensee, Germany, for his assistance in cataloguing this lot. Professor Gerken is currently preparing the catalogue raisonné of prints by Ernst Ludwig Kirchner, the frst two volumes of which (1904-1911) have been published last year (Galerie Kornfeld Verlag, Bern, 2013). Gercken records the present, probably unique impression of the frst state, and 11 impressions of the second or third states, two of which are in public collections (Städel Museum, Frankfurt am Main; Graphische Sammlung, Staatsgalerie Stuttgart).

*54

ERNST LUDWIG KIRCHNER

Myggelsee

woodcut printed from two blocks in black, violet and green, 1912, on stiff cream wove paper, signed in pencil, inscribed Eigendruck, the only known impression of the frst state (of two), before the spots on the sails are removed, a fne, rich yet transparent impression of this important early colour woodcut, the violet in the sky partially reworked with watercolour by the artist, with wide margins, probably the full sheet, mount staining, a repaired tear in the right margin, another short tear at the upper sheet edge, framed B. 375 x 302 mm., S. 500 x 397 mm.

£150,000-250,000

$260,000-420,000

€190,000-310,000

PROVENANCE:

Perry T. Rathbone, Boston (1911-2000). William R. Valentiner, Detroit (1880-1958); a gift from above; inscribed in pencil verso:

For William Valentiner/ on his 60th Birthday/ from Perry Rathbone’. Galerie Kornfeld, Bern, 21 June 1991, lot 58 (CHF 145,000).

EXHIBITED:

On loan to the Harvard Art Museums (Busch-Reisinger Museum), Cambridge, Mass., 1993-2003.

LITERATURE:

Schiefer H 178; Dube H 210

With Kirchner’s move to Berlin the previous year, 1911, the long summer days spent by the Moritzburg Lakes outside of Dresden were a thing of the past. Instead, during the summer of 1912 Kirchner and the other Brücke artists made excursions to the lakes surrounding Berlin, including the large Müggelsee near Köpenick to the south-east of Berlin, in search of a cooling bath and inspiration. The atmosphere however, as portrayed in this woodcut composed of two solid blocks of the complementary colours green and violet and the very effectively used white paper tone, is one of serene contemplation rather than bucolic abandon, as found in the bathing scenes of the Dresden years.

This very rare print – only fve impressions are known – is one of Kirchner’s most important colour woodcuts of the Berlin period and one of his early large-scale landscapes in the medium.

We are grateful to Professor Dr. Günther Gercken, Lütjensee, Germany, for his assistance in cataloguing this lot. Professor Gercken is currently preparing the catalogue raisonné of prints by Ernst Ludwig Kirchner, the frst two volumes of which (1904-1911) have been published last year (Galerie Kornfeld Verlag, Bern, 2013). Gercken records only the present impression of the frst state and four impressions of the second, fnal state.

55

ERNST LUDWIG KIRCHNER

Kopf Ludwig Schames

woodcut, 1918, on cream Asoka wove paper, signed in pencil, Dube’s second state (of three), a remarkably transparent impression, from the edition of probably 120 impressions hand-printed by the artist for the Vereinigung für Neue Kunst, Frankfurt am Main, with margins, probably the full sheet, partially printed to the edge of the sheet above (as usual), pale light-staining, the sheet toned, a few small, unobtrusive foxmarks, generally in good condition, framed B. 564 x 275 mm., S. 571 x 445 mm.

£50,000-70,000

$85,000-120,000

€63,000-88,000

PROVENANCE:

Possibly Gustav Schiefer, Hildesheim/ Hamburg (1857-1935); according to an inscription on the back of the frame.

LITERATURE:

Schiefer H 281; Dube H 330 E.W. Kornfeld, Ernst Ludwig Kirchner - Dresden, Berlin, Davos, Bern, 1979, p. 128-29. (another impression illustrated). Magdalena M. Moeller, Ernst Ludwig Kirchner - Meisterwerke der Druckgraphik, Stuttgart, 1990, p.268, no. 127 (another impression illustrated).

55 ERNST LUDWIG KIRCHNER Kopf Ludwig Schames woodcut, 1918, on cream Asoka wove paper, signed in

While spending his frst winter in Frauenkirch above Davos, Kirchner in December 1918 received a commission from the Vereinigung für Neue Kunst in Frankfurt to print a woodcut. The subject of this print, meant as an annual edition (‘Jahresgabe’) for the members of the arts club, was to be a portrait of the Frankfurt art dealer Ludwig Schames, who had exhibited Kirchner’s work for the frst time in 1916.

Although Kirchner’s state of health had somewhat improved in the mountains, he was still suffering from frayed nerves and bouts of depression and paralysis; it is hence somewhat surprising that Kirchner accepted the commission. It is unclear from his correspondence whether the edition was to be 120, 150 or even 180 - in any case it was very unlike Kirchner, who rarely printed more than a dozen impressions of each subject, to produce so large an edition. As an added diffculty, Kirchner did not have a printing press at the time and had to print each impression by rubbing it by hand.

The woodcut shows Ludwig Schames almost frontally as a close-up of his face and large, fowing beard. In the undefned background, Kirchner placed a female fgure, certainly one of Kirchner’s own carved wood sculptures, as an attribute of the art dealer Schames. Kirchner had not seen him for over two years and must have created the portrait either from memory or with the help of a now lost photograph. Kopf Ludwig Schames, with its jagged edges, extreme vertical format, and dense, rhythmic contrasts of black and white, became one of his most dramatic and monumental woodcut portraits.

We are grateful to Professor Dr. Günther Gercken, Lütjensee, Germany, for his assistance in cataloguing this lot. Professor Gercken is currently preparing the catalogue raisonné of prints by Ernst Ludwig Kirchner, the frst two volumes of which (1904-1911) have been published last year (Galerie Kornfeld Verlag, Bern, 2013). Of the frst and third states Gercken records only a few impressions respectively.

VARIOUS PROPERTIES

56

ERNST LUDWIG KIRCHNER

Erotische Szene IV

lithograph, 1910, on white wove paper, signed in pencil, one of only two known impressions, with margins, the signature faint, some very pale light-staining, two short repaired tears at the lower left sheet edge and one at the upper sheet edge at centre, otherwise in good condition, framed L. 170 x 210 mm., S. 239 x 283 mm.

£15,000-20,000

$26,000-34,000

€19,000-25,000

PROVENANCE:

A private American collection; sold Kornfeld, Bern, 17 June 1988, lot 16. A private German collection, purchased at the above sale (CHF 40,000).

LITERATURE:

Schiefer L 315; Dube L 188; Gercken 487 Günther Gercken, Ernst Ludwig Kirchner - Lithographien - Neue Erkenntnisse: Verzeichnis der Steine, Galerie Kornfeld (exh. cat.), Bern 2007, no. 11, p. 36, 61, 64 (another impression illustrated).

VARIOUS PROPERTIES 56 ERNST LUDWIG KIRCHNER Erotische Szene IV lithograph, 1910, on white wove paper, signed

Kirchner’s erotic lithographs count amongst the greatest rarities of German Expressionist printmaking. The present lithograph is the fourth from a series of seven erotic lithographs created in 1910 in Dresden. They presumably refect Kirchner’s own sexual experiences with his girlfriend Dodo Große and are joyful and unrestrained, while a second, much darker series of erotic lithographs created in Berlin in 1915, depict scenes between prostitutes and their - usually dressed - customers.

Kirchner printed the entire series of 1910 from one stone (Gercken’s stone H) by pulling only very few impressions of each subject before erasing and re-using it for another scene. It is in fact doubtful whether he printed more than two impressions of each subject: Gercken records one complete set of all seven scenes in the Kornfeld Collection, Bern/ Davos, fve of which are unique impressions. Only two plates are known in two impressions, including the present one.

VARIOUS PROPERTIES 56 ERNST LUDWIG KIRCHNER Erotische Szene IV lithograph, 1910, on white wove paper, signed

57

ERNST LUDWIG KIRCHNER

Kokotte im Café mit Kellner

lithograph, 1916, on stiff wove paper, signed in pencil, the only known impression of this print, with the artist’s estate stamp verso, with wide margins, the sheet edges slightly irregularly trimmed, pale mount staining, some minor pinpoint foxing, generally in good condition, framed L. 270 x 215 mm., S. 403 x 340 mm.

£15,000-25,000

$26,000-42,000

€19,000-31,000

PROVENANCE:

With the Kirchner estate stamp of the Kunstmuseum Basel (L. 1570b) verso, numbered L308. Private collection, Germany.

LITERATURE:

Schiefer L 308; Dube L 320

Schiefer and Dube record only one impression, presumably the present one, and no other example has come to light since.

We are grateful to Professor Dr. Günther Gercken, Lütjensee, Germany, for his assistence in cataloguing this lot. Professor Gercken is currently preparing the catalogue raisonné of prints by Ernst Ludwig Kirchner, the frst two volumes of which (1904-1911) have been published last year (Galerie Kornfeld Verlag, Bern, 2013). The present, probably unique impression will be illustrated in a subsequent volume.

PROPERTY FROM THE AHLERS COLLECTION

l58

ERICH HECKEL (1883-1970)

Stehende

woodcut with watercolour in ochre, 1912, on soft laid paper, signed and dated in pencil, numbered in pencil (4), Dube’s frst state (of two), one of a few handcoloured impressions of this rare print, with margins, deckle edges above and below, presumably the full sheet, minor moisture staining and some surface dirt in the margins, some pale foxmarks, generally in good original condition, framed B. 358 x 190 mm., S. 580 x 345 mm.

£80,000-120,000

$140,000-200,000

€110,000-150,000

PROVENANCE:

Private German collection; Villa Grisebach, Berlin, 1 June 1990, lot 22 (DM 110,000).

LITERATURE:

Dube H 234

To our knowledge, only three impressions of this print have been offered at auction within the last thirty years, including the present one with handcolouring in ochre.

l *59 WASSILY KANDINSKY (1866-1944) Kleine Welten the complete portfolio of 12 prints, including four lithographs
l *59 WASSILY KANDINSKY (1866-1944) Kleine Welten the complete portfolio of 12 prints, including four lithographs
l *59 WASSILY KANDINSKY (1866-1944) Kleine Welten the complete portfolio of 12 prints, including four lithographs
l *59 WASSILY KANDINSKY (1866-1944) Kleine Welten the complete portfolio of 12 prints, including four lithographs
l *59 WASSILY KANDINSKY (1866-1944) Kleine Welten the complete portfolio of 12 prints, including four lithographs
l *59 WASSILY KANDINSKY (1866-1944) Kleine Welten the complete portfolio of 12 prints, including four lithographs

l*59

WASSILY KANDINSKY (1866-1944)

Kleine Welten

the complete portfolio of 12 prints, including four lithographs in colours, two woodcuts in colours and two in black, and four drypoints, 1922, on wove paper, all signed, with title, justifcation and explanation page, the title page with the unsigned woodcut vignette in black, the justifcation verso, copy no. 60 from the total edition of 230 (numbers 1-30 were on Japan paper), published by Propyläen Verlag, Berlin, printed at the Staatliches Bauhaus, Weimar, presumably the full sheets, the colours very fresh, in excellent condition, all within their original paper mounts with protective glacine sheets, within the original green half-leather folder with yellow paper sides with the cover vignette on the front and the title and artist’s name in gilt on the spine (portfolio) 468 x 352 x 17 mm. (overall)

£150,000-250,000

$260,000-420,000

€190,000-310,000

PROVENANCE:

Richard Doetsch-Benziger (1877-1958), Basel (with his bookplate).

LITERATURE:

Roethel 164-75 Klaus Weber (ed.), Punkt. Linie. Fläche. - Druckgraphik am Bauhaus, Bauhaus-Archiv Berlin Museum fIr Gestaltung (exh. cat.), Berlin, 1999-2000, no. 14, p. 118-127 (other impressions illustrated). Helmut Friedel/ Annegret Hoberg/ Melanie Horst, Kandinsky - Das druckgrafsche Werk - Complete Prints, Städtische Galerie im Lenbachhaus und Kunstbau/ Kunstmuseum Bonn (exh. cat.), 2008- 2009, no. 123-135 (other impressions illustrated).

‘For me, the province of art and the province of nature thus became more and more
‘For me, the province of art and the province of nature thus became more and more
‘For me, the province of art and the province of nature thus became more and more
‘For me, the province of art and the province of nature thus became more and more
‘For me, the province of art and the province of nature thus became more and more
‘For me, the province of art and the province of nature thus became more and more

‘For me, the province of art and the province of nature thus became more and more widely separated, until I was able to experience both as completely independent realms.‘ (Kandinsky, Reminiscences, 1913, quoted in: Friedel/ Hoberg/ Horst, p. 208)

Having created abstract works as early as 1910, Kleine Welten can be considered as the earliest purely abstract major work of printmaking and the most important portfolio created at the Bauhaus. Possibly still under the infuence of the Russian avant-garde, although more lyrical and playful in spirit, Kandinsky created the series in 1922, shortly after joining the teaching staff at the Bauhaus: ‘… he took up his position and within a short period of time, developed into an artist who made a strong impact on the Bauhaus, but who was surely also shaped by it in return. For the connection between art, craft and industrial shaping of form that the Bauhaus propagated led, under the overall concept of functionality, to a clarifcation and objectifcation of the language of forms that corresponded with Kandinsky’s artistic objectives in the 1920s. What seemed outdated to him, in any case, was the expressionistic pathos of the pre-war era.‘ (C. Schreier, The Creation of a Work is the Creation of a World – Kandinsky and his ‘Small Worlds’ Portfolio, in: Friedel/ Hoberg/ Horst, p. 57)

‘For me, the province of art and the province of nature thus became more and more
l61 MARC CHAGALL
l61
MARC CHAGALL

The Flute Player

lithograph in colours, 1957, on Arches wove paper, signed in pencil, numbered 37/90, published by Maeght, Paris, the full sheet, with deckle edges at left and right, in very good condition L. 250 x 420 mm., S. 382 x 571 mm.

£3,000-5,000 $5,100-8,400 €3,800-6,300 LITERATURE: Mourlot 197
£3,000-5,000
$5,100-8,400
€3,800-6,300
LITERATURE:
Mourlot 197

VARIOUS PROPERTIES

l60

MARC CHAGALL (1887-1985)

Saint Germain des Prés

lithograph in colours, 1954, on wove paper, signed in pencil, numbered 58/75, published in Derriére le Miroir by Maeght, Paris, presumably the full sheet, in good condition L. 382 x 282 mm., S. 399 x 282 mm.

£4,000-6,000

$6,800-10,000

€5,100-7,500

LITERATURE:

Mourlot 100; cf. Cramer books 24

l62 MARC CHAGALL
l62
MARC CHAGALL

At the Dawn of Love

lithograph, 1983, on Arches wove paper, signed in pencil, numbered 28/50 (there were also 12 artist’s proofs printed only in black), the colours fresh and bright, the full sheet, a deckle edge below, in very good condition L. 346 x 272 mm., S. 546 x 425 mm.

£4,000-6,000

$6,800-10,000

€5,100-7,500

LITERATURE:

Mourlot 1018

l63

MARC CHAGALL

The Grande Corniche

lithograph in colours, 1967, on Arches wove paper, signed in pencil, numbered 32/50 (there was also an edition of 25 on Japan paper), published by Mourlot, Paris, with margins, a

deckle edge at right, a repaired paper split at the lower right corner, otherwise in good condition, framed

  • L. 485 x 430 mm., S. 685 x 535 mm.

£6,000-8,000

$11,000-13,000

€7,600-10,000

LITERATURE:

Mourlot 485a

l 63 MARC CHAGALL The Grande Corniche lithograph in colours, 1967, on Arches wove paper, signed

l64

AFTER MARC CHAGALL BY CHARLES SORLIER

The Tribe of Naphtali, from: The Twelve Maquettes of Stained Glass Windows for Jerusalem

lithograph, 1964, on Arches wove paper, signed in pencil, numbered LIV/LXXV (there was also an edition of 150 numbered in Arabic numerals), published by Fernand Mourlot, Paris, the full sheet, a short tear at the lower left corner, a small nick at the lower right sheet edge, otherwise in good condition

  • L. 615 x 460 mm., S. 745 x 526 mm.

£4,000-6,000

$6,800-10,000

€5,100-7,500

LITERATURE:

Charles Sorlier 21

l 63 MARC CHAGALL The Grande Corniche lithograph in colours, 1967, on Arches wove paper, signed
l 65 SALVADOR DALÍ (1904-1989) FlorDali (Flora Dalinae) the complete set of ten etchings with drypoint

l65

SALVADOR DALÍ (1904-1989)

FlorDali (Flora Dalinae)

l 65 SALVADOR DALÍ (1904-1989) FlorDali (Flora Dalinae) the complete set of ten etchings with drypoint
l 65 SALVADOR DALÍ (1904-1989) FlorDali (Flora Dalinae) the complete set of ten etchings with drypoint

the complete set of ten etchings with drypoint and pochoir in colours, 1968, on Japon nacré paper, each signed in pencil and numbered 47/75, from the edition of 175 on this paper (the total edition was 408), published by Éditeur d’Art, Paris, the full sheets, some foxing and time staining, otherwise in good condition, loose (as issued), within the original tan suede-covered boards with the title in gold, generally in good condition (portfolio) 780 x 590 mm. (overall)

£28,000-32,000 LITERATURE: Michler & LUpsinger 227-236
£28,000-32,000
LITERATURE:
Michler & LUpsinger 227-236

$48,000-54,000

€36,000-40,000

l66

SALVADOR DALÍ

Dix Recettes d’Immortalité

the complete set of 11 etchings with drypoint and heliogravure and multiples, 1973, the prints on Auvergne Richard de Bas wove paper, some in colour or gilt, the multiples in card, metal and plastic, with title, text in French (with English translation) and justifcation,

signed by the artist, the publisher and the editor in pencil on the justifcation, with the notary’s stamp and signature, copy number

  • 206 from the edition of 210, published by Audouin-Descharnes,

Paris, the prints all signed in pencil and numbered 206/210, also with

the notary’s stamp, signature and numbering verso, the full sheets,

generally in good condition, all contained in nine individual paper folders with text, within the original paper wrapper with title in gilt, the original perspex case with cast metal phone handle, locks and keys, brown cloth-covered slipcase, generally in very good condition (portfolio)

  • 655 x 490 x 130 mm. (overall)

£6,000-8,000

$11,000-13,000

€7,600-10,000

LITERATURE:

Michler & LUpsinger 567-577; Field 73-20

l67

MAURITS CORNELIS ESCHER (1898-1972)

Sun and Moon

woodcut in colours printed from four blocks, 1948, on thin laid Japan paper, signed in pencil and numbered No 10/20, inscribed ‘houtsnede eigendruck’ and ‘Houtsnede “Zon en Moon”, the full sheet, with deckle edges at left, right and below, the colours fresh, light-staining and foxing mainly in the margins B. 250 x 275 mm., S. 330 x 348 mm.

£20,000-30,000

$34,000-51,000

€26,000-38,000

PROVENANCE:

Christie’s, London, 26 June 1984, lot 92

(£2,600).

LITERATURE:

Bool 357

l 67 MAURITS CORNELIS ESCHER (1898-1972) Sun and Moon woodcut in colours printed from four blocks,

l*68

MAURITS CORNELIS ESCHER

Encounter

lithograph, 1944, on wove paper, with partial watermark Holland, signed and titled in pencil, numbered 7/30, with wide margins, light-staining, a few skinned patches at the upper sheet edge, otherwise in good condition, framed L. 340 x 465 mm., S. 450 x 600 mm.

£10,000-15,000

$17,000-25,000

€13,000-19,000

LITERATURE:

Bool 331

l 67 MAURITS CORNELIS ESCHER (1898-1972) Sun and Moon woodcut in colours printed from four blocks,
l 69 JOAN MIRÓ (1893-1983) Femme et chien devant la lune pochoir in colours, 1935, on
l 69 JOAN MIRÓ (1893-1983) Femme et chien devant la lune pochoir in colours, 1935, on

l69

JOAN MIRÓ (1893-1983)

Femme et chien devant la lune

pochoir in colours, 1935, on wove paper, signed and dated in pencil, numbered 5/60, published by Adlan, Barcelona, with their stamp verso, the full sheet, a few pale foxmarks in the margins, the tips of the upper and lower left sheet corners slightly creased, otherwise in very good condition L. 512 x 455 mm., S. 655 x 500 mm.

£10,000-15,000

$17,000-25,000

€13,000-19,000

PROVENANCE:

Pierre Meuzé (not in Lugt).

LITERATURE:

Dupin 18

Joan Miró visited New York in 1947 and where he worked at Stanley William Hayter’s (1901-1988) pioneering print workshop Atelier 17, creating the plates for Série I and II (Lots 70-72). Hayter’s approach to intaglio printing was innovative and experimental. His studio, which had frst been established in Paris in 1927 before relocating to New York at the outbreak of World War II, became a centre for the European and American avant-garde. It was presumably here that Miró met the American abstract painter Carl Holty (1900-1973), to whom one of the proofs is dedicated (Lot 71). The following three lots are some of only a few trial proofs printed by Miró at Atelier 17 in 1947, and refect Hayter’s infuence in their unconventional methods of inking: with a roller (lot 70), fngerprints (lot 71), and by selective wiping (lot 72). Each of the present impressions is unique. The plates returned to Paris with Miró, where they were printed by Lacourière and published by Maeght in a tiny edition of 13 impressions in 1952-53.

l70

JOAN MIRÓ

One plate from: Serie I

etching printed with monotype colouring, 1947, on wove paper, signed and dated ‘New York 17/6/47’ in pencil, inscribed ‘épreuve d’essai’, a rare working proof printed at Atelier 17 in New York in 1947, before the edition of 13 printed in Paris in 1952-53, with wide margins, light and mount staining, backboard staining verso P. 378 x 452 mm., S. 510 x 660 mm.

£10,000-15,000

$17,000-25,000

€13,000-19,000

PROVENANCE:

Heinrich Neuerburg (1880-1956), Cologne (L. 1344a); then by descent. Dr. Walter Neuerburg (1912-86); his sale, Christie’s, New York, 1 November 1988, lot 98 ($35,000).

LITERATURE:

cf. Dupin 75

l71

JOAN MIRÓ

One Plate from: Serie I

etching with monotype colouring, 1947, on wove paper, signed, dated ‘New York 17/6/47’ and dedicated ‘pour Carl Holty, avec toute mon amitié’ in pencil, inscribed ‘épreuve d’essai’, a rare working proof printed at Atelier 17 in New York in 1947, before the edition of 13 printed in Paris in 1952-53, the full sheet, with deckle edges on all four sides, pale light- staining, a printer’s crease in the left margin extending slightly into the subject, generally in very good condition P. 375 x 453 mm., S. 515 x 660 mm.

£10,000-15,000

$17,000-25,000

€13,000-19,000

PROVENANCE:

Carl Robert Holty (1900-73), New York; a gift from the artist; then by descent. Christie’s, New York, 16 November 1987, lot 204 ($24,000). Pierre Meuzé (not in Lugt).

LITERATURE:

cf. Dupin 75

l 71 JOAN MIRÓ One Plate from: Serie I etching with monotype colouring, 1947, on wove

l72

JOAN MIRÓ

One Plate from: Serie II

etching with monotype colouring, 1947, on wove paper, signed and dated ‘New York 18/6/47’ (partially erased), a rare working proof printed at Atelier 17 in New York in 1947, before the edition of 13 printed in Paris in 1952-53, the full sheet, with deckle edges on all sides, a few pale stains in the margins, otherwise in good condition P. 374 x 453 mm., S. 505 x 655 mm.

£10,000-15,000

$17,000-25,000

€13,000-19,000

PROVENANCE:

Pierre Meuzé (not in Lugt).

LITERATURE:

cf. Dupin 83

l 71 JOAN MIRÓ One Plate from: Serie I etching with monotype colouring, 1947, on wove
l 73 JOAN MIRÓ La Main soft-ground etching and aquatint in colours, 1953, on BFK Rives

l73

JOAN MIRÓ

La Main

soft-ground etching and aquatint in colours, 1953, on BFK Rives wove paper, signed and dated in pencil, inscribed H.C., one of a few hors commerce impressions aside from the edition of 75, the colours very fresh, published by Maeght, Paris, the full sheet, with deckle edges above and below, in very good condition P. 355 x 485 mm., S. 510 x 650 mm.

£7,000-10,000

$12,000-17,000

€8,800-13,000

LITERATURE:

Dupin 100

l 73 JOAN MIRÓ La Main soft-ground etching and aquatint in colours, 1953, on BFK Rives

l74

JOAN MIRÓ

Femme au Miroir

lithograph in colours, 1956, on BFK Rives wove paper, signed in pencil, numbered 50/150, published in Derri–re le Miroir, 10 Ans d’Edition, Maeght, Paris, the colours very fresh and bright, the full sheet, a deckle edge at left, in very good condition L. 382 x 560 mm., S. 390 x 565 mm.

£10,000-15,000

$17,000-25,000

€13,000-19,000

PROVENANCE:

Pierre Meuzé (not in Lugt).

LITERATURE:

Mourlot 242; cf. Cramer 36

l 75 JOAN MIRÓ Equinoxe etching, aquatint and carborundum in colours, 1967, on wove paper, signed

l75

JOAN MIRÓ

Equinoxe

etching, aquatint and carborundum in colours, 1967, on wove paper, signed and dedicated ‘pour Sylvie avec mon affection’ in pencil, inscribed H.C., one of a few hors commerce impressions aside from the edition of 75, published by Maeght, Paris, probably the full sheet, a deckle edge at right, very pale scattered pinpoint foxing, otherwise in good condition P., S. 1045 x 737 mm.

£25,000-35,000

$43,000-59,000

€32,000-44,000

LITERATURE:

Dupin 428

l 76 JOAN MIRÓ One plate from: Serie III etching and aquatint with extensive painting in

l76

JOAN MIRÓ

One plate from: Serie III

etching and aquatint with extensive painting in watercolours by the artist, 1952-53, on vellum, signed in black ink, numbered III/XIII, from the edition of 13 unique handcoloured impressions, printed from the black plate only, published by Maeght, Paris, the full sheet, in very good condition P. 296 x 232 mm., S. 525 x 850 mm. (approximately)

£10,000-15,000

$17,000-25,000

€13,000-19,000

LITERATURE:

cf. Dupin 93

l77

JOAN MIRÓ

La Commedia dell’Arte VI

etching in colours, 1979, on Arches paper, signed and inscribed ‘E.A.’ in pencil, an artist’s proof aside from the edition of thirty (there were also 15 hors commerce impressions), published by Maeght, printed by Joan Barbarà, Barcelona, the full sheet, in very good condition S. 565 x 762 mm.

£2,000-3,000 $3,400-5,100 €2,600-3,800 LITERATURE: Dupin 1111 Dl79 JOAN MIRÓ
£2,000-3,000
$3,400-5,100
€2,600-3,800
LITERATURE:
Dupin 1111
Dl79
JOAN MIRÓ

Two plates from: Cartones (M. 452 & 453; cf. C. books 103)

two lithographs printed in colours, 1965, on Arches wove paper, both signed in pencil, numbered 27/75, published by P. Matisse, New York, the full sheets, both in very good condition; with MirA Sculptures (M. 755), lithograph in colours, 1971, on Arches wove paper, signed in pencil, numbered 116/150, before the unsigned edition with text, published by the Walker Art Centre, Minneapolis, the full sheet, in very good condition M. 452: L. 305 x 425 mm., S. 420 x 548 mm. M. 453: L. 505 x 635 mm., S. 545 x 707 mm. M. 755: L. 855 x 727 mm., S. 858 x 730 mm.

(3)

£3,000-5,000

$5,100-8,400

€3,800-6,300

l 77 JOAN MIRÓ La Commedia dell’Arte VI etching in colours, 1979, on Arches paper, signed

78

JOAN MIRÓ

La Révolte des Caract–res

etching and aquatint in colours, 1982, on Guarro wove paper, signed, inscribed ‘Bat.’ and dated 12/VI.81 in pencil, the bon f tirer impression

before the signed and numbered book edition of one hundred (there were also 25 hors commerce impressions), published by Fata Morgana, Montpellier, printed by Joan Barbarà, Barcelona, the full sheet, in good condition; together with the bon G tirer impression of the same etching printed in black (Dupin records only a few proofs printed in black), on Arches wove paper, signed in pencil, inscribed ‘BAT.’ and dated 9/V.81. in pencil, the full sheet, in good condition P. 196 x 155 mm., S. 638 x 496 mm. P. 196 x 155 mm., S. 490 x 355 mm.

(2)

£4,000-6,000

$6,800-10,000

€5,100-7,500

LITERATURE:

Dupin 1171; cf. Cramer books 254

l 77 JOAN MIRÓ La Commedia dell’Arte VI etching in colours, 1979, on Arches paper, signed
80 l 80 HENRI LAURENS (1885-1954) A group of fve etchings l 81 HENRI LAURENS A

80

80 l 80 HENRI LAURENS (1885-1954) A group of fve etchings l 81 HENRI LAURENS A
80 l 80 HENRI LAURENS (1885-1954) A group of fve etchings l 81 HENRI LAURENS A

l80

HENRI LAURENS (1885-1954)

A group of fve etchings

l81

HENRI LAURENS

A group of fve etchings

including Femme debout - face et dos, before 1921, on wove paper, signed in pencil, numbered 20, from the edition of thirty; Le Boxeur, circa 1921, on wove paper, signed in pencil, numbered 15, from the edition of thirty; La Table, before 1921, on wove paper, signed in pencil, numbered 2, from the edition of thirty; Valencia, before 1927, on wove paper, signed in pencil, numbered 19/100;

P. 248 x 189 mm., S. 490 x 328 mm. (and smaller)

(5)

including Deux nues, 1929, on wove paper, signed in pencil, numbered 9/59; Untitled, 1942, on wove paper, signed in pencil, inscribed Bon à tirer, before the edition of 65; L’extermin6e, 1947, signed in pencil, numbered 17/30; Ondine, 1946, initialled in pencil, numbered 13/15; Untitled, 1946, signed in pencil, inscribed BaT; the full sheets, generally in good condition, framed

and Le Gu6ridon, before 1927, on wove paper, signed in pencil,

S. 443 x 570 mm. (and smaller)

(5)

numbered 32/50; the full sheets, generally in good condition, framed

£4,000-6,000

$6,800-10,000

£5,000-7,000

$8,500-12,000

€5,100-7,500

€6,300-8,800

PROVENANCE:

V. 12: Henri M. Petiet (1894-1980), Paris (not in Lugt).

LITERATURE:

 

LITERATURE:

Völker 3, 6, 8-10

Völker 12, 14.1, 15, 18, 22.1

including Femme debout - face et dos , before 1921, on wove paper, signed in pencil,
including Femme debout - face et dos , before 1921, on wove paper, signed in pencil,
including Femme debout - face et dos , before 1921, on wove paper, signed in pencil,

81

82 l 82 HENRI LAURENS A group of four lithographs in colours including Femme accroupie ,

82

82 l 82 HENRI LAURENS A group of four lithographs in colours including Femme accroupie ,
82 l 82 HENRI LAURENS A group of four lithographs in colours including Femme accroupie ,

l82

HENRI LAURENS

A group of four lithographs in colours

including Femme accroupie, 1950, on Arches wove paper, signed in pencil, numbered 10/75 (faded), a deckle edge below, the sheet slightly reduced above and at right; Femme assise au bras lev6, 1950, on Arches wove paper, signed in pencil, numbered 68/75, the full sheet, a deckle edge above and below; Femme couch6e, 1950, on Arches wove paper, signed in pencil, numbered 32/75, the full sheet, a deckle edge at left and right; Femme assise G la jambe lev6e, 1950, on Arches wove paper, signed in pencil, numbered 18/200, the full sheet, a deckle edge above and below, generally in good condition, framed L. 585 x 330 mm. (and smaller). S. 660 x 501 mm. (and smaller)

(4)

£3,000-5,000

$5,100-8,400

€3,800-6,300

LITERATURE:

VUlker 27, 28, 29, 31

83

LOUIS MARCOUSSIS (1883-1941)

Planches de Salut

the complete portfolio from the deluxe edition of ten (numbered 2-11), published by Jeanne Bucher, Paris, 1931, including:

the book of 13 etchings (frontispiece, en-txte, ten plates and cul-de-lampe), on Japon Imperial, with title, text and justifcation, signed in black ink on the justifcation and numbered 3; an additional suite of all the etchings, on Japon appliqué supported on Arches, each signed in pencil, numbered 3/11; three impressions of plate I (in the frst, second and third state), on Arches, each signed in pencil, numbered 2/2; and the original pencil drawing for plate I, on card, signed and dated 1930 in pencil; the full sheets, some foxing, generally in good condition, with original paper wrappers (book, portfolio, 3 loose etchings, 1 drawing) P. 202 x 240 mm. (and similar), S. 330 x 420 mm. (and smaller) 308 x 407 mm. (the book and suite overall)

£10,000-15,000

$17,000-25,000

€13,000-19,000

LITERATURE:

Solange Milet 66-78

82 l 82 HENRI LAURENS A group of four lithographs in colours including Femme accroupie ,

83

82 l 82 HENRI LAURENS A group of four lithographs in colours including Femme accroupie ,
82 l 82 HENRI LAURENS A group of four lithographs in colours including Femme accroupie ,
Dl *84 PABLO PICASSO (1881-1973) Honoré de Balzac: Le Chef d’Oeuvre Inconnu the complete book including

Dl*84

PABLO PICASSO (1881-1973)

Honoré de Balzac: Le Chef d’Oeuvre Inconnu

the complete book including 13 etchings, 1931, on BFK Rives paper,

hors texte, with title, text in French and justifcation, copy number

  • 240 from the edition of 340, published by A. Vollard, Paris, the full

sheets, loose (as issued), one plate with a tear, otherwise in good

condition, with the paper wrappers and slipcase, in good overall condition (book)

  • 345 x 266 x 45 mm. (overall)

£7,000-10,000

$12,000-17,000

€8,800-13,000

LITERATURE:

Cramer books 20

Dl *84 PABLO PICASSO (1881-1973) Honoré de Balzac: Le Chef d’Oeuvre Inconnu the complete book including

l85

PABLO PICASSO

Le Repos du sculpteur devant un centaure et une femme, from: La Suite Vollard

etching, 1933, on Montval laid paper, watermark Vollard, signed in pencil, from the edition of 260 (there was also an edition of ffty impressions with wider margins), published by A. Vollard, Paris, 1939, the full sheet, a deckle edge at left, very pale time and light- staining, in good condition P. 194 x 268 mm., S. 340 x 442 mm.

£4,000-6,000

$6,800-10,000

€5,100-7,500

LITERATURE:

Bloch 167; Baer 320

Dl *84 PABLO PICASSO (1881-1973) Honoré de Balzac: Le Chef d’Oeuvre Inconnu the complete book including

l86

PABLO PICASSO

Le repos du sculpteur II: from La Suite Vollard

etching, 1933, on Montval laid paper, watermark Vollard, signed in pencil, from the edition of 260 (there was also an edition of ffty with wider margins), published by A. Vollard, Paris, 1939, the full sheet, a deckle edge at right, pale light-staining, otherwise in very good condition, framed P. 194 x 268 mm., S. 340 x 445 mm.

£10,000-15,000

$17,000-25,000

€13,000-19,000

LITERATURE:

Bloch 172; Baer 325

l *87 PABLO PICASSO Faune devoilant une Femme, from: La Suite Vollard aquatint, 1936, on Montval

l*87

PABLO PICASSO

Faune devoilant une Femme, from: La Suite Vollard

aquatint, 1936, on Montval laid paper, watermark Picasso, signed in pencil, from the edition of 260 (there was also an edition of ffty with wider margins), published by A. Vollard, Paris, 1939, the full sheet, a deckle edge at right, pale light-staining, generally in good condition P. 316 x 420 mm., S. 340 x 451 mm.

£30,000-50,000

LITERATURE:

Bloch 230; Baer 609

$51,000-84,000

€38,000-63,000

In a room fooded with moonlight a handsome and god-like faun unveils a sleeping woman. Based on Rembrandt’s etching Jupiter and Antiope, 1659 (B., Holl. 204), it contains many autobiographical allusions to the artist’s passionate relationship with his lover Marie-Thérèse Walter, whose powerful physical allure is so evocatively portrayed in the curvaceous fgure of the sleeper. Unlike Rembrandt’s Jupiter, who leers lecherously at the nubile Antiope, this faun gazes upon her, transfxed by her beauty and reaching out to caress the object of his desire.

At the time this aquatint was made, Marie-Thérèse had given birth to their daughter, Maya, and it has been suggested that this aquatint is Picasso’s nostalgic evocation of a passion now passing, irrevocably changed with the advent of parenthood. It is undoubtedly one of the most beautiful examples of the artist’s graphic work, both poetic and mysterious - and a dazzling display of his draughtsmanship and his command of the sugar-lift etching technique.

l *88 PABLO PICASSO FranAoise en soleil lithograph, 1946, on Arches wove paper, initialled in pencil

l*88

PABLO PICASSO

FranAoise en soleil

lithograph, 1946, on Arches wove paper, initialled in pencil by Fernand Mourlot, inscribed with his reference 48 and numbered 6/6 verso, one of six proofs reserved for the artist and the printer (aside from the edition of ffty), the full sheet, a deckle edge above and below, the sheet slightly toned, otherwise in very good condition L. 540 x 445 mm., S. 654 x 500 mm.

£10,000-15,000

$17,000-25,000

€13,000-19,000

LITERATURE:

Bloch 404; Mourlot 48

`In the old days pictures went forward towards completion by stages… A picture used to be a sum of additions. In my case a picture is a sum of destructions. I do a picture – then I destroy it… It could be interesting to preserve photographically, not the stages, but the metamorphoses of a picture’ (Picasso, quoted in: Cahiers d’Art, Paris, 1935, vol. 10, no. 10, p. 173-8, translated in: A. Barr, Picasso: Fifty Years of His Art, New York, 1946, p. 272).

Lithography was ideally suited to Picasso’s stated method of picture-making:

the medium allows for an image to be created on a lithographic stone or plate, to be printed, then erased, reworked and re-printed, until the image is fully realised. Picasso began working at the lithographic studio of Fernand Mourlot in 1945. By 1947 a system had been devised whereby each successive stage of an image would be printed and preserved. This fulflled Picasso desire to preserve ‘the metamorphoses of a picture’.

This present collection (lots 88-97) includes various states from his famous series Femme au Fauteuil, which reveal the sometimes dramatic and surprising transformations the subject underwent in the course of Picasso’s intense engagement with it. Each impression is one of only six proofs pulled by Mourlot. These rare prints offer a unique insight into Picasso’s creative process and his unrestrained and playful visual mind.

l*89

PABLO PICASSO

Femme au Fauteuil

lithograph in colours, 1948, on Arches wove paper, a proof impression of the second, fnal state, without the black stone, inscribed with the printer Fernand Mourlot’s reference ‘133 bis 1 état’ sans noir’, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, a deckle edge above and below, generally in good condition L., S. 652 x 500 mm.

£20,000-30,000

$34,000-51,000

€26,000-38,000

LITERATURE:

cf. Mourlot 133

The present impression is incorrectly inscribed ‘1 état’ verso. It is the second state, without the black stone, after the reworking of the colour stones. This is probably a unique proof; Mourlot does not record other impressions printed without the black stone.

l*90

PABLO PICASSO

Femme au Fauteuil

lithograph, 1948, on China paper, a proof impression of the frst state (of six), initialled in pencil by the printer Fernand Mourlot verso, inscribed with his reference ‘138, NOIR, de 133 bis, épreuve unique’, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, a minor tear at the right sheet edge, a repaired tear at the lower left sheet edge, some soft creases at the sheet edges L. 650 x 500 mm., S. 670 x 505 mm.

£7,000-10,000

$12,000-17,000

€8,800-13,000

LITERATURE:

cf. Mourlot 138

`In the old days pictures went forward towards completion by stages… A picture used to be
`In the old days pictures went forward towards completion by stages… A picture used to be
l *91 PABLO PICASSO Femme au Fauteuil lithograph, 1948, on Arches wove paper, a proof impression

l*91

PABLO PICASSO

Femme au Fauteuil

lithograph, 1948, on Arches wove paper, a proof impression of the second state (of six), initialled in pencil by the printer Fernand Mourlot, inscribed with his reference ‘138, NOIR, de 133 bis, épreuve unique’ verso, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, deckle edges above and below, the sheet slightly toned, scattered foxing verso, generally in good condition S. 657 x 500 mm.

£10,000-15,000

$17,000-25,000

€13,000-19,000

LITERATURE:

cf. Mourlot 138

l *91 PABLO PICASSO Femme au Fauteuil lithograph, 1948, on Arches wove paper, a proof impression

l*92

PABLO PICASSO

Femme au Fauteuil

lithograph, 1948, on Arches wove paper, a proof impression of the third state (of six), initialled in pencil by the printer Fernand Mourlot, inscribed with his reference ‘138, 3e état’ and numbered 6/6 verso, one of six proofs reserved for the artist and printer (there was no edition of this state), the full sheet, a deckle edge at right and left, the sheet slightly toned, faint scuffng in the image, generally in good condition L. 700 x 547 mm., S. 765 x 565 mm.

£12,000-18,000

$21,000-30,000

€16,000-23,000

LITERATURE:

cf. Mourlot 138

l*93

PABLO PICASSO

Femme au Fauteuil

lithograph, 1948, on Arches wove paper, a proof impression of the ffth state (of six), initialled in pencil by the printer Fernand Mourlot,

inscribed with his reference ‘138, 5e état’ and numbered 6/6 verso, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, a deckle edge at right and left, very pale foxing in the margin at lower right, the sheet slightly toned, otherwise in good condition

  • L. 697 x 545 mm., S. 760 x 563 mm.

£20,000-300,000

$34,000-510,000

€26,000-380,000

LITERATURE:

cf. Mourlot 138

l*94

PABLO PICASSO

Femme au Fauteuil

lithograph, 1948, on Arches wove paper, a proof impression of the sixth, fnal state, initialled in pencil by the printer Fernand Mourlot,

inscribed with his reference ‘138, 6e état’ and numbered 6/6 verso, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, a deckle edge at right and left, the sheet slightly toned, otherwise in very good condition

  • L. 697 x 545 mm., S. 764 x 562 mm,

£20,000-30,000

$34,000-51,000

€26,000-38,000

LITERATURE:

cf. Mourlot 138

l *93 PABLO PICASSO Femme au Fauteuil lithograph, 1948, on Arches wove paper, a proof impression
l *93 PABLO PICASSO Femme au Fauteuil lithograph, 1948, on Arches wove paper, a proof impression
95 l*96 PABLO PICASSO Femme au Fauteuil No. 2 lithograph, 1948, on Arches wove paper, a
95 l*96 PABLO PICASSO Femme au Fauteuil No. 2 lithograph, 1948, on Arches wove paper, a
95
l*96
PABLO PICASSO
Femme au Fauteuil No. 2
lithograph, 1948, on Arches wove paper, a proof impression of
the frst state (of two), initialled in pencil by the printer Fernand
Mourlot, inscribed with his reference ‘135, 1e état’ and numbered 6/6
verso, one of six proofs reserved for the artist and printer (there was no
edition of this state), the full sheet, a deckle edge above and below,
some minor scuffs in the lower left corner, the sheet slightly toned,
otherwise in good condition
L., S. 660 x 500 mm.
£12,000-18,000
$21,000-30,000
€16,000-23,000
LITERATURE:
cf. Mourlot 135
97
64

l*95

PABLO PICASSO

Femme au Fauteuil No. 1

lithograph printed in grey, 1948, on Arches wove paper, a proof impression of the seventh state (of eleven), initialled in pencil by the printer Fernand Mourlot, inscribed with his reference ‘134, 1e état du report, épreuve unique gris’ and numbered 6/6, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, a deckle edge at right and left, pale light and time staining, a short tear at the left sheet edge L. 696 x 546 mm., S. 763 x 561 mm.

£20,000-30,000 $34,000-51,000 €26,000-38,000 LITERATURE: cf. Mourlot 134
£20,000-30,000
$34,000-51,000
€26,000-38,000
LITERATURE:
cf. Mourlot 134

96

l*97

PABLO PICASSO

Femme au Fauteuil No. 2

lithograph, 1948, on Arches wove paper, a proof impression of the second, fnal state, initialled in pencil by the printer Fernand Mourlot, inscribed with his reference ‘135, 2e état’ and numbered 6/6 verso, one of six proofs reserved for the artist and the printer (there was no edition of this state), the full sheet, with deckle edges at right and left, pale mount staining and pinpoint foxing in the margins, generally in good condition L. 700 x 547 mm., S. 763 x 563 mm.

£18,000-25,000

$31,000-42,000

€23,000-31,000

LITERATURE:

cf. Mourlot 135

l *98 PABLO PICASSO Les faunes et la centauresse lithograph, 1947, on Arches wove paper, signed

l*98

PABLO PICASSO

Les faunes et la centauresse

lithograph, 1947, on Arches wove paper, signed in pencil, numbered 13/50 (there were also six proofs reserved for the artist and the printer), the full sheet, with deckle edges at left and right, light and time staining, a short tear at the upper right corner, framed S. 500 x 652 mm.

£5,000-7,000

LITERATURE:

Bloch 413; Mourlot 59

$8,500-12,000

€6,300-8,800

l