CKS2350901 20th / 21st Century: London Sales

LONDON EVENING SALE

Wednesday, 5 March 2025, 6:00 pm (GMT) 8 King Street, St. James’s London SW1Y 6QT

VIEWING

Thursday 27 February 10.00am - 8.00pm

Friday 28 February 9.00am - 5.00pm

Saturday 1 March 12.00pm - 5.00pm

Sunday 2 March 12.00pm - 5.00pm

Monday 3 March 9.00am - 5.00pm

Tuesday 4 March 9.00am - 5.00pm

Wednesday 5 March 9.00am - 3.00pm

AUCTIONEERS

Adrien Meyer & Yü-Ge Wang

IMPRESSIONIST AND MODERN ART

Michelle McMullan

Co-Head of Sale

+ 44 (0)20 7389 2137 mmcmullan@christies.com

Olivia Vonberg

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

ADMISSION

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

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

CONDITIONS OF SALE

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

POST-WAR AND CONTEMPORARY ART

Anna Touzin

Co-Head of Sale

+44 (0)207 752 3064 atouzin@christies.com

Joanna Hattab

Associate Specialist +44 (0)207 389 5102 jhattab@christies.com

Joseph Braka

Associate Specialist

+44 (0)207 389 2051 jbraka@christies.com

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as: FREDDIE-23509

With special thanks to Billy Jobling, Aisling Coase, Anastasia Ogden, Jennifer Duignam, Alice Broadbent, Hanna Rechnio and Liam Redmond.

SALE COORDINATORS

Alexandra Anholt

Senior Sale Coordinator

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

Isla McIntyre

Evening Sale Coordinator

+44 (0)20 7389 2356 imcintyre@christies.com

POST SALE SERVICES

Payment, Shipping and Collection

Tel: +44 (0)20 7752 3200

Fax: +44 (0)20 7752 3300

PostSaleUK@christies.com

BUYER’S PREMIUM

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

Opposite:

Lot 9, Amedeo Modigliani, Portrait de Lunia Czechowska, 1917-1918 (detail).

DANIELLE MCKINNEY (B. 1981)

Other Worldly

signed and dated 'D. McKinney 2021' (on the reverse)

acrylic on canvas

20 x 24in. (50.8 x 60.6cm.) Painted in 2021

£40,000-60,000

US$50,000-75,000

€48,000-72,000

PROVENANCE: Night Gallery, Los Angeles. Marianne Boesky Gallery, New York. Acquired from the above by the present owner.

JUSTIN CAGUIAT (B. 1989)

Dreampop

oil, gouache and chalk on linen, in artist's frame overall: 94Ω x 131¬in. (240 x 334.4cm.)

Executed in 2023

£250,000-350,000

US$320,000-440,000

€300,000-420,000

PROVENANCE:

Modern Art, London.

Acquired from the above by the present owner in 2023.

EXHIBITED:

London, Modern Art, Dreampop, 2023.

SANYA KANTAROVSKY (B.

The House of the Spider

1982)

signed, inscribed and dated 'Hole Sanya Kantarovsky 2021' (on the overlap)

oil and watercolour on canvas

94√ x 64√in. (241 x 165cm.)

Executed in 2021

£70,000-100,000

US$88,000-120,000

€84,000-120,000

PROVENANCE:

Modern Art, London. Acquired from the above by the present owner in 2021.

EXHIBITED:

London, Modern Art, The House of the Spider, 2021.

LITERATURE:

S. Kantarovsky, Sanya Kantarovsky. Selected Works 20102024, Cambridge 2024, p. 308, no. 11 (incorrectly dated '2020' and illustrated in colour, p. 63).

EMMI WHITEHORSE (B. 1957)

Sea Forager II

signed with the artist's monogram 'III' (lower right); signed, titled, inscribed and dated '"#1631 SEA FORAGER" II Sept. 2024 Emmi Whitehorse' (on a label affixed to the reverse) oil, pastel, graphite and chalk on paper laid on canvas 59½ x 89½in. (151.5 x 227.5cm.)

Executed in 2024

£120,000-180,000

US$150,000-220,000

€150,000-220,000

PROVENANCE:

Garth Greenan Gallery, New York.

Acquired from the above by the present owner.

WASSILY KANDINSKY (1866-1944) Schwarze Begleitung

signed with the initial and dated 'K / 23' (lower left); dated, inscribed and numbered 'No 109 1923 ''Schwarze Begleitung''' (on the reverse of the artist's mount) watercolour and India ink on paper laid down on the artist's mount

Sheet: 8¡ x 6æ in. (21.4 x 17 cm.)

Mount: 13æ x 12 in. (34.8 x 30.4 cm.)

Executed in December 1923

£700,000-1,000,000

US$880,000-1,200,000

€840,000-1,200,000

PROVENANCE:

Nina Kandinsky, Paris, by descent from the artist and until 1972.

Galerie Karl Flinker, Paris, 1972.

Galerie Berggruen et Cie., Paris, 1972-1973. Galleria Galatea, Turin, 1973.

Acquired from the above by the present owner in February 1973.

EXHIBITED:

Zwickau, Zwickauer Kunstverein, Jubiläumsausstellung, November 1924.

Paris, Galerie Berggruen et Cie., Kandinsky: aquarelles & dessins, October 1972, no. 15 (illustrated; illustrated again as a plate).

LITERATURE:

The artist’s handlist, Watercolours, 'xii 1923, 109, Schwarze Begleitung'.

W. Grohmann, Wassily Kandinsky, Life and Work, London, 1959, no. 713, pp. 190, 347 & 408 (illustrated p. 408).

H.K. Roethel & J.K. Benjamin, Kandinsky, Catalogue Raisonné of the Oil Paintings, vol. II, 1916-1944, London, 1984, p. 669 (the related oil painting illustrated).

V. Endicott Barnett, Kandinsky Watercolours, Catalogue Raisonné, vol. II, 1922-1944, London, 1994, no. 663, p. 91 (illustrated).

EGON SCHIELE (1890-1918)

Knabe in Matrosenanzug

(Boy in a Sailor Suit)

signed and dated ‘Egon Schiele 1914’ (lower left) gouache, watercolour, coloured crayon and pencil on paper 18√ x 12º in. (47.8 x 31.2 cm.)

Executed in 1914

£1,000,000-1,500,000

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

€1,200,000-1,800,000

PROVENANCE:

Franz Friedrich "Fritz" Grünbaum, Vienna, by 1925, from whom spoliated after March 1938. Klipstein & Kornfeld, Bern, 1956.

Manuel Gasser, Brunegg & Zurich, by whom acquired in 1956; sold by his estate, Galerie Kornfeld, Bern, 21 June 1980, lot 1296.

Fischer Fine Art, London.

Private collection, Switzerland, by whom acquired from the above in 1980; sale, Sotheby’s, London, 1 Dec 1992, lot 9.

Private collection, Germany, by whom acquired at the above sale.

The present work is being offered for sale pursuant to a restitution agreement between the consignor and the Heirs of Fritz Grünbaum that resolves any concerns over ownership of the work and title will pass to the buyer.

EXHIBITED:

Vienna, Galerie Würthle, Egon Schiele, December 1925January 1926, no. 84 (titled 'Sitzender Knabe').

Bern, Gutekunst & Klipstein, Egon Schiele: Bilder, Aquarelle, Zeichnungen, Graphik, September - October 1956, no. 29, p. 23 (illustrated; titled ‘Knabenbildnis’).

Zurich, Kunsthaus, Vereinigung Zürcher Kunstfreunde, October - November 1968, no. 47, p. 26 (titled ‘Knabenbildnis’).

London, Marlborough Fine Art, Egon Schiele: Drawings and Watercolours, 1907 - 1918, February - March 1969, no. 35, p. 14 (illustrated p. 35; titled ‘Knabenbildnis’).

Lucerne, Kunstmuseum, Kunst in Österreich 1900-1930, July - September 1974, no. 246 (titled ‘Knabenbildnis’).

Brussels, Palais des Beaux-Arts, Klimt, Schiele, Kokoschka, Drawings and watercolours, April - May 1981, no. 83, p. 119 (illustrated).

LITERATURE:

J. Kallir, Egon Schiele: The Complete Works, New York, 1998, no. 1633, p. 538 (illustrated; illustrated in colour pl. 49, pp. 151 & 152 and illustrated again on the cover).

DU, vol. 23, Wien, 1900-1918, no. 266, April 1963, p. 57 (illustrated).

J. Kallir, Egon Schiele: Drawings and Watercolours, London, 2003, pp. 276 & 316 (illustrated p. 316).

S. Lillie, 'A Legacy Forlorn. The Fate of Egon Schiele's Early Collectors' in Egon Schiele. The Ronald S. Lauder and Serge Sabarsky Collections, exh. cat., New York, 2005, p. 123.

JENNY SAVILLE (B. 1970)

Study for Pietà IV

signed and dated 'Saville 2019-20' (lower right)

charcoal and pastel on paper

59æ x 48in. (151.8 x 122cm.)

Executed in 2019-2020

£800,000-1,200,000

US$1,000,000-1,500,000

€960,000-1,400,000

PROVENANCE:

Gagosian Gallery, London. Acquired from the above by the present owner in 2022.

EXHIBITED:

Florence, Museo Novecento, Jenny Saville, 2021-2022 (incorrectly dated; illustrated in colour, p. 132).

PABLO PICASSO (1881-1973)

Femme au voile debout, deux hommes assis

signed ‘Picasso’ (upper right) sanguine on paper

42¬ x 29º in. (108.3 x 74.3 cm.)

Drawn in winter 1923-1924

£500,000-700,000

US$630,000-870,000

€600,000-840,000

PROVENANCE:

Ernest de Frenne, Paris.

M. Knoedler & Co., New York, by whom acquired from the above on 17 July 1929.

Mr & Mrs Chisholm Jr., New York & Hillsborough, California, by whom acquired from the above on 17 May 1938, until at least 1967.

Saidenberg Gallery Inc., New York, in 1968.

Enid A. Haupt, New York, by 1968.

Anonymous sale, Christie's, New York, 16 November 1983, lot 179.

Marlborough Fine Art Ltd., London, by whom acquired at the above sale.

Acquired from the above in 1983.

EXHIBITED:

New York, Duveen Brothers, Inc., Picasso: An American Tribute, The Classic Phase, April - May 1962, no. 37 (illustrated; titled 'Three Classical Figures').

Toronto, Art Gallery of Ontario, Picasso and Man, January - February 1964, no. 87, p. 97 (illustrated); this exhibition later travelled to Montreal, Museum of Fine Arts, February - March 1964.

Fort Worth, Dallas, Art Center Museum, Picasso, FebruaryMarch 1967, no. 185, p. 103.

New York, Saidenberg Gallery, Inc., Homage to Picasso for his 90th Birthday, October 1971, no. 36, p. 47 (illustrated; titled 'Three Classical Figures').

LITERATURE:

C. Zervos, Pablo Picasso, vol. 5, Oeuvres de 1923 à 1925, Paris, 1952, no. 171 (illustrated pl. 82; incorrectly catalogued as 'India ink on paper' and with incorrect dimensions).

U. Weisner, ed., Picassos Klassizismus, Werke von 19141934, Bielefeld, 1988, no. 69b, p. 333 (illustrated).

B. Léal, Carnet, Catalogue des dessins, vol. 1, Paris, 1996, p. 289 (illustrated fig. 53; dated '1922').

AMEDEO MODIGLIANI (1884-1920)

Portrait de Lunia Czechowska

signed 'Modigliani' (upper right)

oil on canvas laid on board

18¿ x 14√ in. (46 x 37.8 cm.)

Painted circa 1917-1918

£4,000,000-7,000,000

US$5,000,000-8,700,000

€4,800,000-8,400,000

PROVENANCE:

Walther Halvorsen, Oslo & Paris, by whom probably acquired from the artist.

Galerie Bernheim-Jeune, Paris (no. 22306), by whom acquired from the above on 3 September 1920.

Biassano, by whom acquired from the above on 27 November 1920.

Jos Hessel, Paris, by 1930.

Marcelle Bourdon, Paris, by 1952; her sale, Guy Loudmer, Paris, 25 March 1990, lot 35.

Corporate collection; sale, Briest, Paris, 28 November 1996, lot 33.

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

Acquired from the above in 2003, and thence by descent to the present owner.

EXHIBITED:

London, Tate Gallery, Modern Italian Art: An Exhibition of Paintings and Sculpture Held Under the Auspices of the Amici di Brera and the Italian Institute, June - July 1950, no. 67, p. 13 (dated ‘About 1919’).

Paris, Galerie Bernheim-Jeune, Peintres de portraits, MayJune 1952, no. 42.

Bern, Kunsthalle, Modigliani, Campigli, Sironi, AugustSeptember 1955, no. 19, p. 7 (titled 'Portrait de femme').

Paris, Galerie Charpentier, Cent tableaux de Modigliani, April - May 1958, no. 67.

Frankfurt, Steirnernes Haus, Amedeo Modigliani, JuneJuly 1963, no. 21 (illustrated).

Martigny, Fondation Pierre Gianadda, Modigliani, June -

October 1990, no. 73, pp. 146, 147 & 225 (illustrated pp. 146 & 225; incorrectly catalogued as 'oil on board').

LITERATURE:

A. Pfannstiel, Modigliani, Paris, 1929, pp. 30 & 31 (IX) (dated ‘1918’ and with the dimensions and provenance inverted with 'La belle Polonaise (Lunia Czechowska)' p. 23 (I)).

T. Bernard, 'Jos Hessel' in La Renaissance, Paris, January 1930, p. 19 (illustrated).

A. Pfannstiel, Modigliani et son oeuvre, Paris, 1956, no. 185, p. 117 (with incorrect dimensions and provenance).

A. Ceroni, Amedeo Modigliani, Milan, 1958, no. 140, p. 66 (illustrated).

F. Russoli, Amedeo Modigliani, Milan, 1963, no. VII (illustrated).

R. van Gindertael, Modigliani e Montparnasse, Milan, 1967, p. 53 (illustrated pl. XXVII).

A. Ceroni & L. Piccioni, I dipinti di Modigliani, Milan, 1970, no. 172, p. 97 (illustrated p. 96; titled ‘Testa di Lunia Czechowska in Fronte’).

J. Lanthemann, Modigliani 1884-1920: Catalogue raisonné, Barcelona, 1970, no. 234, p. 123 (illustrated p. 222).

A. Ceroni & F. Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972, no. 172, p. 97 (illustrated p. 96).

C. Parisot, Modigliani, Livorno, 1988, p. 159.

C. Parisot, Modigliani: Catalogue Raisonné, vol. II, Livorno, 1991, no. 23/1917, pp. 159 & 309 (illustrated, p. 159; incorrectly catalogued as ‘oil on paper’).

O. Patani, Amedeo Modigliani, Catalogo generale: dipinti, Milan, 1991, no. 177, p. 192 (illustrated; titled ‘Testa di Lunia Czechowska in fronte’ and incorrectly catalogued as 'oil on board').

C. Parisot, Modigliani, Paris, 1992, p. 121 (illustrated).

G.P. & F. Dauberville, Modigliani – Amedeo Modigliani chez Bernheim-Jeune, Paris, 2015, no. 5, p. 48 (illustrated p. 49; illustrated again in situ in the 1952 exhibition pp. 26 & 27; titled ‘Portrait de femme ou Madame Tschekowska’).

FRANCIS BACON (1909-1992)

Portrait of Man with Glasses III

oil and silver sand on canvas 14¿ x 12¿in. (36 x 30.7cm.)

Executed in 1963

£6,000,000-9,000,000

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

€7,200,000-11,000,000

PROVENANCE:

Marlborough Fine Art Ltd., London.

Marlborough-Gerson Gallery Inc., New York (acquired from the above in 1965).

Private Collection, U.S.A.

Thomas Gibson Fine Art, London. Private Collection, South Africa (acquired from the above in 1972).

Ivor Braka Collection, London.

Private Collection, UK (acquired from the above circa 1996). Acquired from the above by the present owner.

EXHIBITED:

London, Marlborough New London Gallery, Francis Bacon, 1963.

Paris, Centre national d’art et de culture Georges Pompidou, Francis Bacon, 1997, no. 39 (illustrated in colour p. 136). This exhibition later travelled to Munich, Haus der Kunst.

New Haven, Yale Center for British Art, Francis Bacon: A Retrospective, 1999, p. 130, no. 40 (illustrated in colour, p. 131). This exhibition later travelled to Minneapolis, The Minneapolis Institute of Arts; San Francisco, The Fine Arts Museums of San Francisco and Fort Worth, Modern Art Museum of Fort Worth.

Dublin, Hugh Lane Municipal Gallery of Modern Art, Francis Bacon in Dublin, 2000, p. 74 and 124, no. 30 (illustrated in colour, p. 77).

The Hague, Gemeentemuseum Den Haag, Francis Bacon, 2001, p. 94 (illustrated in colour, p. 95).

Edinburgh, Scottish National Gallery of Modern Art, Francis Bacon: Portraits and Heads, 2005-2006, p. 22 and 45 no. 22 (illustrated in colour, p. 52). This exhibition later travelled to Hamburg, Hamburger Kunsthalle.

Milan, Palazzo Reale, Bacon, 2008, pp. 236-237, no. 32 (illustrated in colour, p. 124).

New York, Gagosian Gallery, Isabel and Other Intimate Strangers: Portraits by Alberto Giacometti and Francis Bacon, 2008, p. 186 (illustrated in colour, pp. 187 and 260).

Oxford, The Ashmolean Museum, Francis Bacon/ Henry Moore: Flesh and Bone, 2013-2014, p. 134, no. 57 (illustrated in colour on the front cover and illustrated in colour, p. 135). This exhibition later travelled to Toronto, Art Gallery of Ontario.

Bilbao, Guggenheim Museum Bilbao, Francis Bacon: de Picasso a Velázquez, 2016-2017, p. 203, no. 59 (illustrated in colour, p. 150).

London, National Portrait Gallery, Francis Bacon: Human Presence, 2024-2025, p. 212, no. 10 (illustrated in colour, p. 47).

LITERATURE:

R. Alley and J. Rothenstein, Francis Bacon: Catalogue Raisonné, London 1964, pp. 154 and 274, no. 219 (illustrated, p. 255).

L. Trucchi, Francis Bacon, London 1975, p. 39, no. 91 (illustrated, p. 132).

F. Borel and M. Kundera, Bacon: Portraits and SelfPortraits, London 1996, p. 213 (illustrated in colour, p. 88).

D. Sylvester, Looking Back at Francis Bacon, London 2000, p. 91-93 and 269, no. 76 (illustrated, p. 93).

M. Harrison and R. Daniels (eds.), Francis Bacon Catalogue Raisonné: Volume III, 1958-71, London 2016, pp. 724, 728 and 730, no. 63-10 (illustrated in colour, p. 729).

Fortheextensiveexhibitionhistoryandliteraturereferences pleasevisit christies.com

PROPERTY FROM A PRIVATE ITALIAN COLLECTION

PABLO PICASSO (1881-1973)

Femme nue assise III

signed ‘Picasso’ (upper left); dated and numbered ’16.2.59. III’ (on the reverse) oil on canvas

11¿ x 9¿ in. (28.2 x 23.3 cm.)

Painted in Cannes on 16 February 1959

£600,000-800,000

US$750,000-990,000

€720,000-960,000

PROVENANCE:

The artist’s studio, until at least 1960. Galerie Berggruen et Cie., Paris. Galleria La Bussola, Turin.

Acquired from the above by the present owner in 1970.

LITERATURE:

C. Zervos, Pablo Picasso, vol. 18, Oeuvres de 1958 à 1959, Paris, 1955, no. 328 (illustrated pl. 97).

D. D. Duncan, Picasso's Picassos: The Treasures of La Californie, London, 1961, p. 257 (illustrated).

PROPERTY FROM A PRIVATE COLLECTION *12

ROBERT DELAUNAY (1885-1941)

Ville de Paris

signed 'r. delaunay' (lower right); titled and indistinctly dated 'Ville de Paris 1910.1.12' (lower left)

watercolour on paper

29º x 38¡ in. (74.3 x 97.5 cm.)

Executed in 1910-1912

£600,000-850,000

US$750,000-1,100,000

€720,000-1,000,000

PROVENANCE:

Maurice Raynal, Paris, by whom probably acquired directly from the artist.

Stephen Mazoh & Co. Inc, New York, by 1990.

LITERATURE:

S.A. Buckberrough, Robert Delaunay: The Discovery of Simultaneity, Ann Arbor, 1982, no. 44, pp. xii, 90, 292 & 340 (illustrated; titled 'Study for the City of Paris').

P. Rousseau, ed., Robert Delaunay: 1906-1914, De l'impressionisme à l'abstraction, exh. cat., Centre Georges Pompidou, Paris, 1999, p. 157 (illustrated).

PROPERTY FROM A PRIVATE COLLECTION

FERNAND LÉGER (1881-1955)

L'Armistice

signed and dated 'F. LEGER 18' (lower right) oil on canvas

21æ x 15¿ in. (55.4 x 38 cm.)

Painted in 1918

£1,800,000-2,500,000

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

€2,200,000-3,000,000

PROVENANCE:

Sidney Janis Gallery, New York, by 1954.

Nelson A. Rockefeller, New York, by 1959, and until at least 1969.

Marlborough Fine Art Ltd., London. Acquired from the above on 9 July 1970.

EXHIBITED:

New York, Sidney Janis Gallery, XX Century Masters, October - November 1954 (illustrated). (possibly) New York, Sidney Janis Gallery, New Arrivals from France, October - November 1955.

New York, Sidney Janis Gallery, Léger: Major Themes, January - February 1957, no. 9 (illustrated).

New York, Sidney Janis Gallery, X Years of Janis, September - November 1958, no. 36 (illustrated). Dartmouth College, Carpenter Art Gallery, Art Work from Nelson A. Rockefeller Collection, June - September 1959. Buffalo, Albright Art Gallery, Paintings from the Collection of Governor Nelson A. Rockefeller, June - August 1960, no. 9. Brooklyn, The Brooklyn Museum, Masterpieces from the Collection of Governor Rockefeller, July - August 1962, no. 19 (with incorrect dimensions).

New York, Museum of Modern Art, Twentieth-Century Art from the Nelson Aldrich Rockefeller Collection, MaySeptember 1969, p. 133 (illustrated p. 56).

LITERATURE:

C. Zervos, Fernand Léger: Oeuvres de 1905 à 1952, Paris, 1952, p. 93 (illustrated p. 39; dated '1918-1919').

A. Verdet, Fernand Léger: Le dynamisme pictural, Geneva, 1955, no. 15 (illustrated; titled 'Le 14 Juillet 1918'; with inverted dimensions).

J. Cassou & J. Leymarie, Fernand Léger: dessins et gouaches, Paris, 1972, pp. 36 & 203 (illustrated fig. T9, p. 36; dated '1919').

G. Néret, F. Léger, London, 1993, p. 63 (illustrated pl. 60).

G. Bauquier, Fernand Léger: Catalogue raisonné, vol. I, 1903-1919, Paris, 1990, no. 106, p. 195 (illustrated).

G. Bauquier, Fernand Léger: Catalogue raisonné, 19541955, Supplement et corrections des volumes précédents, Paris, 2013, no. 106, p. 148 (illustrated p. 149).

JEAN-MICHEL BASQUIAT (1960-1988)

Untitled

oilstick on paper

50⅓ x 98½in. (127.7 x 250.2cm.)

Executed in 1983

£2,500,000-3,500,000

US$3,200,000-4,400,000

€3,000,000-4,200,000

PROVENANCE:

Robert Miller Gallery, New York. Private Collection (acquired from the above in 1995).

Tony Shafrazi Gallery, New York. Private Collection, UK.

Acquired from the above by the present owner.

LITERATURE:

Jean-Michel Basquiat: Drawings, exh. cat., New York, Robert Miller Gallery, 1990, p. 152 (detail illustrated in colour on the inside cover and p. 2).

T. Shafrazi, J. Deitch and R. D. Marshall, Jean-Michel Basquiat, New York 1999 (detail illustrated in colour on the inside cover, illustrated in colour, p. 172).

Galerie Enrico Navarra (ed.), Jean-Michel Basquiat: Oeuvres sur papier, Paris 1999 (illustrated in colour, pp. 176-177).

*15

CY TWOMBLY (1928-2011)

Untitled

signed and dated 'Cy Twombly Jan 1970' (on the reverse) oil and wax crayon on paper 27¬ x 34¡in. (70.2 x 87.4cm.)

Executed in 1970

£1,500,000-2,000,000

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

€1,800,000-2,400,000

PROVENANCE:

Galleria La Tartaruga, Rome. Private Collection, Italy (acquired from the above in 1970). Thence by descent to the present owner.

LITERATURE:

N. Del Roscio (ed.), Cy Twombly Drawings, Cat. Rais. Vol. 5 1970-1971, Munich 2015, no. 42 (illustrated in colour, p. 43).

PROPERTY FROM A PRIVATE SWISS COLLECTION

CLAUDE MONET (1840-1926)

Waterloo Bridge

stamped with the signature 'Claude Monet' (lower right) pastel on paper

12º x 19¿ in. (31 x 48.6 cm.)

Executed in 1901

£1,000,000-1,500,000

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

€1,200,000-1,800,000

PROVENANCE:

Sammlung Robert Biedermann-Mantel, Winterthur. Biedermann-Mantel Foundation, by descent from the above in 1954.

Private collection, Switzerland, by whom acquired from the above in December 1960, and thence by descent to the present owner.

LITERATURE:

D. Wildenstein, Claude Monet, Biographie et catalogue raisonné, vol. V, Lausanne, 1991, no. P 90, p. 173 (illustrated).

NO LOT

PROPERTY FROM AN IMPORTANT PRIVATE AMERICAN COLLECTION

DAVID HOCKNEY (B. 1937)

Between Kilham and Langtoft

signed, titled and dated 'between Kilham and Langtoft Sept 6th 06 David Hockney' (on the reverse) oil on canvas, in two parts 48 x 72in. (121.9 x 182.9cm.)

Painted in 2006

£4,000,000-6,000,000

US$5,000,000-7,500,000

€4,800,000-7,200,000

PROVENANCE:

Richard Gray Gallery, New York.

Acquired from the above by the present owner in 2010.

EXHIBITED:

Schwäbisch Hall, Kunsthalle Würth, David Hockney: Nur Natur Just Nature, p. 167, no. 15 (illustrated in colour, pp. 10 and 176).

PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTION

FRANK AUERBACH (1931-2024)

Primrose Hill - Early Summer

titled twice and dated twice 'PRIMROSE HILL 81-82

PRIMROSE HILL 81-82' (on the reverse) oil on board

40 x 50in. (101.6 x 127cm.)

Painted in 1981-1982

£2,000,000-3,000,000

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

€2,400,000-3,600,000

PROVENANCE:

Marlborough Fine Art Ltd., London. Private Collection, Europe (acquired from the above in 1983).

Acquired from the above by the present owner in 2014.

EXHIBITED:

London, Marlborough Fine Art Ltd., Frank Auerbach: Recent Work, 1983, p. 5, no. 25 (illustrated, p. 33).

LITERATURE:

W. Feaver, Frank Auerbach, New York 2009, no. 474 (illustrated in colour, p. 291).

W. Feaver, Frank Auerbach, New York 2022, no. 474 (illustrated in colour, p. 333).

PROPERTY FROM A PROMINENT AMERICAN COLLECTION

LUCIAN FREUD (1922-2011)

Mark the Collector

oil on canvas

8¿ x 7in. (20.6 x 17.7cm.)

Painted in 2008

£1,200,000-1,800,000

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

€1,500,000-2,200,000

PROVENANCE:

Private Collection, U.S.A. (acquired directly from the artist in 2008).

LITERATURE:

M. Gayford, Lucian Freud, Vol. 2, London 2018, p. 298 (illustrated in colour, p. 283).

M. Gayford, Lucian Freud, London 2022, p. 616 (illustrated in colour, p. 595).

C. Lampert and T. Treves, Lucian Freud: Catalogue Raisonné of the Oil Paintings, London 2025, no. 501 (illustrated in colour, p. 308).

MICHAEL ANDREWS (1928-1995)

School IV: Barracuda under Skipjack Tuna

signed, titled and dated '"School IV: Barracuda under Skipjack Tuna" Michael Andrews 1978' (on the stretcher)

acrylic on canvas

69¿ x 69¿in. (175.5 x 175.5cm.)

Painted in 1978

£3,000,000-5,000,000

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

€3,600,000-6,000,000

PROVENANCE:

Anthony d'Offay and James Kirkman, London.

Acquired from the above by Dr. Catherine Wills in 1979.

EXHIBITED:

London, Anthony d’Offay, Michael Andrews: Paintings 197778, 1978, no. 4.

London, Hayward Gallery, Michael Andrews, 1980-1981, pp. 72-73, no. 119 (illustrated in colour, p. 45). This exhibition later travelled to Edinburgh, Fruitmarket Gallery and Manchester, Whitworth Art Gallery.

London, Tate Britain, Michael Andrews, 2001, pp. 26, 29 and 162, no. 58 (illustrated in colour, p. 113).

London, Gagosian Gallery, Michael Andrews. Earth, Air, Water, 2017, pp. 67 and 154, no. 32 (illustrated in colour, p. 75).

DAVID HOCKNEY (B.1937)

Woldgate Woods, Winter, 2010 nine synchronised digital videos overall: 81 x 142½in. (206 x 362cm.)

Executed in 2010, this work is number seven from an edition of ten plus two artist's proofs

£800,000-1,200,000

US$1,000,000-1,500,000

€960,000-1,400,000

PROVENANCE:

Annely Juda Fine Art, London. Private Collection (acquired from the above in 2017). Anon. sale, Sotheby's London, 2 March 2022, lot 14. Acquired at the above sale by the present owner.

EXHIBITED:

London, Royal Academy of Arts, David Hockney: A Bigger Picture, 2013, p. 272, no. 144.1 (incorrectly titled 'Nov. 26th 2010, Woldgate Woods, 9:30 am', another from edition exhibited and illustrated in colour, p. 273). This exhibition later traveled to Bilbao, Guggenheim Museum and Cologne, Museum Ludwig.

San Francisco, de Young Museum, David Hockney: A Bigger Exhibition, 2014, p. 221, no. 214 (incorrectly titled 'Woldgate Woods, November 26th 2010', another from the edition exhibited and illustrated in colour, p. 169). Toledo, Toledo Museum of Art, Sights & Sounds: Art, Nature, and the Senses, 2018-2019 (another from the edition exhibited).

Others from the edition are in the collections of Toledo Museum of Art, Toledo; The Smithsonian American Art Museum, Washington, D.C. and The David Hockney Foundation.

This work is accompanied by a certificate of authenticity from David Hockney Inc. signed by the artist.

For the extensive exhibition history and literature references please visit christies.com

PROPERTY OF A DISTINGUISHED BRITISH COLLECTOR

BRIDGET RILEY (B. 1931) Daphne

signed and dated ‘Riley ‘88’ (on the turnover edge); signed, titled and dated 'DAPHNE. Riley 1988.' (on the overlap); signed, titled and dated 'DAPHNE. Riley 1988.' (on the stretcher)

oil on linen

65⅛ x 89¾in. (165.6 x 228cm.)

Painted in 1988

£1,200,000-1,800,000

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

€1,500,000-2,200,000

PROVENANCE:

Private Collection (acquired directly from the artist). Mayor Rowan Gallery, London. Acquired from the above by the present owner circa 1992.

LITERATURE:

R. Kudielka, A. Tommasini and N. Naish (eds.), Bridget Riley: The Complete Paintings, Volume 2, 1974-1997, London 2018, p. 1836, no. BR 319 (illustrated in colour, pp. 808-809).

LYONEL FEININGER (1871-1956)

Hinter der Kirche II (Behind the Church II)

signed and dated 'Feininger 17' (lower right); inscribed 'Hinter der Kirche II Erfurt' (on the stretcher) oil on canvas

30 x 33æ in. (76 x 85.8 cm.)

Painted in 1917

£1,300,000-2,100,000

US$1,700,000-2,600,000

€1,600,000-2,500,000

PROVENANCE:

The artist's estate.

Julia Feininger, New York, by descent from the above. Marlborough-Gerson Gallery, Inc., New York , by whom acquired from the above in 1971.

Acquired from the above on 19 December 1972.

EXHIBITED:

New York, Marlborough-Gerson Gallery, Lyonel Feininger, April - June 1969, no. 17, pp. 10 & 35 (illustrated; with incorrect dimensions).

LITERATURE:

H. Hess, Lyonel Feininger, New York, 1961, no. 182, p. 265 (illustrated pl. 17, p. 189; with incorrect dimensions).

U. Luckhardt, Lyonel Feininger, Munich, 1989, pp. 35, 36 & 185 (illustrated fig. 23, p. 35; with incorrect dimensions).

A. Moeller, Lyonel Feininger, The Online Catalogue Raisonné of Paintings, no. 192 (illustrated; with incorrect dimensions; accessed 2 February 2025).

Achim Moeller, Managing Principal of The Lyonel Feininger Project LLC, New York – Berlin has confirmed the authenticity of this work, which is registered under no. 1841-03-28-23

TAMARA DE LEMPICKA (1898-1980)

Portrait du Docteur Boucard

signed ‘T. DE LEMPICKA’ (lower left) oil on canvas

53√ x 30æ in. (137 x 78 cm.)

Painted in 1928

£5,000,000-8,000,000

US$6,300,000-10,000,000

€6,000,000-9,600,000

PROVENANCE:

Dr Pierre Boucard, Paris, by whom commissioned directly from the artist in 1929, and thence by descent.

Anonymous sale, Sotheby’s, New York, 14 November 1985, lot 278.

Acquired at the above sale, and thence by descent to the present owner.

EXHIBITED:

Paris, Grand Palais des Champs-Élysées, Société des artistes indépendants, 40e Exposition, January - February 1929, no. 2661, p. 220.

Pittsburgh, Carnegie Institute, 28th International Exhibition of Paintings, October – December 1929, no. 211 (illustrated).

Paris, Galerie Colette Weil, Tamara de Lempicka, 1931.

Paris, Galerie Ror-Volmar, Tamara de Lempicka, oeuvres récentes et anciennes, 1930-1960, May - June 1961 (dated ‘1932’).

Paris, Galerie du Luxembourg, Tamara de Lempicka de 1925 à 1935, June - July 1972, no. 35, p. 13 (illustrated p. 47).

Rome, Accademia di Francia, Tamara de Lempicka, Elegant transgressions, February - May 1994, no. 27, p. 102 (illustrated p. 64); this exhibition later travelled to Montreal, Museum of Fine Arts, June - October 1994. London, Royal Academy of Arts, Tamara de Lempicka: Art Deco Icon, May - August 2004, no. 27, pp. 92 & 139 (illustrated p. 92 and illustrated again as a frontispiece); this exhibition later travelled to Vienna, Kunstforum Wien, September 2004 - January 2005.

LITERATURE:

T. de Lempicka, Album-photos annoté, Houston, 1923, no. 69.

Die Wochenschau, Girardet, Essen, 5 February 1929 (illustrated).

G. Remon, ‘Tamara de Lempicka’ in Mobilier et décoration, vol. IX, no. 1, January 1929, p. 29 (illustrated).

A. Alexandre, ‘Tamara de Lempicka’ in La renaissance de l'art français, Paris, July 1929, p. 336 (illustrated p. 337).

A. Warnod, ‘L'intéressante exposition de Tamara de Lempicka’ in Comoedia, Paris, 17 May 1931, p. 3.

I. Zaslawska, ‘Tamara de Lempicka’ in Kobieta Wspolczesna (La femme moderne), Warsaw, 20 July 1932, p. 753 (illustrated).

M.A. Dayot, ‘Tamara de Lempicka’ in L'art et les artistes, no. 156, Paris, April 1935, p. 232 (illustrated).

M. Vaux, Fonds Lempicka, Paris, 1972, no. 69.

B. Bernard, ‘Tamara’s World’ in The Sunday Times Magazine, London, 22 August 1976, p. 19 (illustrated).

G. Marmori, Tamara de Lempicka, Milan, 1977, pp. 15 & 84 (illustrated p. 85).

G. Marmori, The Major Works of Tamara de Lempicka 1925 to 1935, Florence, 1978, pp. 7 & 74 (illustrated p. 20).

G. Bazin & H. Itsuki, Tamara de Lempicka, Tokyo, 1980, no. 33 (illustrated; dated ‘1929’).

A. Blondel, Tamara de Lempicka: Catalogue raisonné, 1921-1979, Lausanne, 1999, no. B.108, pp. 33 & 188 (illustrated p. 189; a detail illustrated p. 33; the work in progress in situ illustrated p. 32).

Fortheextensiveexhibitionhistoryandliteraturereferences pleasevisit christies.com

EDUARDO CHILLIDA (1924-2002)

Estela IV (Stele IV)

incised with the artist's monogram (underside of upper edge)

steel

7 x 5√ x 4æin. (17.8 x 15 x 12cm.)

Executed in 1973

£600,000-800,000

US$750,000-1,000,000

€720,000-960,000

PROVENANCE:

Galería de arte Rayuela, Madrid. Rodríguez-Pina Collection, Madrid (acquired from the above).

Private Collection.

Galerie Marwan Hoss, Paris (acquired from the above circa 1993).

Private Collection, Paris.

Private Collection, Switzerland (acquired from the above in 2000).

Anon. sale, Christie’s London, 14 February 2012, lot 19. Acquired at the above sale by the present owner.

EXHIBITED:

Madrid, Galería de arte Rayuela, Pequeña escultura, 1975, pp. 4 and 16 (illustrated, p. 5).

Berlin, Martin-Gropius-Bau, Chillida, 1991, p. 180 (illustrated p. 82).

LITERATURE:

Chillida, exh. cat., Pittsburgh, Museum of Art, Carnegie Institute, 1979-1980, p. 182, no. 181 (illustrated, p. 110).

I. Chillida and A. Cobo, Eduardo Chillida: Catalogue Raisonné of Sculpture, I (1948-1973), San Sebastián 2014, p. 347, no. 1973002 (illustrated in colour, p. 325).

ANTONI TÀPIES (1923-2012)

Initials

signed and dated 'tàpies - 1960' (on the reverse) oil and sand on canvas

45 x 57Ωin. (114.2 x 146.2cm.)

Executed in 1960

£500,000-700,000

US$630,000-870,000

€600,000-840,000

PROVENANCE:

Martha Jackson Gallery, New York. Dr. and Mrs. John A. Cook Collection, U.S.A. (acquired from the above in 1961).

Their sale, Sotheby's London, 22 June 2005, lot 53. Private Collection, U.S.A.

Acquired from the above by the present owner in 2018.

EXHIBITED:

New York, Martha Jackson Gallery, Tàpies, A Catalogue of Paintings in America, 1959-1960, 1961 (illustrated, p. 11).

LITERATURE:

M. Tapié, Antoni Tàpies, Milan 1969, no. 133 (illustrated, p. 145).

A. Agustí (ed.), Tàpies: The Complete Works, Volume 1: 19431960, Barcelona 1988, p. 542, no. 914 (illustrated, p. 476).

LOUISE BOURGEOIS (1911-2010)

stamped with the artist's initials, foundry mark, number and date 'L.B. 2/6 93' (lower edge)

painted bronze, polished bronze, stainless steel and mirror

60º x 12¿ x 12¿in. (153 x 30.5 x 30.5cm.)

Conceived in 1947-1949 and cast in 1993, this work is number two from an edition of six plus one artist's proof

£1,000,000-1,500,000

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

€1,200,000-1,800,000

PROVENANCE:

Galerie Karsten Greve, Cologne. Private Collection.

Acquired from the above by the present owner in 2017.

EXHIBITED:

New York, Peridot Gallery, Louise Bourgeois: Recent Work 1947-1949. Seventeen Standing Figures in Wood, 1950 (wood version exhibited).

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

Chicago, The Renaissance Society at the University of Chicago, Louise Bourgeois: Femme Maison, 1981, p. 8, no. 1 (wood version exhibited; installation view at Xavier Fourcade Gallery in 1979 illustrated, p. 4).

New York, The Museum of Modern Art, Louise Bourgeois: Retrospective, 1982-1983, p. 120, no. 51 (wood version exhibited and illustrated, p. 58; installation view at Xavier Fourcade Gallery in 1979 illustrated, pp. 37 and 60).

Santa Fe, Laura Carpenter Fine Art, Louise Bourgeois Personages: 1940 / Installations 1990s, 1993 (another from the edition exhibited).

Saint Louis, The Saint Louis Art Museum, Louise Bourgeois: The Personages, 1994, no. 14 (wood version exhibited and illustrated in colour, p. 51; installation view at Xavier Fourcade Gallery in 1979 illustrated, p. 79).

Monterrey, Museo de Arte Contemporaneo de Monterrey, Escultura de Louise Bourgeois La Elegancia de la Ironía,1995, p. 90, no. 10 (wood version exhibited and illustrated, p. 49). This exhibition later travelled to Seville, Centro Andaluz de Arte Contemporaneo and Mexico City, Museo Rufino Tamayo.

Boston, The Institue of Contemporary Art, Inside the Visible: An Elliptical Traverse of 20th Century Art in, of, and from the Feminine, 1996, p. 487. This exhibition later travelled to Washington, National Museum of Arts and London, Whitechapel Gallery.

New York, CRG Gallery, La Toilette de Venus: Women and Mirrors, 1996 (another from the edition exhibited).

Boston, Barbara Krakow Gallery, Louise Bourgeois: Geometry of Pleasure,1998-1999 (another from the addition exhibited).

Madrid, Museo Nacional Centro de Arte Reina Sofía, Louise Bourgeois: Memory and Architecture, 1999-2000, pp. 32 and 276, no. 15 (wood version exhibited and illustrated, p. 33).

The wood version is in the Collection of Yale University Art Gallery, New Haven.

Another from the edition is in the Louise Bourgeois Trust Collection and on long term loan to the Louisiana Museum of Modern Art.

Fortheextensiveexhibitionhistoryandliteraturereferences pleasevisit christies.com

*29

ED RUSCHA (B. 1937)

Dry Frontier

signed and dated 'Ed Ruscha 1987' (on the reverse); signed, titled and dated 'ED RUSCHA "DRY FRONTIER" 1987' (on the stretcher)

acrylic on canvas 72 x 72in. (182.9 x 182.9cm.)

Painted in 1987

£600,000-800,000

US$750,000-1,000,000

€720,000-960,000

PROVENANCE:

James Corcoran Gallery, Santa Monica. Ira and Wendy Weinstein Collection, U.S.A. Private Collection, New York.

Acquired from the above by the present owner in 2015.

EXHIBITED:

New York, Venus over Manhattan, #RAWHIDE, 2015.

LITERATURE:

C. Knight, 'Against Type: The Silhouette Paintings of Edward Ruscha,' in Parkett, no. 18, 1988, p. 84.

R. Dean and E. Wright (eds.), Edward Ruscha: Catalogue Raisonné of the Paintings, Volume Three: 1983-1987, New York 2007, p. 366, no. P1987.47 (illustrated in color, p. 367).

ALEXANDER CALDER (1898-1976)

Untitled

incised with the artist's monogram 'CA' (on the largest element)

hanging mobile—sheet metal, wire and paint

21º x 39 x 17Ωin. (54 x 99 x 44.5 cm.)

Executed circa 1947

£1,500,000-2,500,000

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

€1,800,000-3,000,000

PROVENANCE:

Frederick D. Brown Collection, St. Croix. Private Collection.

Anon. sale, Sotheby’s, New York, 16 November 1995, lot 250.

Private Collection, Aspen. Anon. sale, Christie’s New York, 14 November 2012, lot 68.

Ruth O’Hara Fine Art, New York.

Venus Over Manhattan, New York. Private Collection, Beverly Hills.

Acquired from the above by the present owner in 2017.

EXHIBITED:

New York, James Goodman Gallery, Calder: Space in Play, 2014.

LITERATURE:

Alexander Calder: A Retrospective Exhibition, exh. cat., New York, Solomon R. Guggenheim Museum, 1964 (studio view illustrated, p. 20).

A. Calder and J. Davidson, Calder, an Autobiography with Pictures, New York 1966 (studio view illustrated, p. 172).

H. H. Arnason, Calder, New York 1971 (studio view illustrated, p. 18).

J. Lipman, Calder’s Universe, New York 1976 (studio view illustrated, pp. 22-23).

Alexander Calder: Selected Works 1932-1972, exh. cat., New York, O'Hara Gallery, 1994 (studio view illustrated on the front cover).

P. E. Guerrero, Calder at Home: The Joyous Environment of Alexander Calder, New York 1998 (illustrated in colour, p. 9; studio view illustrated in colour, pp. 28-29).

Motion-Emotion: The Art of Alexander Calder, exh. cat., New York, O'Hara Gallery 1999 (studio view illustrated in colour, pp. 82-83).

Calder: Gravity and Grace, exh. cat., Bilbao, Museo Guggenheim Bilbao, 2003 (studio view illustrated, pp. 40 and 102).

P. E. Guerrero, A Photographer’s Journey, New York 2007 (studio view illustrated, pp. 176-177).

Alexander Calder: Radical Inventor, exh. cat., Montreal, The Montreal Museum of Fine Arts, 2018-2019 (studio view illustrated in colour, p. 4).

This work is registered in the archives of the Calder Foundation, New York, under application number A13320.

λ*31

FERNAND LÉGER (1881-1955)

Le coquillage

signed and dated ‘F. LÉGER 29’ (lower right); signed, inscribed and dated 'LE COQUILLAGE F. LEGER - 29' (on the reverse)

oil on canvas

44æ x 63æ in. (113.7 x 162 cm.)

Painted in 1929

£1,500,000-2,500,000

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

€1,800,000-3,000,000

PROVENANCE:

Christian & Yvonne Zervos, Paris, by whom probably acquired directly from the artist.

Galerie Louise Leiris, Paris (no. 14584/30403), by 1964.

M. Knoedler & Co. Inc., New York.

Galerie Alfred Schmela, Düsseldorf, by whom acquired from the above, circa 1975.

Monika Schmela, Düsseldorf, by whom acquired from the above.

Private collection, Düsseldorf, by whom acquired from the above in 1992.

EXHIBITED:

Stockholm, Moderna Museet, Fernand Léger, October –November 1964, no. 32.

Paris, Grand Palais des Champs-Élysées, Hommage à Christian et Yvonne Zervos, December 1970 – January 1971. Brussels, Galerie Isy Brachot, Fernand Léger, peintures, gouaches, October – November 1975, no. 3 (illustrated).

LITERATURE:

C. Zervos, Fernand Léger, oeuvres de 1905 à 1952, Paris, 1952, p. 61 (illustrated; titled 'Nature morte au coquillage sur fond jaune' and with inverted dimensions).

A. Verdet, Fernand Léger, Le dynamisme pictural, Geneva, 1955, no. 25 (illustrated pl. 25; with incorrect dimensions).

C. Zervos, 'Une nouvelle étape dans l'oeuvre de Fernand Leger' in Cahiers d'Art, nos. 6-7, Paris, August - September 1932, reproduced within exh. cat., Fernand Léger - la poésie de l'objet 1928-1934, Paris, 1981, p. 29 (illustrated in situ)

C. Derouet, ed., Léger och Norden, exh. cat., Malmo, 1992, p. 73 (illustrated in situ).

G. Bauquier, Fernand Léger, Catalogue raisonné de l’oeuvre peint, 1929-1931, Paris, 1995, no. 599, p. 8 (illustrated p. 9).

PROPERTY

FRANZ MARC (1880-1916)

Katzen, Rot und Weiß

signed 'Marc' (upper left) oil on panel

20Ω x 13æ in. (52 x 35 cm.)

Painted in October 1912

£4,000,000-6,000,000

US$5,000,000-7,500,000

€4,800,000-7,200,000

PROVENANCE:

Levin, Berlin, by whom acquired at the Galerie Thannhauser exhibition in January 1913. (probably) Prof. Schoene, [Berlin], by 1936. Galerie Nierendorf, Berlin.

Senta Hildebrand, Berlin & Munich, by whom acquired from the above in the late 1930s.

Galerie Dr Rainer Horstmann, Düsseldorf & Hamburg, by whom acquired from the above in 1970.

Elinor Heins, Montreux, by whom acquired from the above in January 1970 and thence by descent to the present owner.

EXHIBITED:

Munich, Moderne Galerie Heinrich Thannhauser, Collection II, January 1913.

(possibly) Berlin, Galerie der Sturm, Vierzehnte Ausstellung, Franz Marc Gemälde, March - April 1913, no. 8; this exhibition later travelled to Hamburg, Kunstsalon Ludwig Bock & Sohn, May 1913 and Amsterdam, Moderne Kunst Kring, December 1913 (titled ‘Zwei Katzen'). (possibly) Berlin, Galerie der Sturm, Sechsundvierzigste Ausstellung Franz Marc Gedächtnis-Ausstellung, November 1916, no. 5 (titled 'Zwei Katzen'). (probably) Berlin, Galerie Nierendorf, Franz Marc Gedächtnis-Ausstellung, May 1936, no. 10 (titled ‘Zwei Katzen').

Munich, Städtische Galerie im Lenbachhaus, Franz Marc –The Retrospective, September 2005 - January 2006, no. 56, p. 321 (illustrated p. 147).

Hannover, Sprengel Museum, Marc, Macke und Delaunay, Die Schönheit einer zerbrechenden Welt (1910-1914), March - July 2009, no. 144, p. 276 (illustrated p. 47).

LITERATURE:

The artist’s notebook, no. 98, p. 60 'Katzen X 1912 300 rot und weiss, hochformat'.

A. J. Schardt, Franz Marc, Berlin, 1936, no.1912-24, p. 164. K. Lankheit, Franz Marc, Katalog der Werke, Cologne, 1970, no. 178, p. 62.

P. Vogt, Der Blaue Reiter, Paris, 1977, no. 12, p. 149 (illustrated pl. 12).

P. Vogt, The Blue Rider, London, 1980, no. 12, p. 136 (illustrated pl. 12).

A. Hoberg & I. Jansen, Franz Marc: The Complete Works, vol. I, The Oil Paintings, Munich, 2004, no. 189, p. 215 (illustrated p. 214).

A. Chevallier, Le coffret des chats, Paris, 2020 (illustrated on the cover).

SIGMAR POLKE (1941-2010)

Mondlandschaft mit Schilf (Moonlit Landscape with Reeds)

dispersion on two different types of fabric 59 x 49¿in. (150 x 125cm.) Executed in 1969

£3,000,000-5,000,000

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

€3,600,000-6,000,000

PROVENANCE:

Heinz-Günter Prager Collection, Cologne. Private Collection, Cologne (acquired from the above circa 1985) and thence by descent.

Anon. sale, Christie's London, 30 June 2015, lot 15. Acquired at the above sale by the present owner.

EXHIBITED:

Tübingen, Kunsthalle, Sigmar Polke: Bilder-Tücher-Objekte Werkauswahl 1962-1971, 1976, p. 158, no. 130 (illustrated, p. 74). This exhibition later travelled to Düsseldorf, Städtische Kunsthalle and Eindhoven, Stedelijk Van Abbemuseum. New York, David Zwirner, Sigmar Polke: Eine Winterreise, 2016.

ERNST LUDWIG KIRCHNER (1880-1938)

Nacktes Mädchen im Schilf (Fränzi) (recto); Frau und Mädchen nackt im Schnee (verso)

oil on canvas

31Ω x 27Ω in. (80 x 70 cm.)

Painted in 1911 (recto); Painted in 1921-1923 (verso)

£1,500,000-2,500,000

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

€1,800,000-3,000,000

PROVENANCE:

The artist’s estate, Davos. Galerie Henze & Ketterer, Wichtrach & Bern. Private collection, by whom acquired from the above in 2000.

Acquired from the above by the present owner.

EXHIBITED:

(probably) Winterthur, Kunstverein, Gemälde-Ausstellung von E.L. Kirchner, June – July 1924, no. 31, p. 32 (titled ‘Frau und Mädchen’).

(probably) Berlin, Galerie Paul Cassirer, Ernst Ludwig Kirchner, November 1926, no. 10 (titled ‘Frau und Tochter’ and dated ‘1922’).

(probably) Wiesbaden, Nassauischer Kunstverein, Ernst Ludwig Kirchner und andere, May 1927, no. 31, p. 2 (titled ‘Frau und Mädchen’).

Bremen, Kunsthalle, Meisterwerke des deutschen Expressionismus, March – May 1960, no. 44 (titled ‘Nackte Frau und Mädchen mit Blumen im Schnee’ and dated ‘1920-1922’); this exhibition later travelled to Hanover, Kunstverein, May – June 1960; The Hague, Gemeentemuseum, July – September 1960; Cologne, Wallraf-Richartz-Museum, September – November 1960; and Zurich, Kunsthaus, May – June 1961.

Campione d’Italia, Galerie Roman Norbert Ketterer, Moderne Kunst IV, 1967, no. 75, p. 97 (verso illustrated; verso titled ‘Nackte Frau und Mädchen mit Blumen im Schnee’ and dated ‘circa 1921’).

Bern, Galerie Henze & Ketterer, Ernst Ludwig Kirchner, zum 120. Geburtstag, September – December 2000, no. 10, pp. 16 & 17 (recto and verso illustrated).

Mannheim, Kunsthalle, Der doppelte Kirchner, Die zwei Seiten der Leinwand, February – May 2015, no. D104, p. 165 (recto and verso illustrated); this exhibition later travelled to Davos, Kirchner Museum, June – November 2015.

LITERATURE:

Letter from Kirchner to Carl Hagemann, 15 May 1927.

D. E. Gordon, Ernst Ludwig Kirchner, Cambridge, 1968, nos. 671 & 671v, pp. 363 & 423 (verso illustrated as 'recto' p. 363; recto illustrated as 'verso' p. 423 and catalogued with estate stamp ‘KN-Da/Bf 5’, removed after 1968).

H. Delfs, Ernst Ludwig Kirchner, Der gesamte Briefwechsel, vol. 2, Briefe von 1924-1929, Zurich, 2010, letter no. 1849, pp. 1150-1151.

CHRISTIAN SCHAD (1894-1982)

Porträt Eva von Arnheim

signed and dated ‘SCHAD 30’ (lower right) oil on canvas

19√ x 16 in. (50.7 x 40.5 cm.)

Painted in 1930

£800,000-1,200,000

US$990,000-1,500,000

€960,000-1,400,000

PROVENANCE:

The artist's studio, Keilberg. Carl Laszlo, Basel, by 1972.

Barry Friedman Gallery, New York.

Lafayette Parke Gallery, New York, 1990-1992.

Private collection, New York, by whom acquired from the above; sale, Christie’s London, 20 June 2006, lot 28.

Acquired at the above sale by the present owner.

EXHIBITED:

Berlin, Deutsche Kunstgemeinschaft, Herbstausstellung im Schloß, Neue Deutsche Kunst, 1930, no. 177.

Milan, Palazzo Reale, Christian Schad, October - November 1972 (illustrated).

London, Hayward Gallery, Neue Sachlichkeit and German Realism of the Twenties, November 1978 - January 1979, no. 224, p. 149.

Berlin, Staatliche Kunsthalle, Christian Schad, June - August 1980, no. 138, p. 180 (illustrated p. 181).

New York, Lafayette Parke Gallery, Expressionism & Realism, 1990, pp. 68 & 79 (illustrated p. 69).

New York, Galerie St. Etienne, The New Objectivity, Realism in Weimar Era Germany, September - November 1997, no. 47 (with incorrect dimensions).

Ottawa, National Gallery of Canada, The 1930s: The Making of ‘The New Man', June - September 2008, no. 119, p. 392 (illustrated p. 240).

LITERATURE:

B. Schad, Christian Schad, exh. cat., Milan, 1970, no. 67 (illustrated; with incorrect dimensions).

C. Laszlo, Christian Schad, Basel, 1972, p. 214 (illustrated p. 215).

A. Heesemann-Wilson, Christian Schad, Expressionist, Dadaist und Maler der Neuen Sachlichkeit, Leben und Werk bis 1945, Göttingen, 1978, no. 117, p. 290.

L. Waldman, 'An anagrammatic attribute: Christian Schad's portrait of Eva von Arnheim' in The Burlington Magazine, vol. CXXXV, no. 1081, London, April 1993, pp. 276 & 277 (illustrated p. 276).

G. A. Richter, 'Nachrichten vom Menschen, zu den Bildern von Christian Schad' in Christian Schad, 1894 1982, exh cat., Zurich, 1997, p. 31 (illustrated p. 30).

G. A. Richter, Christian Schad, Bonn, 2002, p. 230 (illustrated p. 231).

G. A. Richter, ed., Christian Schad, Texte, Materialien, Dokumente, Bonn, 2004, pp. 31 & 33 (illustrated p. 31).

T. Ratzka, Christian Schad 1894-1982, Werkverzeichnis, vol. I, Malerei, Cologne, 2008, no. 117, p. 180 (illustrated).

ALBERT OEHLEN (B. 1954)

Untitled

signed and dated 'A.Oehlen 89' (lower right) oil, lacquer and mirrors on canvas 98Ω x 79in. (250.1 x 200.5cm.)

Executed in 1989

£300,000-500,000

US$380,000-620,000

€360,000-600,000

PROVENANCE:

Luhring Augustine Hetzler, Santa Monica. Private Collection, New York. Private Collection, Switzerland. Hauser & Wirth, Los Angeles.

Acquired from the above by the present owner in 2018.

EXHIBITED:

Chicago, The Renaissance Society at The University of Chicago, Georg Herold, Albert Oehlen, Christopher Wool, 1989, p. 32 (installation view illustrated, pp. 26 and 29).

New York, Luhring Augustine, Return of the Hero: Günther Forg, Martin Kippenberger, Albert Oehlen, Sigmar Polke, Gerhard Richter, 1994.

Berlin, Hamburger Bahnhof, Museum für Gegenwart, There is never a stop and never a finish. In memoriam Jason Rhoades, Werke aus der Friedrich Christian Flick Collection im Hamburger Bahnhof, 2007, p. 89.

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

EGON SCHIELE (1890-1918)

Hockender weiblicher Torso (recto); Weiblicher Halbakt (verso)

signed and dated 'EGON SCHIELE 1912' (lower right, recto) and inscribed 'TORSO' (upper right, recto) watercolour and pencil on paper (recto); pencil on paper (verso)

12 x 18Ω in. (30.4 x 46.8 cm.)

Executed in 1912

£300,000-500,000

US$380,000-620,000

€360,000-600,000

PROVENANCE:

Alfred Spitzer, Vienna, by 1923. Hannah Spitzer, Vienna & New York, by descent from the above.

Galerie St. Etienne, New York, by whom acquired from the above in 1966.

Georg Waechter Memorial Foundation, Geneva, by whom acquired from the above on 14 January 1970, and thence by descent; sale, Christie's, New York, 11 November 2021, lot 75C.

Acquired at the above sale by the present owner.

EXHIBITED:

Vienna, Hagenbund & Neue Galerie, Gedächtnisausstellung

Egon Schiele, October - November 1928 (ex. cat.).

Boston, Institute of Contemporary Art and Oberlin, Allen Memorial Art Museum, Klimt, Schiele, Kokoschka, JulySeptember 1957, no. 33.

New York, Galerie St. Etienne, Egon Schiele, Watercolors and Drawings, Memorial Exhibition, October - December 1968, no. 13, p. 40 (recto illustrated p. 41).

Munich, Haus der Kunst, Egon Schiele, February - May 1975, no. 161, p. 42 (recto illustrated).

Martigny, Fondation Pierre Gianadda, Schiele, FebruaryMay 1995, no. 80, p. 146 (recto illustrated)

LITERATURE:

M.V. Manera, Le arti a Vienna, exh. cat., Vienna, 1984, p. 141 (recto illustrated fig. 1).

J. Kallir, Egon Schiele: The Complete Works, New York, 1998, no. 1012, p. 464 (verso; illustrated) & no. 1119, p. 477 (recto; illustrated p. 476).

PROPERTY OF A PRIVATE COLLECTOR

GERHARD RICHTER (B. 1932)

Gilbert & George

signed, numbered and dated ‘379 Richter, 1975’ (on the reverse)

oil on canvas

31Ω x 39¡in. (80 x 100cm.)

Painted in 1975

£1,500,000-2,000,000

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

€1,800,000-2,400,000

PROVENANCE:

Konrad Fischer Galerie, Dusseldorf. Rolf and Lore Schloen Collection, Germany. Zwirner & Wirth Gallery, New York.

Acquired from the above by the present owner in 2002.

EXHIBITED:

Dusseldorf, Konrad Fischer Galerie, Gerhard Richter, 1975. Frankfurt, Frankfurter Kunstverein, Kunst nach 45 aus Frankfurter Privatbesitz, 1983, p. 422 (illustrated in colour, p. 307).

Bolzano, Museum für moderne Kunst, Gerhard Richter: Malerei Pittura, 1996, pp. 22 and 55, no. 22 (illustrated in colour, p. 23).

New York, Zwirner & Wirth, Paintings from Germany: Palermo, Polke and Richter, 2002.

LITERATURE:

K. Honnef, Gerhard Richter, Recklinghausen 1976 (installation view, Konrad Fischer Galerie in 1975 illustrated, p. 59.)

A. Hinrich Murken, 'Auf der Suche nach der Wirklick, Das Menschenbildnis im künstlerischen Werk von Gerhard Richter' in Die Kunst und das schöne Heim, 1977, no. 89, 1977, no. 8 (illustrated, p. 32).

J. Harten and D. Elger (eds.), Gerhard Richter: Bilder Paintings 1962-1985, exh. cat., Dusseldorf, Städtische Kunsthalle Dusseldorf, 1986, p. 386, no. 379 (illustrated, p. 191).

Gerhard Richter, exh. cat., Munich, Städische Galerie im Lenbachhaus, 1989-1990, p. 11. Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (ed.), Gerhard Richter, Werkübersicht/ Catalogue Raisonné: 1962-1993, vol. III, Ostfildern-Ruit 1993, p. 167, no. 379 (illustrated in colour, p. 68).

D. Elger, Gerhard Richter: Maler, Cologne 2002, p. 278.

A. Zweite, Gerhard Richter: Catalogue Raisonné 19932004, Dusseldorf 2005, p. 38.

H. Butin, Gerhard Richter Portraits, Flensburg 2006, pp. 213 and 254, no. 65 (illustrated in colour pp. 229 and 288).

H. Friedel, Gerhard Richter Atlas, London 2006, p. 9.

D. Elger, Gerhard Richter: Maler, Cologne, 2008, pp. 24, 249 and 395.

D. Elger (ed.), Gerhard Richter Porträt Dr. Knobloch (Patrimonia 344), Berlin, 2009, pp. 18 and 24.

Gerhard Richter Portraits: Painting Appearances, exh. cat., London, National Portrait Gallery, 2009, p. 171 (illustrated in colour, p. 127).

D. Elger (ed.), Gerhard Richter Catalogue Raisonné, Nos. 198-388, vol. II, 1968-1976, Berlin 2017, no. 379 (illustrated in colour, p. 644).

GEORG BASELITZ (B. 1938)

Sandteichdamm (Sandteich Dam)

signed with artist's initials and dated 'GB. 74' (lower left); signed, titled and dated 'Baselitz 'Sandteichdamm' 1974' (on the reverse) oil on canvas

71 x 51¡in. (180.4 x 130.4cm.)

Painted in 1974

£600,000-800,000

US$750,000-990,000

€720,000-960,000

PROVENANCE:

Private Collection, Germany (acquired directly from the artist in 1980).

Acquired from the above by the present owner in the 1980s.

EXHIBITED:

Bologna, Galleria d’Arte Moderna di Bologna, Georg Baselitz, 1997, pp. 35 and 185 (illustrated in colour, p. 34). Bad Homburg, ALTANA Kulturstiftung, Georg Baselitz. Das Naturmotiv, 2012, pp. 98 and 175 (illustrated in colour, p. 99). This exhibition later travelled to Oldenburg, Landesmuseum für Kunst und Kulturgeschichte.

GERHARD RICHTER (B. 1932)

Abdu

signed and numbered '5/8 Richter' (on a label affixed to the reverse)

Trevira CS, cotton, wool, silk and acrylic Jacquard-woven tapestry

108¬ x 148√in. (276 x 378cm.)

Executed in 2009, this work is number five from an edition of eight plus two artist's proofs

£700,000-1,000,000

US$880,000-1,200,000

€840,000-1,200,000

PROVENANCE:

Private Collection, UK.

Acquired from the above by the present owner.

EXHIBITED:

London, Gagosian Gallery, Gerhard Richter: Tapestries, 2013, pp. 11 and 24 (another from the edition exhibited and illustrated in colour, pp. 19 and 26; installation view illustrated in colour pp. 2 and 6; detail illustrated in colour, pp. 27-34).

Munich, Kunstbau München, Gerhard Richter: Atlas–Mikromega, 2013-2014 (another from the edition exhibited).

Wolfsburg, Kunstmuseum Wolfsburg, Art & Textiles: Fabric as Material and Concept in Modern Art from Klimt to the Present, 2013–2014, pp. 271 and 371 (another from the edition exhibited and illustrated in colour, p. 272). This exhibition later travelled to Stuttgart, Staatsgalerie.

Dusseldorf, K20 Kunstsammlung Nordrhein-Westfalen, Gerhard Richter. Die Kunst im Plural, 2014 (another from the edition exhibited).

LITERATURE:

H. Butin, S. Gronert and T. Olbricht (eds.), Gerhard Richter: Editions 1965-2013, Ostfildern-Ruit 2014, no. 144 (another from the edition illustrated in colour, p. 316).

B. Buchloh, Gerhard Richter, London 2014, pp. 48-49.

Fortheextensiveexhibitionhistoryandliteraturereferences pleasevisit christies.com

BRIDGET RILEY (B. 1931)

Painting with Verticals 1

signed and dated 'Riley '06' (on the turnover edge); signed, titled and dated 'PAINTING WITH VERTICALS 1. Riley 2006' (on the overlap); signed, titled and dated 'PAINTING WITH VERTICALS 1. Riley 2006' (on the stretcher) oil on linen

76æ x 152æin. (194.8 x 388cm.)

Painted in 2006

£800,000-1,200,000

US$1,000,000-1,500,000

€960,000-1,400,000

PROVENANCE:

Karsten Schubert Gallery, Geneva. Acquired from the above by the present owner.

EXHIBITED:

London, Timothy Taylor Gallery, Bridget Riley: New Paintings and Gouaches, 2006, pp. 6 and 46 (illustrated in colour, pp. 18-19).

New York, PaceWildenstein, Bridget Riley: Recent Paintings and Gouaches, 2007-2008, p. 63 (illustrated in colour, pp. 42-43).

Paris, Musée d'Art moderne de la Ville de Paris, Bridget Riley. Rétrospective, 2008, pp. 292 and 299, no. 52 (illustrated in colour, pp. 290-291).

Liverpool, Walker Art Gallery, National Museums, Bridget Riley: Flashback, 2009-2010, pp. 18 and 94 (illustrated in colour, pp. 32-33). This exhibition later travelled to Birmingham, Birmingham Museums & Art Gallery; Norwich, Norwich Castle Museum & Art Gallery and Southampton, Southampton City Art Gallery. Siegen, Museum für Gegenwartskunst Siegen, Bridget Riley: Malerei/Painting 1980-2012, 2012, p. 150 (illustrated in colour, pp. 112-113).

LITERATURE:

R. Kudielka, A. Tommasini and N. Naish (eds.), Bridget Riley: The Complete Paintings, Volume 3, 1998-2009, London 2018, no. BR 437 (illustrated in colour, pp. 1148-1149).

*42

CECILY BROWN (B. 1969) Things Could Be Different, But They're Not

i) numbered '1 of 2' (on the reverse)

ii) signed, inscribed and dated '2 of 2 Cecily Brown 2007' (on the reverse) oil on linen, in two parts each: 12¬ x 17in. (32.1 x 43.2 cm.)

Painted in 2007

£750,000-1,000,000

US$940,000-1,200,000

€900,000-1,200,000

PROVENANCE: New Museum Benefit Auction, Phillips New York, 15 November 2007, lot 27. Private Collection. Acquired from the above by the present owner.

PROPERTY OF A DISTINGUISHED PRIVATE COLLECTOR

*43

ANTONY GORMLEY (B. 1950)

Big Shy

mild steel bar

109√ x 24æ x 33¿in. (279 x 63 x 84cm.)

Executed in 2016

£500,000-700,000

US$630,000-870,000

€600,000-840,000

PROVENANCE: White Cube.

Private Collection, Europe (acquired from the above in 2017).

Acquired from the above by the present owner in 2022.

EXHIBITED:

London, White Cube, Fit, 2016 (installation view illustrated in colour, pp. 31, 35, 67 and 72; illustrated in colour, p. 117).

Photograph by Stephen White & Co, London.

ANDY WARHOL (1928-1987), JEANMICHEL BASQUIAT (1960-1988) & FRANCESCO CLEMENTE (B. 1952)

Horizontal Painting

signed 'Andy Warhol Basquiat Francesco Clemente' (on the overlap)

acrylic, oilstick and silkscreen ink on canvas

42º x 100Ωin. (107.2 x 255.2cm.)

Executed in 1984

£800,000-1,200,000

US$1,000,000-1,500,000

€960,000-1,400,000

PROVENANCE:

Galerie Bruno Bischofberger, Zurich. Akira Ikeda Gallery, Nagoya. Gallery 242 Inc., New York.

Acquired from the above by the present owner circa 1998.

EXHIBITED:

Zurich, Galerie Bruno Bischofberger, Collaborations, 1985, p. 19 (illustrated in colour, p. 20).

Nagoya, Akira Ikeda Gallery, Collaborations: Jean-Michel Basquiat, Francesco Clemente, Andy Warhol, 1984, p. 4 (illustrated in colour, p. 5).

Madrid, Museo Nacional Centro de Arte Reina Sofía, Warhol, Basquiat, Clemente. obras en colaboración, 2002, p. 102 (illustrated in colour, p. 99)

Málaga, Centre de Arte Contemporáneo de Málaga, Pasión II: Colección Carmen Riera, 2019.

Paris, Fondation Louis Vuitton, Basquiat X Warhol: Painting Four Hands, 2023 (illustrated in colour, pp. 96-97).

Dublin, Hugh Lane Gallery, Andy Warhol Three Times Out, 2023-2024, pp. 178 and 223, no. 183 (illustrated in colour, p. 179).

LITERATURE:

M. Wechsler, 'Collaborations' in Artforum, vol. 23, no. 6, February 1985 (illustrated, p. 99).

Please note, this lot is eligible for one third of artist’s resale royalty.

NEO RAUCH (B. 1960)

Grabung (Excavation)

signed and dated 'RAUCH 99' (lower right); signed 'Neo Rauch' (on the stretcher) oil on canvas

78æ x 90Ωin. (200 x 230cm.) Painted in 1999

£350,000-550,000

US$440,000-690,000

€420,000-660,000

PROVENANCE: David Zwirner, New York. Hauser & Wirth, Zurich and London. Private Collection, Switzerland (acquired from the above in 2006).

Acquired from the above by the present owner.

EXHIBITED:

New York, David Zwirner, Neo Rauch, 2000. Leipzig, Galerie für Zeitgenössische Kunst, Neo Rauch: Randgebiet, 2000-2001 (illustrated in colour, p. 97; illustrated, p. 139). This exhibition later travelled to Munich, Haus der Kunst and Zurich, Kunsthalle.

SEAN SCULLY (B. 1945)

Pale Green Light

signed, titled and dated 'PALE GREEN LIGHT Sean Scully 2002' (on the reverse) oil on linen

84º x 96Ωin. (214 x 245cm.)

Painted in 2002

£500,000-800,000

US$630,000-1,000,000

€600,000-960,000

PROVENANCE: LA Louver, Los Angeles. Private Collection, Los Angeles. Acquired from the above by the present owner in 2014.

EXHIBITED:

Los Angeles, LA Louver, Sean Scully, 2002. Washington, D.C., The Phillips Collection, Sean Scully: Wall of Light, 2005-2007, pp. 54 and 167, no. 55 (incorrectly titled 'Green Pale Light'; illustrated in colour, p. 52). This exhibition later travelled to Fort Worth, Modern Art Museum of Fort Worth; Cincinnati, Cincinnati Art Museum and New York, The Metropolitan Museum of Art.

LITERATURE:

Sean Scully: Recent Paintings, exh. cat., Los Angeles, LA Louver, 2006, p. 40 (incorrectly titled 'Green Pale Light'; illustrated in colour, p. 41).

HOWARD HODGKIN (1932-2017)

Writing

signed thrice, titled and dated 'Howard Hodgkin WRITING

Howard Hodgkin 1991-1993 Howard Hodgkin' (on the reverse) oil on wood

455/8 x 543/4in. (115.8 x 139cm.)

Executed in 1991-1993

£500,000-800,000

US$630,000-1,000,000

€600,000-960,000

PROVENANCE:

Anthony d’Offay Gallery, London and M. Knoedler & Co., Inc., New York.

Private Collection, London. Gagosian Gallery, New York. Acquired from the above by the present owner in 2003.

EXHIBITED:

London, Anthony d’Offay Gallery, Howard Hodgkin, 19931994, p. 60 (illustrated in colour, p. 61). This exhibition later travelled to New York, M. Knoedler & Co., Inc. New York, The Metropolitan Museum of Art, Howard Hodgkin: Paintings 1975-1995, 1995-1996. This exhibition later travelled to Texas, Modern Art Museum of Fort Worth and Dusseldorf, Kunstverein für die Rheinland und Westfalen.

LITERATURE:

A. Graham-Dixon, Howard Hodgkin, London 1994, p. 188, no. 20 (illustrated in colour, p. 20).

W. Boyd, 'Howard Hodgkin' in Writers on Artists, New York 2001 (illustrated in colour, p. 149).

M. Price (ed.), Howard Hodgkin, The Complete Paintings, Catalogue Raisonné, London 2006, p. 281, no. 272 (illustrated in colour, p. 280).

E. Juncosa (ed.), Writers on Howard Hodgkin, Dublin 2006, p. 122.

Howard Hodgkin: Time and Place, 2001-2010, exh. cat., Oxford, Modern Art Oxford, 2010 (illustrated in colour, p. 89).

MARC CHAGALL (1887-1985)

Les paysans au puit ou Scène biblique sur fond bleu et vert

signed ‘Marc Chagall’ (lower centre); signed again 'Marc Chagall' (on the reverse) oil and tempera on canvas 51¿ x 31æ in. (129.8 x 80.5 cm.)

Painted in 1981

£1,500,000-2,000,000

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

€1,800,000-2,400,000

PROVENANCE:

Pierre Matisse Gallery, New York (no. C593), by whom acquired directly from the artist in May 1982.

Anonymous sale, Sotheby’s, New York, 8 November 1995, lot 84.

Private collection, New York, by whom acquired at the above sale.

EXHIBITED:

New York, Pierre Matisse Gallery, Marc Chagall: Paintings 1980-1981, Gouaches 1981, Temperas 1979-1981, Wash drawings 1979, November – December 1982, no. 14 (illustrated).

London, Royal Academy of Arts, Chagall, January – March 1985, no. 122, pp. 243 & 244 (illustrated pp. 146 & 244); this exhibition later travelled to Philadelphia, Museum of Art, May – July 1985.

New York, Jewish Museum, Chagall and the Bible, MayJune 1987, p. 17 (ex cat.).

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

MARC CHAGALL (1887-1985)

Ballerine pour Léonide Massine

signed and dated ‘Marc Chagall 945’ (lower centre) gouache, watercolour and brush and India ink on paper 28¡ x 20√ in. (72 x 53 cm.)

Executed in 1945

£500,000-800,000

US$630,000-1,000,000

€600,000-960,000

PROVENANCE:

Agnes Widlund, Sweden. Private collection, by whom acquired from the above, and thence by descent; sale, Sotheby’s, London, 6 February 2007, lot 161.

Acquired at the above sale by the present owner.

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

PROPERTY

*50

PIERRE-AUGUSTE RENOIR (1841-1919)

Le chapeau fleuri

oil on canvas

25¬ x 19æ in. (65 x 50 cm.)

Painted in 1895-1898

£1,200,000-1,800,000

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

€1,500,000-2,200,000

PROVENANCE:

Ambroise Vollard, Paris, by whom acquired directly from the artist by 1919.

Succession Ambroise Vollard, France, from whom dispossessed in 1939.

Martin Fabiani, Paris, between 1939-1940.

Étienne Bignou, Paris & New York, by 1941 (no. 3104).

Carroll Carstairs Gallery, New York. Otto Wertheimer, Paris, by June 1954.

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

Please note that the present work is being offered for sale pursuant to a settlement agreement between the current owners and the heirs of Ambroise Vollard. The settlement agreement resolves the dispute over ownership of the work and title will pass to the successful bidder.

EXHIBITED:

New York, Bignou Gallery, Centenary Exhibition, Renoir 1841-1941, March 1941, no. 14.

Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841–1919, September - October 1943, no. 4.

Paris, Museé des Art Décoratifs, Chefs-d'oeuvre de la curiosité du monde: 2 ème exposition internationale de la CINOA, June - September 1954, no. 39 (illustrated pl. 31; titled 'La première communion').

Basel, Kunstmuseum, on long-term loan from 2002 to 2022.

LITERATURE:

A. Vollard, Tableaux, pastels et dessins de Pierre-Auguste Renoir, vol. I, Paris, 1918, no. 587, p. 148 (illustrated; image before historic restoration).

H. Devree, 'New York Letter' in Magazine of Art, vol. 34, no. 4, Washington, April 1941, p. 207 (illustrated; image before historic restoration and titled 'Deux personnages').

Y. Amic, 'Chefs-d'oeuvre de la Curiosité du Monde' in The Burlington Magazine, vol. 96, no. 616, London, July 1954, p. 228 (titled 'First Communion').

A. Vollard, Pierre-Auguste Renoir: Paintings, Pastels and Drawings, San Francisco, 1989, no. 587, p. 148 (illustrated; image before historic restoration and titled 'Deux personnages').

G.-P. & M. Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. III, 1985-1902, Paris, 2010, no. 2072, p. 212 (illustrated; image before historic restoration, dated 'circa 1900' and titled 'Deux personnages').

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

MAX LIEBERMANN (1847-1935)

Strandterrasse in Noordwijk (Huis ter Duin)

signed and dated 'M Liebermann 13' (lower right) oil on canvas

27æ x 39¡ in. (70.5 x 100 cm.)

Painted in 1913

£500,000-700,000

US$630,000-870,000

€600,000-840,000

PROVENANCE:

Paul Cassirer, Berlin, by whom acquired directly from the artist on 3 January 1913.

Martin Ludwig Flersheim, Frankfurt am Main, by whom acquired from the above.

Florence Flersheim-Livingston, Frankfurt am Main, New York & Buenos Aires, by descent from the above, and by whom deposited with Galerie Cassirer, Amsterdam, in 1938-1939.

Fritz [Frederic] Flersheim, by descent from the above in 1950.

with Mario Uzielli, Liestal, by whom collected on behalf of the above from Galerie Cassirer, Amsterdam on 30 October 1952.

Galerie Beyeler, Basel, by whom acquired from the above.

Galerie Beyeler, Basel & Galerie Fischer, Lucerne, by whom jointly owned by July 1954.

Galerie Beyeler, Basel, by whom solely owned from 3 May 1955.

Dr Lucas Lichtenhahn, Basel, probably on commission from the above.

Private collection, Switzerland, by whom acquired from the above in 1955, and thence by descent to the present owner.

EXHIBITED:

Mannheim, Kunsthalle, Austellung des Deutschen Künstlerbundes, May - September 1913, no. 220, p. 20. Frankfurt am Main, Galerie M. Goldschmidt & Co., Max Liebermann: Werke aus Frankfurter Privatbesitz, December 1927, no. 39 (illustrated; titled 'Nordwyk').

Berlin, Nationalgalerie, Max Liebermann, in seiner Zeit, September - November 1979, no. 110, pp. 137 & 342 (illustrated p. 343); this exhibition later travelled to Munich, Haus der Kunst, December 1979 - February 1980.

The Hague, Haags Gemeentemuseum, Max Liebermann en Holland, March - May 1980, no. 60, pp. 38 & 76.

Winterthur, Museum Oskar Reinhart, Max Liebermann und die Schweiz, Meisterwerke aus Schweizer Sammlungen, July - October 2014, no. 59, p. 196 (illustrated p. 197).

LITERATURE:

W. F. Storck, 'Die Austellung des Deutchen Künstlerbundes in Mannheim' in Die Kunst für Alle, vol. XXVIII, no. 2, Munich, 1 August 1913, p. 481 (illustrated p. 482).

E. Hancke, Max Liebermann, sein Leben und seine Werke, Berlin, 1914, pp. 517 & 547.

E. Hancke, Max Liebermann, sein Leben und seine Werke, Berlin, 1923, p. 487.

G. Busch, Max Liebermann. Maler, Zeichner, Graphiker, Frankfurt, 1986, no. 210, pp. 236 & 272 (illustrated p. 236).

B. Küster, Max Liebermann, ein Maler-Leben, Hamburg, 1988, p. 179.

M. Eberle, Max Liebermann, Werkverzeichnis der Gemälde und Ölstudien, vol. II, 1900-1935, Munich, 1996, no.1913/18, p. 870 (illustrated p. 872).

M. Faass, ed., Max Liebermann und das Meer, Munich, 2011, pp. 87-89 (illustrated p. 88).

PROPERTY FROM A PRIVATE SWISS COLLECTION *52

FERNANDO BOTERO (1932-2023)

The Botero Exhibition

signed and dated ‘Botero 75’ (lower right) oil and photo collage on canvas

20¬ x 77¿ in. (52.4 x 195.8 cm.)

Painted in 1975

£500,000-800,000

US$630,000-1,000,000

€600,000-960,000

PROVENANCE:

Marlborough International Fine Art, Vaduz, by whom acquired directly from the artist in November 1975.

Marlborough Gallery Inc., New York.

Private collection, North America, by whom acquired from the above in March 1976.

Mary-Anne Martin Fine Art, New York.

Private collection, United States; sale, Christie’s, New York, 20 November 1990, lot 50.

Acquired at the above sale by the present owner.

LITERATURE:

G. Arciniegas, Fernando Botero, New York, 1977, pp. 6 & 25 (illustrated pl. 9, p. 25).

C. Ratcliff, Botero, New York, 1980, no. 98, p. 12 (illustrated pp. 122 & 123; illustrated again on the dust jacket).

M. Paquet, Botero: Philosophy of the Creative Act, London, 1992, no. 110, pp. 146 & 154 (illustrated p. 146).

G. Lascault, Botero: Elogio de las esferas, de la carne, de la pintura y de muchas otras cosas mas, Paris, 1992, p. 97 (illustrated pp. 186 & 187).

P. Monsel, ed., [Découvrons l'art - 20e siècle], Botero, Paris, 1996, no. 1, p. 62 (illustrated).

J. M. Faerna ed., Botero, New York, 1997, no. 1, p. 62 (illustrated pp. 10 & 11).

E. J. Sullivan & J.-M. Tasset, Fernando Botero, Monograph & Catalogue Raisonné, Paintings 1975 – 1990, Lausanne, 2000, no. 1975/3, p. 231 (illustrated pp. 36, 37, 229 & 231).

THE ART OF THE SURREAL EVENING SALE

Wednesday, 5 March 2025, 7:30 pm (GMT)

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

VIEWING

4 March 9.00am - 5.00pm Wednesday 5 March 9.00am - 3.00pm

AUCTIONEER

Adrien Meyer

HEAD OF SALE

DEPUTY CHAIRMAN

Olivier Camu

+44 (0) 7768 583 825 ocamu@christies.com

ASSOCIATE SPECIALIST

Olivia Vonberg

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

CONDITIONS OF SALE

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

Opposite: Lot 119, René Magritte, Le stropiat, 1948 (détail)

Ottavia Marchitelli

+44 (0) 7824 415 884 omarchitelli@christies.com

SENIOR SALE COORDINATOR

Alexandra Anholt

Tel: +44 (0)20 7389 2988 aanholt@christies.com

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as: PAUL-23510

ADMISSION

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

PostSaleUK@christies.com

BUYER’S PREMIUM

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

With thanks to Samantha Moreno and Sophie Jefferies for their assistance in researching and clearing copyright, and Abigail Heller for her research.

PROPERTY

FROM THE COLLECTION OF THE LATE SIR CRISPIN TICKELL, GCMG KCVO

LEONORA CARRINGTON (1917-2011) Elohim

signed and dated 'Leonora Carrington 1960' (lower left); inscribed 'Eluhim' (lower right) oil and sgraffito on board

35√ x 14æ in. (91.1 x 37.5 cm.)

Painted in 1960

£400,000-700,000

US$500,000-870,000

€490,000-840,000

PROVENANCE:

Sir Crispin Tickell, a gift from the artist in 1961, and thence by descent to the present owner.

EXHIBITED:

London, Serpentine Gallery, Leonora Carrington, Paintings, drawings and sculptures 1940-1990, December 1991January 1992, no. 42, pp. 29 & 110; this exhibition later travelled to Preston, The Harris Museum, March 1992 and Bristol, Arnolfini, April - May 1992.

Chichester, Pallant House Gallery, Surreal Friends: Leonora Carrington, Remedios Varo and Kati Horna, JuneSeptember 2010, no. 35 p. 38 (illustrated); this exhibition later travelled to Norwich, Sainsbury Centre for Visual Arts, September - December 2010.

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

London, Tate Modern, International Surrealism, January 2017 - March 2018.

London, Tate Modern, on long term loan from 2009 until 2024.

LITERATURE:

J. P. Eburne & C. McAra, Leonora Carrington and the international avant-garde, Manchester, 2017, p. 215 (illustrated fig. 12.18).

J. Moorhead, The Surreal Life of Leonora Carrington, London, 2017, p. 279.

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

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

λ*102

ANTONI TÀPIES (1923-2012) Society Notes (Notes de societat)

signed, dated and inscribed ‘Tàpies. 1951. Notes’ (on the reverse)

oil on canvas

25¬ x 39¡ in. (65 x 100 cm.)

Painted in 1951

£120,000-180,000

US$150,000-220,000

€150,000-220,000

PROVENANCE:

The artist's estate.

Private collection, Barcelona, by whom acquired from the above circa 2012 and thence by descent to the present owner.

EXHIBITED:

Barcelona, Galeries Layetanas, ExposiciónTàpies, May 1952, no. 11.

Chicago, Marshall Field & Company Art Gallery, Antoni Tàpies, 1953, no. 7.

Barcelona, Museu d’Art Contemporani, Dau al Set, October 1999 - January 2000, pp. 37 & 129 (illustrated p. 37).

LITERATURE:

A. Cirici, Tàpies: Witness of Silence, Barcelona, 1972, no. 89, pp. 142 & 359 (illustrated p. 142; titled ‘Social and personal’ and with incorrect dimensions).

A. Agustí, Tàpies: The Complete Works, vol. 1, 1943-1960, New York, 1988, no. 359, pp. 162 & 529 (illustrated p. 162; with incorrect dimensions).

PROPERTY FROM A PRIVATE SWISS COLLECTION

LEONORA CARRINGTON (1917-2011)

Sacrament at Minos

signed and dated 'Leonora Carrington 1954' (lower left) oil on canvas

37¬ x 17æ in. (95.5 x 45.2 cm.)

Painted in 1954

£500,000-800,000

US$620,000-990,000

€600,000-960,000

PROVENANCE:

Horacio Flores Sanchez, Guadalajara, by whom acquired directly from the artist.

Private collection, United States, by 1994.

Private collection, New York, by whom acquired in 1996; sale, Sotheby’s London, 3 February 2004, lot 82.

Acquired at the above sale by the present owner.

EXHIBITED:

Mexico City, Galería Diana, Seis Pintoras, Leonora Carrington, Elvira Gascón, Solange de Forge, Alice Rahon, Cordelia Urueta, Remedios Varo, July - August 1955.

Mexico City, Museo Nacional de Arte Moderno, Exposicion retrospecitva de pinturas y tapices de Leonora Carrington, July - August 1960, no. 40.

Mexico City, Centro Cultural, Regards de femmes, 1993; this exhibition later travelled to Liège, Musée d’art moderne, October - December 1993, no. 49, p. 85 (illustrated).

Monterrey, Museo de Arte Contemporáneo, Leonora Carrington, Una Retrospectiva, September - October 1994, no. 29, p. 93 (illustrated p. 92); this exhibition later travelled to Mexico City, Museo de Arte Moderno, February - May 1995.

Mexico City, Centro Cultural de Arte Contemporáneo, Gustave Moreau y su legado, October 1994 - January 1995, no. 57.

Mexico City, Museo de Arte Moderno, on long term loan from 1995 until circa 1996.

Tokyo, Tokyo Station Gallery, Leonora Carrington, October - November 1997, no. 25, pp. 35 & 68 (illustrated p. 68); this exhibition later travelled to Umeda-Osaka, Daimaru

Museum, February 1998; Takayama, Hida Museum of Art, February - March 1998; and Mie, Prefectural Art Museum, April - May 1998.

New York, Nassau County Museum of Art, The Latin Century: Beyond the Border, August - November 2002, pp. 59 & 71 (illustrated p. 59).

LITERATURE:

J. J. Crespo de la Serna, ‘Diversidad de estilos y tendencias en una exposición’ in Novedades, México en la Cultura, Mexico City, July 1954 (illustrated).

J. E. Pacheco, ‘Simpatias y diferencias’ in Revista de la Universidad de México, vol. XIV, no. 12, Mexico City, 1960, p. 32 (illustrated and titled ‘Testimonio Vivo’).

W. Chadwick, Leonora Carrington: La realidad de la imaginación, Mexico City, 1994, no. 38, pp. 76 & 162. (illustrated p. 76).

H. Marquié, Métaphores surréalistes dans des imaginaires féminins quêtes, seuils et suspensions; souffles du surréel au travers d’espaces picturaux et chorégraphiques: Parcours dans les œuvres de Leonora Carrington, Leonor Fini, Dorothea Tanning, Martha Graham, Doris Humphrey et Carolyn Carlson, Paris, 2000, p. 587.

S. L. Aberth, Leonora Carrington: Surrealism, Alchemy and Art, London, 2010, no. 70, p. 98 (illustrated).

T. M. Bauduin, D. Zamani & V. Ferentinou, Surrealism, Occultism and Politics: In Search of the Marvellous, New York, 2018, pl. IX, p. 185 (illustrated p. 140).

G. Ingarao, Leonora Carrington: Un Viaggio nel Novecento, Dal Sogno Surrealista alla Magia del Messico, Pistoia, 2022.

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

Fortheextensiveexhibitionhistoryandliteraturereferences pleasevisit christies.com

PROPERTY FROM A PRIVATE AMERICAN COLLECTION

°λ*104

RENÉ MAGRITTE (1898-1967)

Le faux miroir

signed 'Magritte' (lower right); dated and inscribed '"LE FAUX MIROIR" 1952' (on the reverse)

gouache on paper

5¬ x 7¬ in. (14.5 x 19.4 cm.)

Executed in 1952

£1,500,000-2,500,000

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

€1,800,000-3,000,000

PROVENANCE:

Eric Uytborck, Brussels, by whom acquired directly from the artist, until at least 1973.

Galerie Isy Brachot, Brussels. Private collection, Belgium, by whom acquired from the above in March 1986; sale, Christie’s, London, 2 February 2010, lot 104.

Acquired at the above sale by the present owner.

EXHIBITED:

Liège, Musée des Beaux-Arts, Exposition Magritte, October - November 1960, no. 16 (dated '1934' and with inverted dimensions).

Coimbra, In association with the Belgian Ministry of Culture, Dessins et aquarelles belges, 1963.

London, Marlborough Fine Art, Magritte, OctoberNovember 1973, no. 25, p. 39 (illustrated p. 76 and dated '1934').

Barcelona, Fundació Joan Miró, Magritte, Metamorfosis, November 1998 - February 1999, no. 40, pp. 119 & 178 (illustrated p. 119 and dated '1935').

Edinburgh, Scottish National Gallery of Modern Art, Magritte, December 1999 - March 2000 (illustrated).

LITERATURE:

Le monde des grands musées, Paris, 1970, no. 24 (illustrated on the cover).

D. Sylvester, S. Whitfield & M. Raeburn, eds., René Magritte, Catalogue raisonné, vol. IV, Gouaches, Temperas, Watercolours and Papiers Collés 1918-1967, London, 1994, no. 1321, p. 137 (illustrated).

PROPERTY FROM A LONDON PRIVATE COLLECTION

λ105

PAUL DELVAUX (1897-1994)

Nuit de Noël

signed and dated ‘P. DELVAUX .2-56.' (lower right)

oil on masonite in the artist's painted frame

49æ x 69Ω in. (126.5 x 176.4 cm.)

Painted in February 1956

£1,000,000-2,000,000

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

€1,300,000-2,400,000

PROVENANCE:

Marcel Mabille, Brussels & Rhode-St-Genèse, by whom acquired directly from the artist by 1962; sale, Sotheby’s, London, 2 December 1986, lot 74.

Acquired at the above sale, and thence by descent.

EXHIBITED:

Charleroi, Salle de la Bourse, XXXIme Salon, Rétrospective

Paul Delvaux, March - April 1957, no. 64 (with inverted dimensions).

Brussels, Maison Haute, XIIe Salon: Paul Delvaux, 1957, no. 11.

Brussels, Cercle Royal Gaulois, Artistique et Littéraire, Bruxelles vu par les Artistes, 1959, no. 47. Ostend, Museum voor Schone Kunsten, Paul Delvaux, July - August 1962, no. 47.

Humlebaek, Louisiana Museum, 6 Surrealister, MarchApril 1967, no. 13 (illustrated); this exhibition later travelled to Brussels, Palais des Beaux-Arts, Six peintres surréalistes, May - June 1967, no. 25 (illustrated).

Venice, XXXIV Biennale, Pavillon Belge, Delvaux, 1968, no. IX (illustrated).

Paris, Musée des Arts Décoratifs, Rétrospective Paul Delvaux, May - July 1969, no. 49 (illustrated).

LITERATURE:

R. Genaille, Le Peinture en Belgique: De Rubens aux Surréalistes, Paris, 1958, p. 202.

E. Langui, ‘Paul Delvaux’s verden - og vor egen’ in Louisiana Revy, Humlebaek, March 1967, no. 13 (illustrated p. 21).

P.-A. De Bock, Paul Delvaux, Brussels, 1967, no. 117, p. 297 (illustrated p. 190).

A. Terrasse, Paul Delvaux, Paris, 1972, p. 60 (illustrated pp. 60-61).

M. Butor, J. Clair & S. Houbart-Wilkin, Delvaux, Catalogue de l’oeuvre peint, Brussels, 1975, no. 223, pp. 46 & 240 (illustrated p. 240; details illustrated pp. 46 & 47).

R. Passeron, Encyclopédie du Surréalisme, Paris, 1975, p. 150.

R. Huyghe, Les signes du temps et l’art moderne, Paris, 1985, p. 38.

B. Emerson, Delvaux, Antwerp, 1985, p. 166 (illustrated).

B. Dieterle, Erzählte Bilder: Zum narrativen Umgang mit Gemälden, Berlin, 1988, p. 200.

B. Fürstenberger, Michel Butors literarische Träume: Untersuchungen zu Matière de rêves I bis V, Heidelberg, 1989, p. 109.

M. Rombaut, Paul Delvaux, Barcelona, 1990, p. 22.

J. La Mothe et al., La création selon Michel Butor: réseaux, frontières, écart, Paris, 1991, p. 91.

C. Genin, L’expérience du lecteur dans les romans de Claude Simon: Lecture studieuse et lecture poignante, Paris, 1997, p. 76.

J. La Mothe, L’Architexture du rêve: La littérature et les arts dans Matière de rêves de Michel Butor, Amsterdam, 1999, pp. 167 & 171.

A. Rivas & Y. Rodríguez, Antología conmemorativa: Nueva revista de filología hispánica, cincuenta tomos, vol. II, Mexico City, 2003, p. 411.

Z. Barthelman & J. van Deun, Paul Delvaux: Odyssey of a Dream, Saint-Idesbald, 2007, p. 232.

R. Rémon, Paul Delvaux: peintre des gares, exh. cat., Brussels, 2009, pp. 22 & 23 (illustrated p. 23).

PROPERTY FROM A LONDON PRIVATE COLLECTION

λ106

PAUL DELVAUX (1897-1994)

La ville endormie

signed and dated ‘P. DELVAUX 5-38.' (lower right); signed and inscribed 'P. DELVAUX 15 rue d'Ecosse, Bruxelles, Le Rêve' (on the stretcher bar) oil on canvas

59¡ x 69¿ in. (150.7 x 175.7 cm.)

Painted in Brussels in May 1938

£1,200,000-1,800,000

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

€1,500,000-2,200,000

PROVENANCE:

Robert Giron, Brussels, by December 1944.

Anonymous sale, Sotheby’s, London, 10 December 1969, lot 88.

N. Higgons, Paris, by whom acquired at the above sale.

Acoris, The Surrealist Art Centre, London, by 1972. Ishizuka Research Institute, Kanagawa, by 1975; sale, Christie’s, New York, 8 May 1991, lot 32.

Acquired at the above sale, and thence by descent.

EXHIBITED:

Brussels, Palais des Beaux-Arts, Exposition d’Art Belge Contemporain, June - August 1938, no. 272, p. 67 (illustrated).

Brussels, Palais des Beaux-Arts, Paul Delvaux, February 1940, no. 10.

Brussels, Palais des Beaux-Arts, Rétrospective Paul Delvaux, December 1944 - January 1945, no. 4. Knokke-le-Zoute, Casino Communal, Ve Festival Belge d’Eté, Exposition René Magritte, Paul Delvaux, August 1952, no. 1.

Liège, Musée des Beaux-Arts, L’apport wallon au Surréalisme: Peinture, Poésie, October - November 1955, no. 26, p. 16.

Charleroi, Salle de la Bourse, XXXIeme Salon, Rétrospective Paul Delvaux, March - April 1957, no. 33.

Ostend, Musée des Beaux-Arts, Rétrospective Paul Delvaux, June - August 1962, no. 7.

Vienna, Museum des 20. Jahrhunderts, Belgische Malerei seit 1900, November - December 1962, no. 36, p. 15.

Stuttgart, Württembergischer Kunstverein, Belgische Künstler von der Jahrhundertwende bis zur Gegenwart, October - November 1963, no. 66.

Humlebaek, Louisiana Museum, 6 Surrealister, March - April 1967, no. 11 (illustrated); this exhibition later travelled to Brussels, Palais des Beaux-Arts, Six peintres surréalistes, no. 23.

Venice, XXXIV Biennale, Pavillon Belge, Delvaux, 1968, no. II.

Paris, Galeries Nationales du Grand Palais, Peintres de l’imaginaire: Symbolistes et Surréalistes belges, FebruaryApril 1972, no. 82, p. 122 (illustrated)

Rotterdam, Museum Boymans-van Beuningen, Paul Delvaux, April - June 1973, no. 13, p. 119 (illustrated pp. 51 & 119).

Tokyo, National Museum of Modern Art, Paul Delvaux, March - May 1975, no. 6 (illustrated); this exhibition later travelled to Kyoto, National Museum of Modern Art.

LITERATURE:

P. Fierens, ‘Paul Delvaux’ in Cahiers d’Art, Paris,1945-1946, p. 250.

R. Genaille, La Peinture en Belgique de Rubens aux Surréalistes, Paris, 1958, p. 201 (with incorrect dimensions).

M. Jean, The History of Surrealist Painting, Paris, 1959, p. 373 (illustrated p. 278; with incorrect dimensions).

J.-P. Lenz, ‘Les six plus grands peintres surréalistes’ in Réalités: fémina, Paris, no. 219, April 1964, p. 46 (illustrated p. 45).

D. Sylvester, Modern Art from Fauvism to Abstract Impressionism, New York, 1965 (illustrated p. 279, fig. e).

P.-A. de Bock, Paul Delvaux: L’homme, le peintre, psychologie d’un art, Brussels, 1967, no. 78, p. 294 (illustrated p. 142).

Apollo, November 1969, vol. XC (illustrated p. xc).

The Burlington Magazine, November 1969 (illustrated p. xviii).

J. Vovelle, Le Surréalisme en Belgique, Brussels, 1972, pp. 177 & 189.

M. Butor, J. Clair & S. Houbart-Wilkin, Delvaux, Catalogue de l’oeuvre peint, Brussels, 1975, no. 90, p. 178 (illustrated).

M. Paquet, Paul Delvaux: L’essence de la peinture, vol. I, Saint-Idesbald, 1982, no. 28, pp. 35, 96 & 100 (with incorrect dimensions).

D. Scott, Paul Delvaux: Surrealizing the Nude, London, 1992, no. 16, p. 41 (illustrated).

J. La Mothe, Architexture du rêve: La littérature et les arts dans Matière de rêves de Michel Butor, Amsterdam, 1999, p. 167.

A. Rivas & Y. Rodríguez, Antología conmemorativa: Nueva revista de filología hispánica, cincuenta tomos, vol. II, Mexico City, 2003, no. 9, p. 410 (illustrated p. 419).

E. Ramos-Izquierdo & A. Schober, L’espace de l’Eros: Représentations textuelles et iconiques, Limoges, 2007, p. 214.

Z. Barthelman & J. van Deun, Paul Delvaux: Odyssey of a Dream, Saint-Idesbald, 2007, p. 229.

Fortheextensiveexhibitionhistoryandliteraturereferences pleasevisit christies.com

PROPERTY FROM A LONDON PRIVATE COLLECTION

λ107

PAUL DELVAUX (1897-1994)

Les

belles de nuit (Comédie du soir ou La comédie)

signed and dated ‘P. DELVAUX 11-36' (lower right) oil on canvas in the artist's original painted frame

39¡ x 39¡ in. (100 x 100 cm.)

Painted in November 1936

£500,000-1,000,000

US$620,000-1,200,000

€600,000-1,200,000

PROVENANCE:

The London Gallery [E.L.T Mesens], London, by 1937. Claude Spaak, Paris, by 1938.

Edward James, West Dean & London; his estate sale, Christie’s, New York, 6 October 1988, lot 71.

Acquired at the above sale, and thence by descent.

EXHIBITED:

London, The London Gallery, Pictures by Young Belgian Artists, January - February 1937, no. 5.

The Hague, Esher Surrey Art Galleries, Delvaux, FebruaryMarch 1937, no. 1.

Antwerp, Salle des Fêtes, L'Art contemporain, Salon 1937, April - May 1937, no. 146, p. 31.

Brussels, Palais des Beaux-Arts, Exposition d'art belge contemporain, June - August 1938, no. 269, p. 67 (with incorrect dimensions).

Rotterdam, Museum Boymans-Van Beuningen, Paul Delvaux, April - June 1973, no. 9, p. 116 (illustrated).

Edinburgh, Scottish National Gallery of Modern Art, The Edward James Collection, Dali, Magritte and other Surrealists, August - September 1976, no. 31, p. 9 (illustrated p. 15).

LITERATURE:

The London Bulletin, no. 3, London, June 1938, p. 6. Surrealist Diversity 1915-1945, London, 1945 (a detail illustrated).

P. Dewalhens, Delvauxiana (poèmes), Paris, 1955.

P.-A. De Bock, Paul Delvaux, Brussels, 1967, no. 25, p. 289 (illustrated p. 68; with incorrect dimensions). Plexus, no. 7, Paris, 1967, p. 66 (illustrated).

J. Vovelle, Le surréalisme en Belgique, Brussels, 1972, p. 189.

S. Alexandrian, Dictionnaire de la peinture surréaliste, Paris, 1973, p. 17.

M. Prince, The Dissociation of a Personality: The Hunt for the Real Miss Beauchamp, Oxford, 1978 (detail illustrated on the front cover).

P. Purser, Where is He Now?: The Extraordinary Worlds of Edward James, London, 1978, p. 73 (illustrated in situ p. 72).

G. Zwang, Le sexe de la femme, Paris, 1979, p. 432 (a detail illustrated).

M. Paquet, Paul Delvaux: l’essence de la peinture, vol. I, Saint-Idesbald, 1982, no. 25, pp. 35 & 100.

B. Emerson, Delvaux, Antwerp, 1985 (illustrated pp. 76-77).

M. Del Castillo, Tara, Paris, 1990 (detail illustrated on the front cover).

P. Purser, Poeted: The Final Quest of Edward James, London, 1991, pp. 76 & 92.

N. Coleby, ed., A Surreal Life: Edward James, London, 1998, p. 61. (illustrated).

H. Périer, Pierre Restany: l’alchimiste de l’art, Paris, 1998, p. 395.

G. Wood, Surreal Things: Surrealism and Design, exh. cat., London, 2007, p. 49 (illustrated in situ p. 38).

Z. Barthelman & J. van Deun, Paul Delvaux: Odyssey of a Dream, Saint-Idesbald, 2007, p. 228.

N. Bodskaïa, Le Surréalisme: Genèse d’une révolution, New York, 2009, p. 236.

G. Stamp, Anti-Ugly: Excursions in English Architecture and Design, London, 2013, p. 24.

R. B. Elder, Dada, Surrealism, and the Cinematic Effect, Waterloo, ON, 2013, p. 323.

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

°◆λ108

RENÉ MAGRITTE (1896-1967)

La reconnaissance infinie

signed 'Magritte' (lower left); signed, inscribed and dated '"LA RECONNAISSANCE INFINIE", MAGRITTE 1933' (on the stretcher)

oil on canvas

39¡ x 27¬ in. (100 x 70.2 cm.)

Painted in 1933

£6,000,000-9,000,000

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

€7,200,000-11,000,000

PROVENANCE:

Claude Spaak, Brussels, by whom acquired directly from the artist by May 1934.

Private collection, by whom acquired circa 1955.

Private collection, Europe, by whom acquired circa 1965; sale, Christie's, London, 25 June 2001, lot 44.

Anonymous sale, Christie’s, London, 22 June 2004, lot 36. Acquired at the above sale by the present owner.

EXHIBITED:

Brussels, Palais des Beaux-Arts, Minotaure, May - June 1934, no. 68.

Brussels, Palais des Beaux-Arts, René Magritte: peintures, objets surréalistes, April - May 1936, no. 30.

Paris, Galerie d'Art L'Œil, Minotaure, May - June 1962, no. 31 (illustrated).

Tokyo, The National Art Center, René Magritte, March - June 2015, no. 41, p. 130 (illustrated); this exhibition later travelled to Kyoto, Municipal Museum of Art, JulyOctober 2015.

LITERATURE:

H. Read, Surrealism, London, 1936 (illustrated pl. 48).

A. Breton, Le Surréalisme et la peinture, Paris, 1965, p. 271 (illustrated).

'Interview between Magritte and John Randel', in Magritte Ecrits, Paris, 1965, p. 610.

M. Butor, 'Magritte et les mots', in Les lettres françaises, Paris, 13 November 1968, p. 8.

S. Whitfield, ed., Magritte, exh. cat., London, 1992 (illustrated fig. 9, p. 33).

D. Sylvester & S. Whitfield, eds., René Magritte, Catalogue raisonné, vol. II, Oil Paintings and Objects, 1931-1948, London, 1993, no. 353, p. 186 (illustrated).

A. Danchev, Magritte, A Life, New York, 2020, pp. 274 & 276 (illustrated p. 275).

PROPERTY FROM A DISTINGUISHED PRIVATE AMERICAN COLLECTION

λ*109

WOLFGANG PAALEN (1905-1959)

La

roue de l'orage

oil and tempera on canvas

76Ω x 51 in. (194.3 x 129.5 cm.)

Painted in 1936

£200,000-300,000

US$250,000-370,000

€240,000-360,000

PROVENANCE:

Gordon Onslow Ford, California, by whom acquired directly from the artist.

Gordon Onslow Ford Trust, California, by descent from the above in November 2003.

Acquired from the above by the present owner in 2004.

EXHIBITED:

San Francisco, Gallery Wendi Norris, Science in Surrealism, May - August 2015, pp. 44 & 45.

Vancouver, Art Gallery, I Had an Interesting French Artist to See Me This Summer: Emily Carr and Wolfgang Paalen in British Columbia, July - November 2016, p. 1.

LITERATURE:

G. Regler, Wolfgang Paalen, New York, 1946, p. 22 (illustrated).

Exh. cat., Wolfgang Paalen: zwischen Surrealismus und Abstraktion, Vienna, 1993, pp. 59 & 62 (illustrated p. 59).

Exh. cat., Wolfgang Paalen: Retrospectiva, Mexico, 1994, p. 63 (illustrated).

A. Neufert, Wolfgang Paalen, Im Inneren des Wals, Monografie – Schriften – Œuvrekatalog, Vienna, 1999, no. 35.02, p. 86 (illustrated; dated '1935').

A. Neufert, Paalen, Life and Work, vol. I., Forbidden Land: The Early and Crucial Years, 1905-1939, Norderstedt, 2022, pp. 237 & 244.

JEAN (HANS) ARP (1886-1966) Amphore infinie

painted wood relief in the artist's original painted frame

57º x 44æ x 1¡ in. (145.4 x 113.3 x 3.7 cm.)

Executed in 1929

£1,600,000-2,400,000

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

€2,000,000-2,900,000

PROVENANCE:

Private collection, Switzerland, by whom acquired directly from the artist in 1929, and thence by descent to the present owners.

EXHIBITED:

Zurich, Kunsthaus, Ausstellung, Abstrakte und Surrealistische Malerei und Plastik, October - November 1929, no. 6, p. 9 (titled ‘Vase’; dated ‘1928’ and with incorrect dimensions).

Zurich, Kunsthaus, Ausländische Kunst in Zürich, JulySeptember 1943, no. 502, p. 47 (titled ‘Komposition’ and with inverted dimensions).

Munster, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Reliefs, Formprobleme zwischen Malerei und Skulptur im 20. Jahrhundert, June - August 1980, no. 69, p. 166 (illustrated); this exhibition later travelled to Zurich, Kunsthaus, August - November 1980.

Stuttgart, Württembergischer Kunstverein, Arp, July - August 1986, no. 116, p. 291 (illustrated p. 131); this exhibition later travelled to Strasbourg, Musée d’Art Moderne, September - November 1986; Paris, Musée d’Art Moderne de la ville de Paris, December 1986 - February 1987; Minneapolis, Institute of Art, March - May 1987; Boston, Museum of Fine Arts, July - September 1987; and San Francisco, Museum of Modern Art, December 1987January 1988.

Basel, Kunstmuseum, Schwitters_Arp, May - August 2004, no. 39, p. 247 (illustrated p. 117).

Remagen, Arp Museum Bahnhof Rolandseck, Hans Arp, Die Natur der Dinge, September 2007 - March 2008, no. 56, p. 208 (illustrated p. 137).

Winterthur, Kunstmuseum, Hans Arp, January - May 2016, no. 9, p. 113 (illustrated in-situ pp. 63 & 65).

Otterlo, Kröller-Müller Museum, Arp: The poetry of forms, May - September 2017, p. 86 (illustrated p. 87); this exhibition later travelled to Margate, Turner Contemporary, October 2017 - January 2018.

Basel, Fondation Beyeler, Rodin, Arp, December 2020May 2021, p. 192 (illustrated p. 163); this exhibition later travelled to Remagen, Arp Museum Bahnhof Rolandseck, June - November 2021.

Winterthur, Kunstmuseum, on long-term loan from 2015 and until 2022.

LITERATURE:

C. Giedion-Welcker & M. Arp-Hagenbach, Hans Arp, Stuttgart, 1957, p. 19 (illustrated).

J.T. Soby, ed., Arp, exh. cat., New York, 1958, pp. 31 & 32 (illustrated p. 31).

The Geijutsu-Shincho, vol. 8, Tokyo, 1959 (illustrated on the cover).

H. Read, Arp, London, 1968, no. 73, p. 204 (illustrated p. 77).

W.S. Rubin, Dada and Surrealist Art, New York, 1968, no. 236, pp. 244 & 479 (illustrated p. 245).

D. Berrigan, The Dark Night of Resistance, Oregon, 1971, p. 84.

C. Giedion-Welcker, Schriften 1926 - 1971. Stationen zu einem Zeitbild, Cologne, 1973, no. II, p. 527 (illustrated pl. II).

B. Rau, Hans Arp, Die Reliefs Oeuvre-Katalog, Stuttgart, 1981, no. 192, p. 96 (illustrated).

D. Cottom, Abyss of Reason: Cultural Movements, Revelations, and Betrayals, New York, 1991, pp. 162 & 163 (illustrated p. 163).

C. Ambroise & J. Sgard, eds., De la fêlure à la fracture, Hommage à Philippe Renard, Grenoble, 1993, no. 9 (illustrated).

E. Robertson, Arp, Painter, Poet, Sculptor, New Haven & London, 2006, pp. 73 & 74 (illustrated p. 75).

J. Wintle, New Makers of Modern Culture, vol. I, A-K, Abingdon, 2007, p. 51.

PROPERTY FROM A PRIVATE FRENCH COLLECTION

λ*111

MAX ERNST (1891-1976)

Coloradeau de Méduse

signed and dated ‘max ernst 53’ (lower right); signed, dated and inscribed ‘COLORADEAU DE MÉDUSE max ernst 53

PARIS’ (on the reverse)

oil and décalcomanie on canvas

28æ x 36¿ in. (73 x 91.7 cm.)

Painted in 1953

£700,000-1,000,000

US$870,000-1,200,000

€840,000-1,200,000

PROVENANCE:

Maurice Lefebvre-Foinet, Paris, by whom acquired directly from the artist.

Private collection, France, and thence by descent to the present owner.

EXHIBITED:

Cologne, Galerie Der Spiegel, Max Ernst, Bilder 1953, 1953, no. 2 (illustrated; titled ‘Floß der Méduse’).

Knokke-Le-Zoute, Casino Communal, Max Ernst, JulyAugust 1953, no. 82, p. 30 (illustrated).

Berlin, Galerie Springer, Max Ernst, February - April 1954, no. 2.

Paris, Musée Muncipal d’Art Moderne, XIe Salon de mai, May 1955, no. 62, p. 15 (titled ‘Colorado de Méduse’).

Paris, Musée National d’Art Moderne, Max Ernst, November - December 1959, no. 76.

New York, The Museum of Modern Art, Max Ernst, March - May 1961, no. 116, p. 54; this exhibition later travelled to Chicago, The Art Institute, June - July 1961.

London, Tate Gallery, Max Ernst, September - October 1961, no. 163.

Cologne, Wallraf-Richartz-Museum, Max Ernst, December 1962 - March 1963, no. 90, pp. 45 & 46 (illustrated pl. 55); this exhibition later travelled to Zurich, Kunsthaus, March - April 1963.

Stockholm, Moderna Museet, Max Ernst: Målningar, collage, frottage, teckningar, grafik, böcker, skulpturer 1917-1969, September - November 1969, no. 76, p. 76.

Amsterdam, Stedelijk Museum, Max Ernst, November 1969 - January 1970, no. 72, p. 23 (illustrated p. 55).

Stuttgart, Württembergischer Kunstverein, Max Ernst: Gemälde, Plastiken, Collagen, Frottagen, Bücher, JanuaryMarch 1970, no. 90, p. 149 (illustrated p. 138).

New York, The Solomon R. Guggenheim Museum, Max Ernst: a retrospective, February - April 1975, no. 242, p. 220 (illustrated).

Paris, Galeries nationales du Grand-Palais, Max Ernst, May - August 1975, no. 278, p. 134 (illustrated).

Munich, Haus der Kunst, Max Ernst: Retrospektive 1979, February - April 1979, no. 297, p. 331 (illustrated; illustrated again pl. 28, p. 110); this exhibition later travelled to Berlin, Nationalgalerie, May - July 1979, no. 28, (illustrated p. 110).

Paris, Centre Georges Pompidou, Paris - Paris: Créations en France, 1937-1957, May - November 1981, no. 222, p. 510.

LITERATURE:

E. Trier, ‘Max Ernst, ein rheinischer Künstler’ in Die Kunst und das Schöne Heim, vol. 9, Munich, June 1955, p. 321 (illustrated).

E. Petrová, Max Ernst, Prague, 1965, no. 57.

J. Russell, Max Ernst: Life and Work, New York, 1967, pl. 32, pp. 142 & 343 (illustrated p. 143).

U.M. Schneede, Max Ernst, New York & London, 1972, no. 375, pp. 192 & 213 (illustrated p. 192).

E. Quinn, Max Ernst, London, 1977, no. 345, p. 279 (illustrated).

I. Turpin, Ernst, London, 1979, no. 45, p. 120 (illustrated p. 121).

W. Spies, S. Metken & G. Metken, Max Ernst, Werke, 19391953, Cologne, 1987, no. 3009, p. 355 (illustrated).

U. Bischoff, Max Ernst, 1891-1976: Beyond Painting, Cologne, 1988, p. 86 (illustrated).

L. Derenthal & J. Pech, Max Ernst, Paris, 1992, no. 408, p. 250 (illustrated).

E. Trier, M. Pech & M. Ernst, Schriften zu Max Ernst, Cologne, 1993, p. 143 & 144.

U. Lindau, “Progressive Universalpoesie”: Max Ernst und die deutsche Romantik Studien zur Methodik, Bonn, 1995.

W. Spies & S. Rewald, eds., Max Ernst: A Retrospective, exh. cat., New York, 2005, p. 40.

S. Kavky, ‘Max Ernst in Arizona: Myth, mimesis, and the hysterical landscape’ in Anthropology and Aesthetics, vol. 57/58, Cambridge, Massachusetts, Spring/Autumn 2010, p. 226 (illustrated fig. 13).

Fortheextensiveexhibitionhistoryandliteraturereferences pleasevisit christies.com

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION *112

JEAN (HANS) ARP (1886-1966) Étoile

white marble

Height: 39¡ in. (100 cm.)

The smaller version conceived in plaster in 1939; this unique example carved in marble in 1960

£1,200,000-1,800,000

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

€1,500,000-2,200,000

PROVENANCE:

Edouard Loeb, Paris, by 1962.

Anonymous sale, Sotheby's, London, 2 December 1986, lot 78.

Anonymous sale, Sotheby’s, London, 29 November 1994, lot 55.

Acquired by the present owner circa 1995.

EXHIBITED:

Paris, Musée National d’Art Moderne, Centre Georges

Pompidou, Arp, February - April 1962, no. 129, pp. 63 & 120 (illustrated pl. 14, p. 120).

London, Tate Gallery, Jean Arp: Sculpture, Reliefs, Paintings, Collages, Tapestries, London, November - December 1962, no. 46 (with incorrect dimensions).

LITERATURE:

C. Giedion-Welcker, Hans Arp, Stuttgart, 1957, the 1939 edition no. 61, p. 112 (a bronze cast from the edition illustrated p. 94).

E. Trier, Jean Arp, Sculpture 1957 - 1966, London & Stuttgart, 1968, no. 206, p. 111 (illustrated p. 110; with incorrect dimensions).

I. Jianou, Jean Arp, Paris, 1973, the 1939 edition no. 206, p. 76 (a bronze cast from the edition illustrated pl. 23).

Fondation Jean Arp & Sophie Taeuber-Arp, eds., Arp, Paris, 1986, p. 24 (illustrated).

A. Hartog & K. Fischer, eds., Hans Arp: Sculptures, A Critical Survey, Ostfildern, 2012, no. 206, p. 50 (illustrated p. 150).

FRANCIS

PICABIA

Le rêve de Susanne

(1879-1953)

signed, dated and inscribed ‘Francis Picabia 1949 LE RÊVE DE SUSANNE’ (along the lower edge) oil on board

29¡ x 20Ω in. (74.6 x 52 cm.)

Painted in 1949

£250,000-350,000

US$310,000-430,000

€300,000-420,000

PROVENANCE:

Jean Van Heeckeren, Paris.

Galerie Jacques Tronche, Paris; sale, Christie’s, London, 5 April 1968, lot 166.

Private collection, by whom acquired at the above sale.

Galerie Gmurzynska, Cologne.

J.K. Sercarz, Cologne, by 1976.

Micheline Szwajcer Gallery, Antwerp, by the 1990s. Private collection, Europe.

EXHIBITED:

Paris, Galerie René Drouin, 50 ans de plaisirs, March 1949, no. 134.

Antwerp, Ronny Van de Velde Gallery, Francis Picabia, February - April 1993, no. 53 (illustrated); this exhibition later travelled to Mallorca, Fundació Pilar i Joan Miró, May - June 1993, no. 79.

Lisbon, Centro Cultural de Belém, Francis PicabiaAntologia, June - August 1997, no. 115, p. 186 (illustrated).

Hamburg, Deichtorhallen, Francis Picabia – The Late Works, 1933-1953, October 1997 – February 1998, p. 134 (illustrated); this exhibition later travelled to Rotterdam, Museum Boijmans Van Beuningen, February - June 1998. Grenoble, Musée de Grenoble, Francis Picabia, les nus et la méthode, October 1998 - January 1999, no. 39, pp. 97 & 104 (illustrated p. 96); this exhibition later travelled to Geneva, Musée du Petit Palais, January - April 1999.

Tokyo, Isetan Museum of Art, Francis Picabia, August - September 1999, no. 76, p. 136 (illustrated p. 137); this exhibition later travelled to Fukushima, Iwaki City Art

Museum, October - November 1999 and Osaka, Museum of Art, January - February 2000.

Paris, Musée d’Art Moderne de la Ville de Paris, Francis Picabia, Singulier idéal, November 2002 - March 2003, p. 404 (illustrated p. 405).

London, Camden Arts Centre, Francis Picabia, November 2004 - February 2005, no. 7.

London, Hauser & Wirth, Francis Picabia, The Nudes, October - November 2006.

Herford, MARTa Herford, Ad absurdum: Energies of the Absurd from Modernity to Contemporary Art, April - July 2008, p. 455 (illustrated p. 457).

Ostend, Mu.ZEE, L'autoportrait, la maison et les saisons, September 2011 - January 2012.

Zurich, Kunsthaus, Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction, June - September 2016, pp. 248 & 358 (illustrated pl. 216, p. 263).

LITERATURE:

F. Reijnders, Della pittura: De schilderkunst en andere media, Amsterdam, 2000, pp. 58 & 59 (illustrated).

C. Boulbès, Picabia avec Nietzsche, Lettres d'amour à Suzanne Romain (1944-1948), Paris, 2010, no. 20, pp. 369 & 373 (illustrated).

M. Duffy, T. Kwartler, N. Dupêcher & A. Umland, eds., Francis Picabia: Materials and Techniques, London, 2017, pp. 67 & 72 (illustrated fig. 17, p. 72).

W. A. Camfield, B. Calté, C. Clements & A. Pierre, Francis Picabia, Catalogue Raisonné, vol. IV, 1940-1953, New Haven & London, 2022, no. 2029, pp. 397 & 398 (illustrated p. 398).

PROPERTY FROM A PRIVATE GERMAN COLLECTION

FORMERLY IN THE COLLECTION OF SOPHIA LOREN AND CARLO PONTI

λ*114

RENÉ MAGRITTE (1898-1967)

La lumière du pôle

signed ‘Magritte’ (lower right); inscribed ‘"LA LUMIÈRE DU PÔLE”’ (on the stretcher)

oil on canvas

54æ x 41º in. (139 x 104.8 cm)

Painted in 1926-1927

£4,500,000-6,500,000

US$5,600,000-8,100,000

€5,500,000-7,800,000

PROVENANCE:

Galerie Le Centaure, Brussels.

E.L.T. Mesens, Brussels & London, by whom acquired from the above in 1932.

Galerie Isy Brachot, Brussels, by whom acquired from the above in 1968.

Galleria Internazionale, Milan, by whom acquired from the above in 1968.

Galleria Condotti 75 [Maria Laura Drudi Gambillo], Rome.

Sophia Loren & Carlo Ponti, Rome.

Private collection, Brescia, by whom acquired from the above in the early 1990s.

Anonymous sale, Christie’s, London, 1 March 2022, lot 102.

Acquired from the above by the present owner.

EXHIBITED:

Brussels, Galerie Le Centaure, Exposition Magritte, AprilMay 1927, no. 47.

New York, Julien Levy Gallery, René Magritte, January 1938, no. 3.

Amsterdam, Stedelijk Museum, Dertien belgische schilders, October - November 1952, no. 56.

Ghent, Museum voor Schone Kunsten, Figuratie, defiguratie. De menselijke figuur sedert Picasso, JulyOctober 1964, no. 170, p. LXII.

London, Zwemmer Gallery, René Magritte, July 1966, no. 3. Brussels, Galerie Isy Brachot, Magritte, cent cinquante oeuvres: première vue mondiale de ses sculptures, January - February 1968, no. 25 (with inverted dimensions).

Milan, Finarte, Mostra di opere d'arte contemporanea, November 1968, no. 13 (illustrated).

Rome, Galleria Condotti 75, circa 1970.

London, Marlborough Fine Art, Magritte, OctoberNovember 1973, no. 11, p. 35 (illustrated p. 60).

Paris, Galerie nationale du Jeu de Paume, Magritte, February - June 2003, p. 61 (illustrated p. 60; with incorrect medium).

LITERATURE:

P.-G. van Hecke, ed., ‘René Magritte: peintre de la pensée abstraite’, in Sélection, vol. VI, no. 6, Brussels, March 1927, p. 447 (illustrated; titled 'Le Sommet du pôle').

D. Sylvester & S. Whitfield, eds., René Magritte, Catalogue raisonné, vol. I, Oil Paintings, 1916-1930, London, 1992, no. 129, p. 202 (illustrated).

D. Sylvester, Magritte, Brussels, 2009, p. 10 (illustrated; illustrated again p. 8).

S. Levy, Decoding Magritte, Bristol, 2015, p. 122.

A. Danchev & S. Whitfield, Magritte, A Life, London, 2020, pp. 131, 132 & 387 (illustrated p. 132).

PROPERTY FROM AN IMPORTANT PRIVATE BELGIAN COLLECTION

LÉON SPILLIAERT (1881-1946)

Digue et plage

signed and dated 'L. Spilliaert 1907' (lower right) brush and India ink, wash and coloured crayon on paper 19º x 24√ in. (49.4 x 63 cm.)

Executed in 1907

£550,000-750,000

US$680,000-930,000

€660,000-900,000

PROVENANCE:

Eliza & Jean-Paul Koch, Brussels, by whom acquired after 1946-1947.

Claire & Muriel Koch, Brussels, by descent from the above.

Galerie Patrick Derom, Brussels.

Acquired from the above by the present owner in 2012.

EXHIBITED:

Ostend, Het Spilliaert Huis, Ontoetingen met Spilliaert, MaySeptember 2016, no. 22.

The Hague, Kunstmuseum, Dirk Braeckman - Léon Spilliaert: Night Wanderers, October 2024 - January 2025.

We are grateful to Dr Anne Adriaens-Pannier for confirming this authenticity of this work, which will be included in her forthcoming Léon Spilliaert catalogue raisonné now in preparation.

PROPERTY FROM A PRIVATE FRENCH COLLECTION

λ*116

ANDRÉ MASSON (1896-1987)

Les cerfs-volants

signed ‘André Masson’ (on the reverse)

oil, tempera and sand on canvas

38º x 42Ω in. (97 x 108 cm.)

Painted in 1927

£600,000-900,000

US$750,000-1,100,000

€730,000-1,100,000

PROVENANCE:

Galerie Simon [Daniel-Henry Kahnweiler], Paris.

Private collection, Paris, by whom acquired from the above, circa 1927, and thence by descent.

Private collection, Paris, by whom acquired from the above in 1993.

Acquired from the above by the present owner in 1999.

EXHIBITED:

Aosta, Museo Archeologico, André Masson, La saggezza delirante della natura, July - October 1995, p. 53 (illustrated).

Nice, Museé d'Art Moderne et d'Art Contemporain, Des Modernes aux Avant-gardes, June - October 1997, no. 1049, pp. 82 & 256 (illustrated p. 82).

Paris, Musée National d’Art Moderne, Centre Georges Pompidou, La Révolution Surréaliste, March - June 2002, p. 124 (illustrated).

Darmstadt, Institut Mathildenhöhe, André Masson: Bilder aus dem Labrynth der Seele Vues du labryinthe de l’âme, March - April 2003, no. 24, pp. 60 & 355 (illustrated p. 60).

Madrid, Museo Nacional Centro de Arte Reina Sofía, André Masson, January - April 2004, p. 103 (illustrated).

Künzelsau, Museum Würth, André Masson, A Mythology of Nature, September 2004 - January 2005, p. 42 (illustrated).

Utsunomiya, Museum of Art, Surrealism and Art –Image and Reality, April - June 2007, no. 22, pp. 58 & 59 (illustrated p. 58; detail illustrated p. 59); this exhibition later travelled to Toyota, Muncipal Museum of Art, July - September 2007 and Yokohama, Museum of Art, September - December 2007.

Ludwigshafen, Wilhelm-Hack-Museum, Surrealismus ParisPrag - Gegen jede Vernunft, November 2009 - February 2010, no. 23, pp. 98 & 352 (illustrated p. 98).

Metz, Centre Pompidou-Metz, André Masson, There is no finished world, March - September 2024.

Paris, Musée National d’Art Moderne, Centre Georges Pompidou, Surréalisme, September 2024 - January 2025, p. 227 (illustrated p. 23).

LITERATURE:

J. J. Sweeney, Joan Miró, exh. cat., New York, 1941, p. 43 (illustrated).

W. Rubin & C. Lanchner, André Masson, exh. cat., New York, 1976, p. 88 (illustrated).

C. Morando, Peinture, Dessins, Sculpture et Littérature autour du Collège de Sociologie pendant l’entre-deuxguerres, Paris, 2000, no. 106, p.1245 (illustrated).

Exh. cat., André Masson - La ricera dell’oltre, Modena, 2006, pp. 34 & 35 (illustrated).

G. Masson, M. Masson & C. Lœwer, André Masson, Catalogue raisonné de l’oeuvre peint, vol. I, 1919-1941, Paris, 2010, no. 1927*3, p. 334 (illustrated p. 335).

PROPERTY FROM A PROMINENT AMERICAN COLLECTION λ*117

RENÉ MAGRITTE (1898 - 1967)

La femme du maçon

signed 'Magritte' (lower left); inscribed 'LA FEMME DU MAÇON' (on the reverse) oil on canvas

13æ x 16¡ in. (35.1 x 41.4 cm.)

Painted in 1958

£1,600,000-2,400,000

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

€2,000,000-2,900,000

PROVENANCE:

Alexander Iolas, Paris, by whom acquired directly from the artist.

Private Collection, by whom acquired from the above in the mid-1960s.

Galleria La Medusa, Rome.

Acquired from the above in 1971; sale, Christie's, London, 21 June 2012, lot 313.

Private Collection, Belgium, by whom acquired at the above sale.

Hauser & Wirth, New York.

Acquired from the above by the present owner in 2018.

EXHIBITED:

Rotterdam, West-Flandre Hainaut, December 1958January 1959.

Brussels, Musée d'Ixelles, Magritte, April - May 1959, no. 106.

Paris, Galerie Rive Droite, René Magritte, February - March 1960, no. 8.

Little Rock, Arkansas Art Center, Constant Companions, October 1964 - February 1965, no. 282. Rome, Galleria La Medusa, Maestri Europei, 1971, no. 19 (illustrated).

New York, Davlyn Gallery, Magritte, November 1974January 1975, no. 10.

Cincinnati, Taft Museum, René Magritte, 1977.

Barcelona, Fundació Joan Miró, Magritte, Metamorfosis, November 1998 - February 1999, no. 18, p. 179 (illustrated p. 93).

Brussels, Musées Royaux des Beaux-Arts de Belgique, Dalí & Magritte: Two surrealist icons in dialogue, October 2019 - February 2020.

LITERATURE:

A. Breton, A. Chavée, P. Eluard, et al., 'Savoir et beauté, Numéro spécial consacré à Louis Scutenaire, L'oeuvre peint de René Magritte', in Savoir et beauté, La Louvière, 1961, p. 2418.

Le fait accompli, nos. 34-35, Brussels, April 1970 (illustrated).

J. Vovelle, Le Surréalisme en Belgique, Brussels, 1972, (illustrated p. 126).

D. Sylvester, S. Whitfield & M. Raeburn, eds., René Magritte, Catalogue Raisonné, vol. III, Oil Paintings, Objects and Bronzes 1949-1967, London, 1993, no. 892, p. 302 (illustrated).

R. Hughes, The Portable Magritte, New York, 2002 (illustrated p. 345).

FORMERLY IN THE COLLECTION OF ERNST O.E. FISCHER

λ*118

MAX ERNST (1891-1976)

sodaliten schneeberger drückethäler (l’énigme de l’Europe Centrale or always the best man wins)

signed and dated ‘max ernst / 1920’ (lower right); inscribed (on the artist’s mount) gouache, pen and India ink and pencil on a cut out print laid down on the artist's mount

Image: 5¬ x 8Ω in. (14.2 x 21.5 cm.)

Executed in 1920

£250,000-350,000

US$310,000-430,000

€300,000-420,000

PROVENANCE:

Robert Lemasle.

Paul Gustave van Hecke, Brussels.

E.L.T. Mesens, London.

Betty Barman, Brussels, by 1953 until at least 1975.

Galerie Bergmann, Cologne.

Ernst O.E. Fischer, Krefeld, by whom acquired from the above in March 1977, and thence by descent to the present owner.

EXHIBITED:

Paris, Au sans pareil, Max Ernst, May - June 1921, no. 15. Paris, Musée National d’Art Moderne, Centre Georges Pompidou, Max Ernst, November - December 1959, no. 106.

New York, Solomon. R. Guggenheim Museum, Max Ernst: a Retrospective, February - April 1975, no. 41, p. 84 (illustrated); this exhibition later travelled to Paris, Galeries nationales du Grand-Palais, no. 53, p. 38 (illustrated).

Munich, Haus der Kunst, Max Ernst: Retrospektive 1979, February - April 1979, no. 31, p. 218 (illustrated); this exhibition later travelled to Berlin, Nationalgalerie.

New York, Museum of Modern Art, High and Low: Modern Art and Popular Culture, October 1990 - January 1991, no. 55, p. 265 (illustrated); this exhibition later travelled to Chicago, The Art Institute and Los Angeles, Museum of Contemporary Art.

London, Tate Gallery, Max Ernst: A Centenary Retrospective, February - April 1991, no. 26, p. 376 (illustrated p. 77); this exhibition later travelled to Stuttgart, Staatsgalerie; Dusseldorf, Kunstsammlung NordrheinWestfalen and Paris, Paris, Musée National d’Art Moderne, Centre Georges Pompidou.

New York, Museum of Modern Art, Max Ernst: Dada and the Dawn of Surrealism, March - May 1993, no. 86, pp. 90, 94, 340 & 368 (illustrated pl. 89); this exhibition later travelled to Houston, The Menil Collection and Chicago, The Art Institute.

Berlin, Nationalgalerie, Max Ernst: Die Retrospektive, March - May 1999, no. 10 (illustrated); this exhibition later travelled to Munich, Haus der Kunst.

Paris, Musée National d’Art Moderne, Centre Georges Pompidou, La révolution surréaliste, March - June 2002.

New York, The Metropolitan Museum of Art, Max Ernst: A retrospective, April - July 2005, no. 8, p. 116 (illustrated).

Stockholm, Moderna Museet, Max Ernst: Dream and Revolution, September 2008 - January 2009, pp. 54 & 248 (illustrated p. 55); this exhibition later travelled to Humlebaek, Louisiana Museum of Art.

Vienna, Albertina, Max Ernst Retrospective, January - May 2013, no. 21, pp. 58 & 342 (illustrated p. 58); this exhibition later travelled to Basel, Fondation Beyeler.

Milan, Palazzo Reale, Max Ernst, October 2022 - February 2023, p. 66 (illustrated).

LITERATURE:

J. T. Soby, After Picasso, Hartford & New York, 1935, no. 39, pp. IX & 87 (illustrated pl. 39; titled ‘Zu Meerschaum’).

‘Max Ernst, Oeuvres de 1919 a 1936’ in Cahiers d’Art, Paris, 1937, p. 27 (illustrated).

C. Zervos, Histoire de l’art contemporain, Paris, 1938, p. 413.

J. Russell, Max Ernst: Life and Work, Cologne, 1966, no. 9, pp. 344-345 (illustrated pl. 9).

W. Spies, Max Ernst - Collagen: Inventar und Widerspruch, Cologne, 1974, pp. 58 & 61.

W. Spies, S. & G. Metken, Max Ernst, Werke 1906-1925, Cologne, 1975, no. 342, p. 173 (illustrated).

W. Spies, Max Ernst: Life and Work, Cologne, 2005, pp. 65 & 344-345 (illustrated).

Fortheextensiveexhibitionhistoryandliteraturereferences pleasevisit christies.com

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

λ*119

RENÉ MAGRITTE (1898-1967)

Le stropiat

signed ‘Magritte’ (upper left); signed, dated and inscribed ‘Magritte 1948 “Le Stropiat”’ (on the reverse)

gouache and gold paint on paper 12√ x 16 in. (32.7 x 40.7cm.)

Executed in 1948

£1,000,000-1,500,000

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

€1,300,000-1,800,000

PROVENANCE:

Anonymous sale, Guillaume Campo, Antwerp, 18 April 1972, lot 320.

Private collection, Antwerp, by whom probably acquired at the above sale.

Gramo Fine Arts N.V., Antwerp.

Acquired from the above by the present owner in December 1988.

EXHIBITED:

(Possibly) Paris, Galerie du Faubourg, Magritte: peintures et gouaches, May - June 1948 (ex. cat.).

Ostend, Provinciaal Museum voor Moderne Kunst, René Magritte, June - August 1990 (ex. cat.).

Verona, Galleria d'Arte Moderna di Palazzo Forti, Da Magritte a Magritte, July - October 1991, no. 62, p. 277 (illustrated p. 112; dated ‘1947’).

Marseille, Musée Cantini, René Magritte, La période vache, "Les pieds dans le plat" avec Louis Scutenaire, FebruaryMay 1992, p. 96 (illustrated p. 97; with incorrect medium and dimensions).

London, The Hayward Gallery, Magritte, May - August 1992, no. 146 (illustrated); this exhibition later travelled to New York, The Metropolitan Museum of Art, SeptemberNovember 1992; Houston, The Menil Collection, December 1992 - February 1993; and Chicago, The Art Institute, March – May 1993.

LITERATURE:

D. Sylvester, ed., S. Whitfield & M. Raeburn, René Magritte, Catalogue raisonné, vol. IV, Gouaches, Temperas, Watercolours and Papiers Collés 1918-1967, Antwerp, 1994, no. 1277b (1271), p. 112 (illustrated).

E. Schlicht & M. Hollein, eds., René Magritte, 1948, La période vache, exh. cat., Frankfurt, 2008, pp. 58 & 171 (illustrated p. 60).

S. Gohr, Magritte, Attempting the Impossible, Paris, 2009, no. 277, p. 201 (illustrated).

D. Ottinger, ed., Magritte, The Treachery of Images, exh. cat., Paris, 2016, p. 21 (illustrated).

PROPERTY FROM AN IMPORTANT PRIVATE GERMAN COLLECTION

λ*120

MAX ERNST (1891-1976)

Fleurs

signed ‘max ernst’ (lower right) oil and grattage on canvas

7Ω x 9Ω in. (19 x 24 cm.)

Painted in 1928

£120,000-180,000

US$150,000-220,000

€150,000-220,000

PROVENANCE:

Gilbert G. Halbers, Paris.

Anonymous sale, Hotel Drouôt, Paris, 18 June 1971, lot 30.

Agenzia d'arte Moderna, Rome, by 1976.

Anonymous sale, Grisebach, Berlin, 29 November 1991, lot 53.

Acquired at the above sale by the present owner.

EXHIBITED:

Rome, Agenzia d'arte moderna, Max Ernst/Joan Miró, diciannove opere scelte di due maestri del surrealismo, MayJune 1974, no. 1 (illustrated).

LITERATURE:

Levi Arte Moderna, ed., Surrealismo, Milan, 1974, no. 19, p. 53 (illustrated).

W. Spies, S. & G. Metken, Max Ernst, Werke 1925-1929, Cologne, 1976, no. 1358, p. 291 (illustrated).

RENÉ MAGRITTE (1898-1967)

L'école buissonnière

signed ‘Magritte’ (lower left); signed, dated and inscribed ''L'Ecole buissonière' Magritte 1946' (on the reverse) gouache on paper

15√ x 23º in. (40.3 x 59.1 cm.)

Executed in 1946

This lot is sold together with a letter from René Magritte to Rose Bauwens, dated 18 December 1961.

£500,000-800,000

US$630,000-990,000

€610,000-960,000

PROVENANCE:

Rose Bauwens & Joseph Capel, Argentina, a gift from the artist in 1960, and thence by descent; sale, Sotheby’s, London, 28 February 2018, lot 37.

Acquired at the above sale by the present owner.

EXHIBITED: (possibly) Brussels, Galerie Dietrich, Magritte, NovemberDecember 1946, no. 3.

Skärhamn, The Nordic Watercolour Museum, René Magritte: A Laboratory of Ideas, Works on Paper, MaySeptember 2022, no. 100, p. 74 (illustrated).

LITERATURE:

R. Magritte, Titres, Brussels, 1946.

Letter from Magritte to Mariën, 17 August 1946 (a sketch of the present work illustrated).

Letter from Magritte to Salkin, 2 January 1947.

Letter from Magritte to Andrieu, 20 December 1947 (a sketch of the present work illustrated).

'Le fait accompli' in Les lèvres nues, Brussels, April 1970, nos. 34-35 (illustrated in situ in Brussels, Galerie Dietrich, 1946).

R. Magritte, Destination: Lettres a Marcel Mariën 1937-1962, Brussels, 1977, no. 187.

D. Sylvester, S. Whitfield & M. Raeburn, eds., René Magritte, Catalogue Raisonné, vol. IV, Gouaches, Temperas, Watercolours and Papiers Collés 1918-1967, Antwerp, 1994, no. app. 140, p. 325 (illustrated in situ).

The Comité Magritte has confirmed the authenticity of this work.

SALVADOR DALÍ (1904-1989)

Vénus de Milo aux tiroirs

signed and numbered 'Dalí 0/5' (on the top of the base) painted bronze and pompoms

Height: 38¡ in. (97.5 cm.)

Conceived in plaster in 1936; cast in bronze in 1964 in a numbered edition of five plus one artist's proof

£400,000-600,000

US$500,000-740,000

€480,000-720,000

PROVENANCE:

Gala Dalí [the artist's wife], Pubol. Cécile Éluard, Paris [Gala Dalí's daughter], by descent from the above.

Beadleston Gallery, New York, by 2000.

Anonymous sale, Sotheby's, London, 4 December 2000, lot 18.

Acquired at the above sale by the present owner.

EXHIBITED:

Hartford, Wadsworth Atheneum Museum of Art, Dalí's Optical Illusions, January – March 2000, no. 24, pp. 117 & 118 (illustrated pp. 117 & 119); this exhibition later travelled to Washington, D.C., Hirshhorn Museum and Sculpture Garden, April - June 2000; Edinburgh, Scottish National Gallery of Modern Art, July - October 2000.

Rio de Janeiro, Centro Cultural Banco do Brasil, Surrealism, August - October 2001, p. 184 (illustrated).

Washington, D.C., Hirshhorn Museum and Sculpture Garden, Marvelous Objects: Surrealist Sculpture from Paris to New York, October 2015 - February 2016, p. 185 (illustrated fig. 52).

LITERATURE:

R. Descharnes, Dalí de Gala, Lausanne, 1962, plaster version no. 165, p. 223 (illustrated pl. 165).

W. S. Rubin, Dada and Surrealist Art, New York, 1968, no. 203 (another version illustrated p. 234).

M. Gérard, Dalí, New York, 1968, no. 148 (another version illustrated).

S. Alexandrian, Dalí, Paris, 1974, p. 9 (another cast illustrated).

R. Descharnes, Salvador Dalí, New York, 1976, no. 146, pp. 118 & 164 (plaster version illustrated p. 164).

R. Descharnes, The World of Salvador Dalí, Lausanne, 1979, plaster version no. 165, pp. 164 & 231 (illustrated pl. 165).

P. Waldberg, M. Sanouillet & R. Lebel, Dada, Surréalisme, Paris, 1981, p. 253 (another cast illustrated).

R. Descharnes, Salvador Dalí: The Work, The Man, New York, 1984 (plaster version illustrated p. 199).

F. Passoni, R. Morse & A. Field, Dalí nella terza dimensione, Milan, 1987, p. 26 (another cast illustrated).

R. Descharnes & G. Néret, Salvador Dalí: The Paintings, vol. I, 1904-1946, Cologne, 1994, no. 628, pp. 69, 276 & 279 (plaster version illustrated p. 279).

R. & N. Descharnes, Dalí: The Hard and the Soft, Spells for the Magic of Form, Sculptures & Objects, Azay-le-Rideau, 2004, no. 61, pp. 32 & 34 (plaster version illustrated p. 33).

D. Ades, Dalí: The Centenary Retrospective, exh. cat., London, 2004, plaster version no. 156, p. 258 (illustrated p. 259).

C. Stuckey, ‘Dalí in Duchamp-Land’ in Art in America, New York, May 2005, pp. 153 & 154 (plaster version illustrated p. 154).

Art Institute of Chicago, eds., Notable acquisitions at the Art Institute of Chicago, Chicago, 2006, Vol. 32, p. 64 (plaster version illustrated p. 65).

Tate, eds., Salvador Dalí: An Illustrated life, London, 2007, no. 163, pp. 110 & 118 (plaster version illustrated).

J. Munro, Silent Partners: Artist and Mannequin from Function to Fetish, London, 2014, no. 237, pp. 210 & 211 (plaster version illustrated p. 210).

M. Aguer, L. Bartolomé & J. Cohen, Transgressing Venus: Dali Is Classical, Is Surrealist, Is Pop Art!, exh. cat. Figueres, 2022, pp. 11, 12, 20-26, 33 & 43 (other versions illustrated no. 2, p. 19, no. 3, p. 22, no. 4, p. 23, no. 5, p. 25, no. 1, p. 32).

Fundació Gala-Salvador Dalí, Online Catalogue Raisonné, no. OE 24 (plaster version illustrated; accessed 2024).

Fortheextensiveexhibitionhistoryandliteraturereferences pleasevisit christies.com

λ*123

GIORGIO DE CHIRICO (1888-1978)

Interno metafisico con officina

signed 'g. de Chirico' (centre left) oil on canvas

23¬ x 19æ in. (60 x 50.1 cm.)

Painted in 1957

£180,000-250,000

US$230,000-310,000

€220,000-300,000

PROVENANCE:

Galleria d'arte Bonaparte, Milan.

Galleria La Medusa, Rome.

Costante Fabbri, Italy.

Private collection, Turin, by whom acquired from the above in November 1986, and thence by descent to the present owner.

LITERATURE:

C. Bruni Sakraischik, Catalogo Generale Giorgio de Chirico, vol. VIII, Opere dal 1951 al 1974***, Milan, 1987, no. 1214 (illustrated).

Claudio Bruni Sakraischik confirmed the authenticity of this work on 19 March 1986 (dated ‘late 1940s’).

THE PROPERTY OF A DISTINGUISHED PRIVATE COLLECTOR λ*124

GIORGIO DE CHIRICO (1888-1978)

Gli archeologi

signed ‘g. de Chirico’ (lower left) oil on canvas

23¬ x 19¬ in. (60 x 50 cm.)

Painted in 1951-1952

£160,000-200,000

US$200,000-250,000

€200,000-240,000

PROVENANCE:

Galleria la Medusa, Rome. Galleria Sacerdoti, Milan. Private collection, Milan, by whom acquired from the above by 1983, and thence by descent to the present owner.

LITERATURE:

C. Bruni Sakraischik, Giorgio de Chirico, Catalogo generale, vol. VII, Opere dal 1951 al 1974***, Milan, 1983, no. 1034 (illustrated).

ENRICO DONATI (1909-2008)

Roi d'éclair

oil on canvas

30 x 40 in. (76.2 x 101.6 cm.)

Painted in 1945

£80,000-120,000

US$100,000-150,000

€96,000-140,000

PROVENANCE:

Durand-Ruel Galleries, New York, by 1946. Private collection, sale, Alex Cooper Auctioneers, 5 June, 2011. Acquired at the above sale by the present owner.

EXHIBITED:

Pittsburgh, Carnegie Institute, Painting in the United States, October - December 1946, no. 15.

New York, Durand-Ruel Galleries, Exhibition of recent paintings by Enrico Donati, March 1946.

Indianapolis, John Herron Art Museum, Cubist and NonObjective Paintings, December 1946 - February 1947, no. 15.

New York, Di Donna Gallery, Fields of Dream: The Surrealist Landscape, October 2015 - December 2015.

POST-WAR AND CONTEMPORARY ART DAY SALE

Thursday, 6 March 2025, 2:00 pm (GMT) 8 King Street, St. James’s London SW1Y 6QT

VIEWING

Thursday 27 February 10.00am - 8.00pm

Friday 28 February 9.00am - 5.00pm

Saturday 1 March 12.00pm - 5.00pm

Sunday 2 March 12.00pm - 5.00pm

Monday 3 March 9.00am - 5.00pm

Tuesday 4 March 9.00am - 5.00pm

Wednesday 5 March 9.00am - 5.00pm

Thursday 6 March 9.00am - 2.00pm

AUCTIONEERS

Hugh Creasy, Veronica Scarpati & Yü-Ge Wang

SPECIALISTS

HEADS OF SALE

Isabel Bardawil

Co-Head of Day Sale

+44 (0)20 7389 2866 ibardawil@christies.com

Stephanie Rao

Co-Head of Day Sale

+44 (0)20 7389 2523 stephanierao@christies.com

Martha Meshoulam

Junior Specialist

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

Stanislas Helly d’Angelin Cataloguer

+44 (0)20 7752 3089 sdangelin@christies.com

Nicole Ching

Specialist Advisor

+44 (0)20 7752 3090 nching@christies.com

CONDITIONS OF SALE

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

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as: NICOLE-23512

Opposite: George Condo, Mr Twiddle, 2010 (detail)

SALE COORDINATOR

Lisanne Sophie de Jooden

+44 (0)20 7389 2626 lsdejooden@christies.com

POST SALE SERVICES

Payment, Shipping and Collection

Tel: +44 (0)20 7752 3200

Fax: +44 (0)20 7752 3300 PostSaleUK@christies.com

BUYER’S PREMIUM

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

With thanks to Lucy Brewer, Ines Fallaha and Emma Cooney for their assistance with researching the sale.

Sold to Benefit the New Children’s Cancer Centre

Great Ormond Street Hospital (GOSH) has partnered with Christie’s to deliver BUILD IT, BEAT IT, a dedicated group of 29 artworks by 28 leading contemporary artists to be offered on behalf of GOSH.

We are very grateful to the following artists who have generously supported BUILD IT, BEAT IT: Peter Doig, Jadé Fadojutimi, Caroline Walker, Tracey Emin, Winston Branch, Pamela Phatsimo Sunstrum, Lisa Brice, Clementine Keith-Roach, Helen Marden, Sophia Loeb, Gideon Rubin, Peter McDonald, Rana Begum, Eddie Peake, Celia Hempton, Hannah Tilson, Nick Goss, Jessie Stevenson, Georg Wilson, Xu Yang, Victoria Cantons, Laura Footes, Matthew Krishanu, Sara Berman, Laurie Smith, Nicolás Colón, Arch Hades and Faile.

GOSH is one of Europe’s leading hospitals and research centres dedicated to the medical care of children, and is building a new, world-class Children’s Cancer Centre at the hospital in London. It will be a centre that will treat the child, not just the cancer.

A gateway to brighter futures, where they not only survive, but flourish.

The new Centre is estimated to cost £300million. 100% of the hammer price for these lots will be paid to Great Ormond Street Hospital Children’s Charity (charity number #1160024), and GOSH has indicated that funds will go towards building the Children’s Cancer Centre at GOSH. * These funds could help to cover the cost of two patient bedrooms in the new Centre, offering patients and their families a bright, comforting space throughout their treatment.

The plans for GOSH’s new state-of-the-art Children’s Cancer Centre are full of ambition, potential and possibility, just like the children they care for. Through the gift of the artists’ creative talent, we hope to change the lives of countless numbers of children.

Louise Parkes Chief Executive Great Ormond Street Hospital Children’s Charity

*Funds will support the vital cancer care services at GOSH, including the refurbishment of GOSH buildings, upgrading equipment, pioneering research, kinder treatments and offering vital welfare services to our families during their time at GOSH. In the event that the needs of the hospital or patients change, GOSH reserves the right to redirect funds for use against the hospital’s most urgent needs.

HANNAH TILSON (B. 1995)

A Fold, A Shift

signed, titled and dated 'Hannah Tilson 2025 A fold, A shift' (on the reverse)

pigment in binder and lino on gessoed panel

24 x 20¿in. (61 x 52cm.)

Executed in 2025

£2,000-3,000

US$2,500-3,700

€2,400-3,600

λ202

GIDEON RUBIN (B. 1973)

A Venetian Encounter

signed and dated 'Gideon Rubin 2024' (on the reverse) oil on linen

19√ x 17√in. (50.5 x 45.5cm.)

Painted in 2024

£12,000-20,000

US$15,000-25,000

€15,000-24,000

λ203

SOPHIA LOEB (B. 1997)

O despertar do seu fogo ardente (The Awakening of Your Burning Fire)

signed, titled and dated 'Sophia Loeb O despertar do seu fogo ardente 2024' (on the reverse) oil, oilstick and pigment on card

29æ x 22¡in. (75.5 x 56.7cm.)

Executed in 2024

£5,000-7,000

US$6,200-8,700

€6,000-8,400

λ204

MATTHEW KRISHANU (B. 1980)

Two Boys (Bedroom)

signed, titled and dated 'TWO BOYS (BEDROOM), 2025 Matthew Krishanu' (on the stretcher)

oil and acrylic on canvas

24 x 20Ωin. (61 x 52cm.)

Painted in 2025

£12,000-18,000

US$15,000-22,000

€15,000-22,000

λ205

NICK GOSS (B. 1981)

Day Tripper

signed, titled and dated 'Day tripper Nick Goss 2020' (on the reverse)

oil, distemper and screenprint on linen

82¬ x 54in. (210 x 137cm.)

Executed in 2020

£30,000-60,000

US$38,000-74,000

€36,000-72,000

λ206

CAROLINE WALKER (B. 1982) Study for Amusements

signed, titled and dated ''Study for Amusements' Caroline Walker 2024' (on the reverse)

oil on paper

17º x 24¡in. (43.7 x 62cm.)

Executed in 2024

£20,000-30,000

US$25,000-37,000

€24,000-36,000

λ207

PETER DOIG (B. 1959)

Lion in the Road (Port of Spain)

signed, titled and dated ''Lion in the ROAD' (Port of Spain)

Peter Doig 2020' (on the reverse)

dispersion on linen

19√ x 15¿in. (50.5 x 38.4cm.)

Painted in 2020

£250,000-350,000

US$310,000-430,000

€310,000-420,000

λ208

WINSTON BRANCH (B. 1947)

Untitled

signed, inscribed and dated 'London Winston Branch

2012-13' (on the reverse)

acrylic on paper

22 x 29Ωin. (56 x 75cm.)

Executed in 2012-2013

£8,000-12,000

US$10,000-15,000

€9,600-14,000

λ209

JADÉ FADOJUTIMI (B. 1993)

Untitled

signed ‘Jadé Fadojutimi' (on a label affixed to the stretcher)

acrylic, oil pastel and oil bar on canvas

98¡ x 68√in. (250 x 175cm.)

Executed in 2024

£350,000-450,000

US$440,000-560,000

€420,000-540,000

100% of the hammer price for these lots will be paid to Great Ormond Street Hospital Children’s Charity (charity number #1160024).

© Jadé Fadojutimi, Photo credit: Mark Blower.

λ210

TRACEY EMIN (B. 1963)

In Anger

signed and dated ‘Tracey Emin 2015' (lower right); titled ‘In Anger' (lower left); signed, signed with the artist's initials, inscribed and dated ‘Tracey Emin 2015 / TE NYC 2015' (on the reverse)

gouache on paper

12 x 16in. (30.5 x 40.6cm.)

Executed in 2015

£20,000-40,000

US$25,000-50,000

€24,000-48,000

λ211

LAURA FOOTES (B. 1988)

Dream of Horses oil on panel

15æ x 15æin. (40 x 40cm.)

Executed in 2025

£3,000-5,000

US$3,800-6,200

€3,600-6,000

λ211A

LISA BRICE (B. 1968)

Untitled

signed with the artist's initials and dated 'LB 23' (lower right) oil on tracing paper

16Ω x 11¬in. (41.9 x 29.6cm.)

Executed in 2023

£20,000-30,000

US$25,000-37,000

€24,000-36,000

212

PAMELA PHATSIMO SUNSTRUM (B. 1980)

Panthea 03

coloured pencil, crayon, graphite, watercolour and gold paint on paper

82¬ x 59in. (210 x 150cm.)

Executed in 2016

£15,000-25,000

US$19,000-31,000

€18,000-30,000

Image courtesy of Tracey Emin Studio

λ213

SARA BERMAN (B. 1975)

The Fool 8

signed, titled and dated ‘The fool 8 2025 Sara Berman' (on the reverse) oil on linen

11º x 10in. (28.5 x 25.5cm.)

Painted in 2025

£4,000-6,000

US$5,000-7,400

€4,800-7,200

λ214

JESSIE STEVENSON (B. 1993)

That watches and receives signed, titled and dated 'That watches and receives, 2025 Jessie Stevenson' (on the reverse) oil on linen

39¡ x 29æin. (100 x 75.4cm.)

Painted in 2025

£5,000-8,000

US$6,200-9,900

€6,000-9,600

λ215

GEORG WILSON (B. 1998)

Copse

signed, titled and dated ''COPSE' GEORG WILSON 2025' (on the reverse)

coloured pencil on paper

11æ x 10ºin. (30 x 26cm.)

Executed in 2025

£1,200-1,500

US$1,500-1,900

€1,500-1,800

100% of the hammer price for these lots will be paid to Great Ormond Street Hospital Children’s Charity (charity number #1160024).

216

XU YANG (B. 1996)

Gaze

signed in English and Chinese and titled 'Xu Yang Gaze' (on the reverse)

oil on panel

6æ x 5¿in. (17.1 x 13cm.)

Executed in 2024-2025

£1,200-1,800

US$1,500-2,200

€1,500-2,200

λ217

VICTORIA CANTONS (B. 1969)

Untitled (Words to Live By)

signed, titled and dated 'Victoria Cantons. 2025 Words to live by.' (on the overlap)

oil and oilstick on linen

10 x 8in. (25.4 x 20.3cm.)

Executed in 2025

£2,000-4,000

US$2,500-5,000

€2,400-4,800

λ*218

EDDIE PEAKE (B. 1981)

Red Rose

signed twice, titled and dated '"Red Rose" 2024 Eddie Peake Eddie Peake' (on the reverse)

oil on panel

15æ x 11æin. (40 x 30cm.)

Executed in 2024

£4,000-6,000

US$5,000-7,400

€4,800-7,200

λ*220

ARCH HADES (B. 1992)

Man of Many

signed and dated '26/12/2024 Arch Hades' (on the reverse)

acrylic on canvas

47Ω x 35¡in. (120 x 90cm.)

Painted in 2024

£18,000-24,000

US$23,000-30,000

€22,000-29,000

•221

FAILE (EST. 1999)

Untitled

signed and stamped with the date '2007, faile' (on the reverse)

acrylic and silkscreen ink on panel

30√ x 26æin. (78.4 x 67.8cm.)

Executed in 2007

£2,000-3,000

US$2,500-3,700

€2,400-3,600

•222

FAILE (EST. 1999)

Untitled

signed and dated 'Faile 2007' (on the reverse)

acrylic and silkscreen ink on panel

40√ x 29Ωin. (103.8 x 75cm.)

Executed in 2007

£3,000-5,000

US$3,800-6,200

€3,600-6,000

223

PETER MCDONALD (B. 1973)

Patrons

signed, titled and dated 'Patrons Peter McDonald 2022' (on the reverse)

acrylic, gouache, glitter paint and textile paint on canvas

27Ω x 19æin. (70 x 50cm.)

Executed in 2022

£7,000-10,000

US$8,700-12,000

€8,400-12,000

RANA BEGUM (B. 1977)

No. 1071

(i) signed, titled and dated 'No. 1071 2021 R Begum' (on the reverse)

(ii) titled and dated 'No. 1071 2021' (on the reverse)

acrylic paint on anodised aluminium, in two parts each: 9√ x 7√in. (25.1 x 20.1cm.)

Executed in 2021

£5,000-7,000

US$6,200-8,700

€6,000-8,400

λ225

CELIA HEMPTON (B. 1981)

Neuwied, Germany, 10th January 2017

signed, titled, inscribed and dated 'Celia Hempton Neuwied, Germany, 10th January 2017 Bethnal Green' (on the reverse) oil on linen

11æ x 13æin. (30 x 35cm.)

Painted in 2017

£7,000-10,000

US$8,800-12,000

€8,400-12,000

*226

HELEN MARDEN (B. 1941) Trails

signed 'Helen Marden' (lower right)

watercolour on paper

11Ω x 8in. (29.2 x 20.3cm.)

Executed in 2024

£3,000-4,000

US$3,800-4,900

€3,600-4,800 λ224

CLEMENTINE KEITHROACH (B. 1984)

Earth Mirrored Sky Mirrored Earth (Fragment)

signed with the artist's initials, numbered and dated 'CKR 2025 7/20' (on the reverse)

plaster, resin clay and paint

18¬ x 18æ x 4in. (47.3 x 47.5 x 10cm.)

Executed in 2025, this work is number seven from an edition of twenty unique variants

£2,000-3,000

US$2,500-3,700

€2,400-3,600 λ

228

LAURIE SMITH (B. 1994)

A Flower for a Heart (VIII)

signed, titled and dated 'A flower for a Heart 2024 L. Smith' (on the reverse)

oil on canvas, in artist's frame

18 x 16in. (46 x 41cm.)

Painted in 2024

£1,500-2,000

US$1,900-2,500

€1,800-2,400

•229

NICOLÁS COLÓN (B. 1982)

Minia (Ocotilán)

pastel on canvas

25º x 18√in. (64 x 48cm.)

Executed in 2020

£1,800-2,500

US$2,300-3,100

€2,200-3,000

λ230

LOUISE GIOVANELLI (B. 1993)

Caryatid

signed and dated ‘Louise Giovanelli ‘21' ( on the reverse) oil on linen

14 x 10in. (35.5 x 25.5cm.)

Painted in 2021

£20,000-30,000

US$25,000-37,000

€24,000-36,000

231

LUCY BULL (B. 1990)

Untitled

signed with the artist's initials and dated 'LB 2019' (on the reverse) oil on linen

12 x 9in. (30.4 x 22.8cm.)

Painted in 2019

£25,000-35,000

US$31,000-43,000

€30,000-42,000

*232

PAUL P. (B. 1977)

Untitled

signed and dated 'Paul P 2023' (on the overlap); signed and dated 'Paul P 2023' (on the reverse) oil on canvas

10¬ x 8æin. (27 x 22.3cm.)

Painted in 2023

£8,000-12,000

US$9,900-15,000

€9,600-14,000

233

MARINA PEREZ SIMÃO (B. 1981)

Untitled

signed and dated 'MARINA PEREZ SIMÃO 23.8.21' (on the reverse) oil on canvas

19æ x 15æin. (50 x 40cm.)

Painted in 2021

£40,000-60,000

US$50,000-74,000

€48,000-72,000

PROPERTY OF A PRIVATE COLLECTOR

*234

ETEL ADNAN (1925-2021)

Untitled

signed and dated 'Adnan 12' (on the reverse) oil on canvas

12¬ x 16in. (32 x 40.8cm.)

Painted in 2012

£70,000-100,000

US$87,000-120,000

€84,000-120,000

λ*235

FLORA YUKHNOVICH (B. 1990)

Study

signed and dated 'Flora Yukhnovich 2021' (on the reverse) oil on paper

8º x 5√in. (20.8 x 15cm.)

Executed in 2021

£15,000-20,000

US$19,000-25,000

€18,000-24,000

*236

ELIZABETH PEYTON (B. 1965)

Balzac + Roses

signed, titled and dated 'Balzac + Roses Elizabeth Peyton 2008' (on the reverse)

watercolour on paper

12º x 9in. (31 x 23cm.)

Executed in 2008

£50,000-70,000

US$62,000-86,000

€60,000-84,000

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

λ*237

CAROLINE WALKER (B. 1982) Blow Dry Study

signed, titled and dated 'BLOW DRY STUDY Caroline Walker 2017.' (on the reverse) oil on paper

15º x 12ºin. (38.7 x 31.1cm.)

Executed in 2017

£15,000-20,000

US$19,000-25,000

€18,000-24,000

λ*238

NATHANAËLLE HERBELIN (B. 1989)

Yehonathan de là-bas (Yehonathan from below)

signed and dated 'Herbelin 2019' (on the reverse) oil on wood

11æ x 9√in. (30 x 25cm.)

Painted in 2019-2021

£5,000-7,000

US$6,200-8,600

€6,000-8,400

PROPERTY FROM A BRITISH PRIVATE COLLECTION

λ239

ISSY WOOD (B. 1993)

The plaid / car interior

signed and dated '2020 issy wood' (on the reverse) oil on velvet

39¬ x 55¿in. (100.5 x 140cm.)

Executed in 2020

£80,000-120,000

US$99,000-150,000

€96,000-140,000

λ*240

TRACEY EMIN (B. 1963)

Watching over you

signed, titled and dated 'Watching over you Tracey Emin 2016' (lower right); titled and dated 'Watching over you 2016' (on the reverse)

acrylic on canvas board

8 x 10in. (20.4 x 25.4cm.)

Painted in 2016

£40,000-60,000

US$50,000-74,000

€48,000-72,000

λ*241

LOUISE BOURGEOIS (1911-2010)

Happiness

signed with the artist's initials 'LB' (lower right)

gouache on paper

18 x 23Ωin. (45.6 x 59.7cm.)

Executed in 2009

£30,000-50,000

US$38,000-62,000

€36,000-60,000

PROPERTY FROM THE ESTATE OF MARTIN VISSER, BERGEIJK, NETHERLANDS

*242

KEITH HARING (1958-1990)

Untitled (TV Dog)

signed and dated 'APRIL 6 - 1982 K. Haring' (on the reverse)

Sumi ink on paper

22¬ x 28æin. (57.5 x 73cm.)

Executed in 1982

£100,000-150,000

US$130,000-190,000

€120,000-180,000

*243

JEAN-MICHEL BASQUIAT (1960-1988)

Untitled

oilstick on wood

20 x 20in. (50.9 x 50.9cm.)

Executed in 1981

£250,000-350,000

US$310,000-430,000

€300,000-420,000

PROPERTY FROM THE ESTATE OF MARTIN VISSER, BERGEIJK, NETHERLANDS

*244

KEITH HARING (1958-1990)

Untitled

signed and dated ‘K. Haring MARCH 12-82’ (on the reverse)

Sumi ink on paper

38º x 50in. (97 x 127cm.)

Executed in 1982

£200,000-300,000

US$250,000-370,000

€240,000-360,000

*245

JEAN-MICHEL BASQUIAT (1960-1988)

Untitled

signed, inscribed and dated 'SAMO © MODENA 1981' (on the reverse)

oilstick on paper

42¡ x 27Ωin. (100.3 x 70cm.)

Executed in 1981

£300,000-500,000

US$380,000-620,000

€360,000-600,000

246

ANDY WARHOL (1928-1987)

Vesuvius

signed and dated 'Andy Warhol 85', stamped with the Andy Warhol Art Authentication Board, Inc. stamp and numbered 'A100.111' (on the overlap)

acrylic on canvas

28 x 32Ωin. (71 x 82cm.)

Painted in 1985

£250,000-350,000

US$310,000-430,000

€300,000-420,000

247

TOM WESSELMANN (1931-2004)

Study for Seascape #17

signed and dated 'Wesselmann 66' (lower right)

graphite on paper

22¬ x 28¬in. (57.4 x 72.6cm.)

Executed in 1966

£100,000-150,000

US$130,000-190,000

€120,000-180,000

*248

RASHID JOHNSON (B. 1977)

Untitled Anxious Red Drawing

oil on cotton rag

38¡ x 50in. (97.5 x 127cm.)

Executed in 2020

£200,000-300,000

US$250,000-370,000

€240,000-360,000

PROPERTY FROM A NOTABLE PRIVATE COLLECTION

*249

ANDY WARHOL (1928-1987) (i) Cardi Smith (Madame Smith)

(ii)

Cardi Smith (Madame Smith)

(i) stamped with the artist's signature ‘Andy Warhol' (on the overlap); signed, inscribed and numbered by Frederick Hughes ‘#A1290.10 CERTIFIED © 1974 Frederick Hughes' (on the overlap)

(ii) stamped with the artist's signature ‘Andy Warhol' (on the overlap); signed, inscribed and numbered by Frederick Hughes ‘CERTIFIED Frederick Hughes A1290.11© 1974' (on the overlap)

each: acrylic and silkscreen ink on linen

each: 39¡ x 39¡in. (100 x 100cm.)

each: Executed in 1974

£400,000-600,000

US$500,000-740,000

€480,000-720,000

PROPERTY FROM A PRIVATE SWISS COLLECTION

*250

ON KAWARA (1932-2014)

Dec. 24, 2006

signed 'On Kawara' (on the reverse)

liquitex on canvas and handmade cardboard box with newspaper clipping

8¿ x 10Ωin. (20.5 x 26.7cm.)

Executed in 2006

£250,000-350,000

US$310,000-430,000

€300,000-420,000

PROPERTY FROM A PRIVATE SWISS COLLECTION

*251

BARBARA KRUGER (B. 1945)

Untitled (Only the unborn have your right to life)

colour coupler print

53Ω x 48Ωin. (135.8 x 123.1cm.)

Executed in 1986

£150,000-200,000

US$190,000-250,000

€180,000-240,000

PROPERTY FROM A PRIVATE SWISS COLLECTION

*252

BARBARA KRUGER (B. 1945)

Untitled (Only the unborn have your right to life)

type collage on photograph

7Ω x 7in. (19.2 x 17.8cm.)

Executed in 1986

£20,000-30,000

US$25,000-37,000

€24,000-36,000

*253

YOSHITOMO NARA (B. 1959)

Untitled (Hi Watt Hi Watt)

signed with the artist's initials and dated 'Y N. 2005' (on the reverse)

coloured pencil, crayon and acrylic on envelope

9Ω x 13in. (24 x 33cm.)

Executed in 2005

£80,000-120,000

US$99,000-150,000

€96,000-140,000

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

*254

JONAS WOOD (B. 1977)

Untitled (BW Self Portrait)

ink and gesso on paper

56º x 41¡in. (143 x 105cm.)

Executed in 2008

£60,000-80,000

US$75,000-100,000

€72,000-96,000

255

KAWS (B.

1974) UNTITLED (GUESS)

acrylic on existing advertising poster

50 x 26in. (127 x 66cm.)

Executed in 2002

£100,000-150,000

US$130,000-190,000

€120,000-180,000

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION *256

GEORGE CONDO (B.

1957)

Mr Twiddle

signed and dated 'Condo 2010' (on the reverse)

acrylic, charcoal and pastel on canvas

64¬ x 65¿in. (164.2 x 165.4cm.)

Executed in 2010

£350,000-550,000

US$440,000-680,000

€420,000-660,000

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

*257

ALEX DA CORTE (B. 1980)

Hunt

spray paint and xerography on Plexiglas and digitally printed poplin, in artist's frame

57¿ x 57Ωin. (145.2 x 146cm.)

Executed in 2018

£10,000-15,000

US$13,000-19,000

€12,000-18,000

PROPERTY OF A GERMAN COLLECTOR

*258

KEITH HARING (1958-1990)

Untitled

signed, inscribed and dated 'K. Haring JUNE 20 1987 KNOKKE' (on the reverse)

Sumi ink and ink on paper

28æ x 43¡in. (73 x 110.2cm.)

Executed in 1987

£150,000-200,000

US$190,000-250,000

€180,000-240,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

259

GEORGE CONDO (B. 1957)

Clown Composition

signed and dated 'Condo 03' (on the reverse) oil on canvas

20 x 16in. (50.7 x 40.5cm.)

Painted in 2003

£80,000-120,000

US$99,000-150,000

€96,000-140,000

λ260

GERHARD RICHTER (B. 1932) MV.177

signed, titled and dated 'MV. 177 Richter 2011' (on the mount); signed with the artist's initial and numbered '177. R.' (on the backing board)

oil on colour photograph

4¿ x 5√in. (10.5 x 15cm.)

Executed in 2011

£25,000-35,000

US$31,000-43,000

€30,000-42,000

PROPERTY OF A PRIVATE COLLECTOR

λ*261

FRANCIS ALŸS (B. 1959)

Phares, voiture (Headlights, car)

signed, titled, inscribed and dated ‘Francis Alÿs Mexico, 1990 Phares voiture' (on the reverse) encaustic on masonite

5 x 7¿in. (12.7 x 18.1cm.)

Executed in 1990

£30,000-50,000

US$38,000-62,000

€36,000-60,000

PROPERTY OF A PRIVATE COLLECTOR

λ*262

DANIEL RICHTER (B. 1962)

Untitled

oil on canvas

19æ x 15æin. (50.2 x 40cm.)

Painted in 2004

£15,000-20,000

US$19,000-25,000

€18,000-24,000

PROPERTY OF A PRIVATE COLLECTOR

λ*263

GERHARD RICHTER (B. 1932)

Aladin

signed, inscribed and dated '913-29 Richter 2010' (on the reverse)

lacquer on glass

15æ x 19æin. (40 x 50.2cm.)

Executed in 2010

£70,000-100,000

US$87,000-120,000

€84,000-120,000

PROPERTY OF A PRIVATE COLLECTOR

λ*264

JOSEPH BEUYS (1921-1986)

Gefängis (Kabir + Daktyl) (Prison (Cabir + Dactyl))

signed and dated 'Joseph Beuys 17.4.1983' (centre right); partially titled 'Kabir' and 'Daktyl' (on each carbide lamp) steel tubing, metal sheet, Plexiglas, two carbide lamps, lacquer, stone and tape

76Ω x 56Ω x 15æin. (194.3 x 143.5 x 40cm.)

Executed in 1983

£250,000-350,000

US$310,000-430,000

€300,000-420,000

PROPERTY OF A PRIVATE COLLECTOR

λ*265

PETER DOIG (B. 1959)

Loyalty (Odilon Lion)

signed with the artist's initials and dated 'PD 2012' (lower right) oil on vellum

33 x 23in. (83.8 x 60.3cm.)

Executed in 2012

£30,000-50,000

US$38,000-62,000

€36,000-60,000

PROPERTY FROM A DISTINGUISHED PRIVATE EUROPEAN COLLECTION

λ*266

TRACEY EMIN (B. 1963)

This Is Another Place

soft pink neon

38º x 83¿in. (97 x 211cm.)

Executed in 2007, this work is number two from an edition of three plus two artist's proofs

£40,000-60,000

US$50,000-74,000

€48,000-72,000

λ*267

CECILY BROWN (B. 1969)

Untitled

monotype on paper

34 x 47in. (86.4 x 119.4cm.)

Executed in 2004

£60,000-80,000

US$75,000-99,000

€72,000-96,000

λ*268

TRACEY EMIN (B. 1963)

Holding On To You

stamped with the artist's initials, number, foundry mark and date 'TE 3/9 AA 2015' (on the reverse)

patinated bronze

14æ x 16¬ x 1in. (37.4 x 42.3 x 2.6cm.)

Executed in 2015, this work is number three from an edition of nine

£15,000-20,000

US$19,000-25,000

€18,000-24,000

269 NO LOT

PROPERTY FROM A PRIVATE COLLECTION

λ270

CHRIS OFILI (B. 1968)

Head of an Afronaught

signed twice, titled and dated '''Head of an afronaught'' 1999-2002 CHRIS OFILI' (on the overlap); signed twice, titled and dated ''Head of an afronaught'' 1999-2002 CHRIS OFILI' (on the stretcher)

oil, phosphorescent acrylic, glitter, polyester, resin, map pins and elephant dung on canvas with two elephant dung supports 75 x 48Ωin. (190.5 x 122.5cm.)

Executed in 1999-2002

£200,000-300,000

US$250,000-370,000

€240,000-360,000

PROPERTY OF A PRIVATE SWISS COLLECTION

λ*271

BRIDGET RILEY (B. 1931)

Study 2 for Praise

signed and dated 'Bridget Riley '81' (lower right); titled 'Study 2 for Praise.' (lower left) gouache and graphite on paper 36¿ x 26ºin. (91.8 x 66.8cm.)

Executed in 1981

£80,000-120,000

US$99,000-150,000

€96,000-140,000

λ*272

JULIAN OPIE (B. 1958)

Siân walking 3.

signed 'Julian Opie' (on a label affixed on the reverse) continuous computer animation, LCD monitor and media player

48º x 27º x 4¡in (122.5 x 69.2 x 11cm.)

Executed in 2013, this work is number two from an edition of four plus one artist's proof

£18,000-25,000

US$23,000-31,000

€22,000-30,000

λ273

PETER DOIG (B. 1959)

Alpinist (D2-1A)

signed and dated 'PM Doig 23' (lower right), numbered '7/25' (lower left)

giclée print on paper, in artist's frame

84º x 56æin. (214 x 144cm.)

Executed in 2023, this work is number seven from an edition of twenty five plus five artists proofs

£12,000-18,000

US$15,000-22,000

€15,000-22,000

λ274

DAMIEN HIRST (B. 1965)

Psalm 45: Eructavit cor meum

signed, inscribed and dated '45th Psalm Damien Hirst 2008' (on the reverse)

butterflies and household gloss on canvas

18¿ x 18¿in. (46 x 46cm.)

Executed in 2008

£70,000-100,000

US$87,000-120,000

€84,000-120,000

λ*275

ANTONY GORMLEY (B. 1950)

Small Care

stamped with the studio reference number and date '2022' (on the underside)

cast iron

36¡ x 9¿ x 7in. (92.3 x 23.2 x 17.7cm.)

Executed in 2022

£150,000-200,000

US$190,000-250,000

€180,000-240,000

λ276

BANKSY

Brick Handbag

signed 'BANKSY' (on the reverse); numbered '2/5' (on the underside)

house brick, leather and metal hardware

8º x 9 x 4√in. (20.8 x 23 x 12.5cm.)

Executed in 2019, this work is number two from an edition of five unique variants

£40,000-60,000

US$50,000-74,000

€48,000-72,000

λ*277

DAMIEN HIRST (B. 1965)

A Summers Day

household gloss and butterflies on canvas

96 x 108in. (243.8 x 274.3cm.)

Executed in 2002

£250,000-350,000

US$310,000-430,000

€300,000-420,000

λ*278

WOLFGANG TILLMANS (B. 1968)

JAL

signed, titled, inscribed, numbered and dated 'JAL ph 2 97 pr WT 98 7/10 + 1 Wolfgang Tillmans' (on the reverse)

chromogenic print image: 13¬ x 9in. (34.5 x 22.7cm.) sheet: 16 x 12in. (40.6 x 30.5cm.)

Photographed in 1997 and printed in 1998, this work is number seven from an edition of ten plus one artist's proof

£8,000-12,000

US$9,900-15,000

€9,600-14,000

λ*279

WOLFGANG TILLMANS (B. 1968)

Urgency XIX

chromogenic print mounted on Dibond, in artist's frame overall: 70¿ x 93æin. (180 x 238cm.)

Executed in 2006, this work is number one from an edition of one plus one artist's proof

£120,000-180,000

US$150,000-220,000

€150,000-220,000

λ*280

WOLFGANG TILLMANS (B. 1968)

pumpkin, tomate & pomme granate

signed, titled, inscribed, numbered and dated 'pumpkin tomato & pomme granate ph 10 95 pr 4 99 3/3 + 1 Wolfgang Tillmans' (on the reverse)

chromogenic print image: 24 x 16in. (61 x 40.6cm.) sheet: 24 x 20in. (61 x 50.7cm.)

Photographed in 1995 and printed in 1999, this work is number three from an edition of three plus one artist's proof

£6,000-8,000

US$7,500-9,900

€7,200-9,600

λ*281

WOLFGANG TILLMANS (B. 1968)

Kate sitting

signed, titled, inscribed, numbered and dated 'Kate sitting ph 11 96 pr WT 7 99 1/3 + 1 Wolfgang Tillmans' (on the reverse)

chromogenic print

image: 22√ x 15¬in. (58.2 x 39.8cm.)

sheet: 24 x 20in. (61 x 50.8cm.)

Photographed in 1996 and printed in 1999, this work number one from an edition of three plus one artist's proof

£12,000-18,000

US$15,000-22,000

€15,000-22,000

λ*282

WOLFGANG TILLMANS (B. 1968)

Concorde

signed, titled, inscribed, numbered and dated 'Concorde ph. 6 96 pr WT 2 98 9/10 + 1 Wolfgang Tillmans' (on the reverse)

chromogenic print

image: 13º x 9in. (33.7 x 22.8cm.)

sheet: 16 x 12in. (40.6 x 30.5cm.)

Photographed in 1996 and printed in 1998, this work is number nine from an edition of ten plus one artist's proof

£4,000-6,000

US$5,000-7,400

€4,800-7,200

λ*283

WOLFGANG TILLMANS (B. 1968)

me in the shower

signed, titled, numbered and dated 'me in the shower ph 9 90 pr WT 10 95 Wolfgang Tillmans 8/10 + 1' (on the reverse)

chromogenic print

image: 14 x 9ºin. (35.5 x 23.6cm.)

sheet: 16 x 12in. (40.6 x 30.5cm.)

Photographed in 1990 and printed in 1995, this work is number eight from an edition of ten plus one artist's proof

£5,000-7,000

US$6,200-8,600

€6,000-8,400

λ284

MAARTEN BAAS (B. 1978)

Real Time Mantel Clock RESIN | Sweepers

signed and stamped with the artist's name, title and number 'Maarten Baas REAL TIME Mantel clock Sweepers

3⁄20 Maarten' (on the underside)

polyester composite with aluminium components and stainless steel frame with digital equipment

11 x 11 x 7¿in. (27.8 x 27.8 x 18cm.)

Executed in 2019, this work is number of three from an edition of twenty plus four artist's proofs

£15,000-20,000

US$19,000-25,000

€18,000-24,000

λ*285

MICHAËL BORREMANS (B. 1963)

The Well 2

signed, titled twice and dated 'M.M.C.G. BORREMANS

THE WELL THE WELL 2 2013' (lower edge); signed, titled and dated 'MICHAEL m.c.g. BORREMANS 'THE WELL' 2 2013' (on the reverse) watercolour and graphite on paper

7√ x 10ºin. (20 x 26cm.)

Executed in 2014

£40,000-60,000

US$50,000-74,000

€48,000-72,000

λ*286

MICHAËL BORREMANS (B. 1963)

Shitbeard

signed, titled and dated 'MICHAËL M.C.G. BORREMANS SHITBEARD 2013' (on the reverse) oil on canvas

19æ x 16Ωin. (50 x 42cm.)

Painted in 2013

£180,000-250,000

US$230,000-310,000

€220,000-300,000

MICHAËL BORREMANS (B. 1963)

The Feeding

35mm film transferred to digital file, LCD monitor, in wooden frame

duration: 4'47" continuous loop

overall: 19¡ x 31Ω x 5¿in. (49.1 x 79.9 x 13cm.)

Executed in 2006, this work is number one from an edition of three

£30,000-50,000

US$38,000-62,000

€36,000-60,000

PROPERTY OF A PRIVATE ENGLISH COLLECTOR

λ*288

MARCEL BROODTHAERS (1924-1976)

Dix-neuf petits tableaux en pile (Nineteen small paintings in a pile)

(i) signed with the artist's initials and dated 'MB 73' (on the stretcher)

(xviii) signed with the artist's initials 'MB' (on the stretcher) (i)-(xix) consecutively numbered '1-19' (on the stretcher) paint on canvas, in nineteen parts 14 x 16º x 13¿in. (35.4 x 41.2 x 33.2cm.)

Executed in 1973

£70,000-100,000

US$87,000-120,000

€84,000-120,000

PROPERTY OF A PRIVATE ENGLISH COLLECTOR

λ*289

GIOVANNI ANSELMO (1934-2023)

Infinito (Infinity)

lead

5æ x 15¬ x 7æin. (14.5 x 39.8 x 19.8cm.)

Executed in 1971-1973

£70,000-100,000

US$87,000-120,000

€84,000-120,000

PROPERTY OF A PRIVATE ENGLISH COLLECTOR

290

LAWRENCE WEINER (1942-2021)

A SPECIFIC SPACE FILLED WITH PARTICLES OF A SORT AT A SPECIFIC TIME

language + the materials referred to dimensions variable 2006

£55,000-85,000

US$68,000-100,000

€66,000-100,000

PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION

*291

JENNY HOLZER (B. 1950)

Blue Corner: Lustmord, Erlauf, Arno, Blue, Oh

signed ‘Jenny Holzer' (on a label affixed to the reverse) electronic LED sign, blue diodes and stainless steel

5º x 95¡ x 3in. (13.3 x 242.3 x 7.6cm.)

Executed in 2002, this work is number three from an edition of six plus one artist’s proof

£30,000-50,000

US$38,000-62,000

€36,000-60,000

λ*292

ROSEMARIE TROCKEL (B. 1952)

Untitled (Hammer and Sickle)

knitted wool on canvas

94√ x 27æin. (241 x 70.5cm.)

Executed in 1987

£200,000-300,000

US$250,000-370,000

€240,000-360,000

Courtesy Lawrence Weiner Estate

ALIGHIERO BOETTI (1940-1994)

Lasciare il certo x l’incerto (Leaving the certain for the uncertain)

signed 'alighiero e boetti' (on the overlap) embroidery on canvas

8æ x 8æin. (22.2 x 22.2cm.)

Executed in 1987

£25,000-35,000

US$31,000-43,000

€30,000-42,000

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION *294

CY TWOMBLY (1928-2011)

Untitled (Rome)

signed, inscribed and dated ‘Cy Twombly Roma 1962' (lower right)

graphite, wax crayon, pastel, gouache and ballpoint pen on paper

19¬ x 27Ωin. (49.8 x 69.8cm.)

Executed in 1962

£300,000-500,000

US$380,000-620,000

€360,000-600,000

PROPERTY OF A PRIVATE EUROPEAN COLLECTION *295

ROBERT RYMAN (1930-2019)

Untitled

signed and dated 'Ryman69' (lower centre)

acrylic on Mylar panel

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

Executed in 1969

£65,000-85,000

US$81,000-100,000

€78,000-100,000

PROPERTY FROM AN ESTEEMED PRIVATE COLLECTION

λ*296

ALIGHIERO BOETTI (1940-1994)

Untitled

signed and dated 'Boetti 15/10/64' (lower right) graphite on paper

19 x 24√in. (48.5 x 63cm.)

Executed in 1964

£30,000-50,000

US$38,000-62,000

€36,000-60,000

PROPERTY FROM AN ESTEEMED PRIVATE COLLECTION

λ*297

SALVATORE SCARPITTA (1919-2007)

Recall a Signal

signed, titled and dated 'SALVATORE SCARPITTA 1960 "RECALL A SIGNAL"' (on the reverse) bandages and mixed media on canvas

18¿ x 24in. (46 x 61cm.)

Executed in 1960

£150,000-200,000

US$190,000-250,000

€180,000-240,000

λ*298

SALVO (1947-2015)

Strada con quattro lampioni (Street with Four Street Lamps)

signed and dated 'Salvo NOV. 80' (lower edge) oil on panel

35√ x 41√in. (91.1 x 106.3cm.)

Executed in 1980

£45,000-65,000

US$56,000-80,000

€54,000-78,000

λ*299

GIULIO PAOLINI (B. 1940)

Mimesi (Mimesis)

plaster cast, in two parts each: 14¿ x 9 x 6ºin. (36 x 23 x 17cm.)

Executed in 1975, this work is number seventeen from an edition of twenty, plus three artist's proofs

£30,000-50,000

US$38,000-62,000

€36,000-60,000

λ*300

LUCIO FONTANA (1899-1968)

Concetto spaziale

incised with the artist's signature 'l. fontana' (lower right); signed, titled and dated 'l. fontana Concetto spaziale 1960' (on the reverse)

oil on canvas

19¬ x 23√in. (49.7 x 60.5cm.)

Executed in 1960

£250,000-350,000

US$310,000-430,000

€310,000-420,000

λ*301

MICHELANGELO PISTOLETTO (B. 1933)

Uomo Grigio Su Scala a Pioli (Grey Man on Ladder)

signed three times, titled, inscribed and numbered three times 'numero 89 ottantanove N.89 Pistoletto Michelangelo Pistoletto Uomo Grigio Su Scala a Pioli Michelangelo Pistoletto.' (on the reverse)

silkscreen on mirror polished stainless steel

49º x 49ºin. (125.1 x 125.1cm.)

Executed in 1989

£100,000-150,000

US$130,000-190,000

€120,000-180,000

PROPERTY FROM A NOTABLE PRIVATE COLLECTION

λ*302

GERHARD RICHTER (B. 1932)

Strip

signed, inscribed and dated 'Probedruck für 512/4096 Richter, 2011' (on the backing board) digital inkjet print on board mounted on Alu-Dibond, in artist's frame image: 12¬ x 36ºin. (32 x 92cm.) overall: 21 x 41¡in. (53.2 x 105.2cm.)

Executed in 2011, this work is from an edition of seventy-two unique variants

£40,000-60,000

US$50,000-74,000

€48,000-72,000

λ*303

GUNTHER FÖRG (1952-2013)

Untitled

(i) signed and dated 'Förg 86' (on the reverse) (ii) signed and dated 'Förg 86' (on the reverse) (iii) signed 'Förg' (on the reverse) (iv) signed and dated 'Förg 86' (on the reverse) acrylic on lead on wood, in four parts each: 35¬ x 20Ωin. (90.5 x 52cm.)

Executed in 1986

£120,000-180,000

US$150,000-220,000

€150,000-220,000 λ304

TONY CRAGG (B. 1949)

Plastic Palette I

blue, red, green, black and yellow found plastic fragments

76æ x 63¡in. (195 x 161cm.)

Executed in 1985

£30,000-50,000

US$38,000-62,000

€36,000-60,000

PROPERTY OF A GERMAN COLLECTOR

λ*305

GEORG BASELITZ (B. 1938)

Hanna

signed, titled and dated 'G. Baselitz 10.VIII.92 'Hanna'' (on the reverse); signed, titled and dated 'G. Baselitz "Hanna 10.VIII 1992' (on the backing board) oil on canvas

51¬ x 38æin. (131.2 x 98.3cm.)

Painted in 1992

£150,000-250,000

US$190,000-310,000

€180,000-300,000

PROPERTY OF AN IMPORTANT EUROPEAN COLLECTOR

λ*306

ANSELM KIEFER (B. 1945)

Velimir Chlebnikow

titled and inscribed 'Velimir Chlebnikow: Lehre vom Krieg: Seeschlachten widerholen sich alle 317 Jahre' (upper edge) oil, emulsion, acrylic, charcoal, lead and plaster on canvas

74æ x 110ºin. (190 x 280cm.)

Executed in 2005

£400,000-600,000

US$500,000-740,000

€480,000-720,000

PROPERTY OF AN IMPORTANT EUROPEAN COLLECTOR

λ*307

SEAN SCULLY (B. 1945)

Landline 22.1.15

signed, titled and dated 'LANDLINE Sean Scully 22.1.15' (lower right) pastel on paper

90√ x 65in. (231.1. x 165.1cm.)

Executed in 2015

£200,000-300,000

US$250,000-370,000

€240,000-360,000

*308

ALEX KATZ (B. 1927)

Orange Hat I signed 'Alex Katz' (on the reverse) oil on board

11 x 16in. (27.8 x 40.7cm.)

Executed in 1973

£70,000-100,000

US$87,000-120,000

€84,000-120,000

*309

ALEX KATZ (B. 1927)

Study for Ada in the Park signed and dated 'Alex Katz 65' (upper right) oil on board

9√ x 14in. (25 x 35.7cm.)

Executed in 1965

£70,000-100,000

US$87,000-120,000

€84,000-120,000

*310

ALEX KATZ (B. 1927)

John Button and Scott Burton signed and dated 'Alex Katz 66' (lower centre) oil on board

16 x 11√in. (40.6 x 30.3cm.)

Executed in 1966

£35,000-55,000

US$44,000-68,000

€42,000-66,000

*311

LAURA OWENS (B. 1970)

Untitled

signed with artist's initials 'LO' (on the overlap) oil and screen printing ink on linen 20 x 18in. (50.8 x 45.7cm.)

Executed in 2016

£60,000-80,000

US$75,000-99,000

€72,000-96,000

*312

KENNETH NOLAND (1924-2010)

Untitled

signed and dated 'Kenneth Noland © 1982' (on the reverse) acrylic on canvas

11º x 7Ωin. (28.6 x 19.1cm.)

Painted in 1982

£20,000-30,000

US$25,000-37,000

€24,000-36,000

PROPERTY OF A PRESTIGIOUS EUROPEAN COLLECTION

*313

ANN CRAVEN (B. 1967)

Deer in Daisies #3 (The Life of the Fawn)

signed, titled and dated twice 'ann craven, 2003 Dear [sic] in Daisies #3 (The Life of the Fawn), 2003' (on the overlap) oil on canvas

50¿ x 74¿in. (127.2 x 188.4cm.)

Painted in 2003

£25,000-35,000

US$31,000-43,000

€30,000-42,000

PROPERTY FROM A DISTINGUISHED SWISS COLLECTION

λ*314

GERHARD RICHTER (B. 1932)

Vermalung (grau) (Inpainting (Grey))

acrylic on paper laid down on canvas

15æ x 15æin. (40 x 40cm.)

Executed in 1971, this work from a series of one hundred and fifty unique variants

£25,000-35,000

US$31,000-43,000

€30,000-42,000

λ*315

NEO RAUCH (B. 1960)

Die Bahn (Railroad)

signed and dated 'Rauch 95' (lower centre) oil on canvas

diameter: 79¿in. (201cm.)

Painted in 1995

£80,000-120,000

US$99,000-150,000

€96,000-140,000

λ316

WILLIAM KENTRIDGE (B. 1955)

Ramp

signed and dated 'KENTRIDGE 87' (lower left)

charcoal on paper

18¬ x 26in. (47.2 x 66.1cm.)

Executed in 1987

£18,000-25,000

US$23,000-31,000

€22,000-30,000

WALTON FORD (B. 1960)

CALVAIRE

signed with the artist's initials 'WF' (lower left); titled 'Calvaire' (upper right)

watercolour, gouache, graphite and ink on paper

59æ x 41√in. (151.8 x 106.4cm.)

Executed in 2012

£200,000-300,000

US$250,000-370,000

€240,000-360,000

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

318

GEORGE CONDO (B. 1957)

Seated Nude

signed and dated 'Condo 88' (upper left) pastel on cardboard 22 x 15in. (56 x 38cm.)

Executed in 1988

£15,000-20,000

US$19,000-25,000

€18,000-24,000

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

λ*319

GEORG BASELITZ (B. 1938) (i)-(iii)

Hurkend naakt

(Crouching Nude)

(i) signed and dated 'GBaselitz Nov.77' (lower right)

(ii) signed and dated 'GBaselitz Nov.77' (lower right)

(iii) signed and dated 'GBaselitz Dez. 77' (lower right)

(i) ink, gouache and oil on paper

(ii) charcoal, ink and Indian ink on paper

(iii) ink and Indian ink on paper

each: 18√ x 24¬in. (48 x 62.5cm.)

each: Executed in 1977

£50,000-70,000

US$62,000-86,000

€60,000-84,000

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

λ320

YVES KLEIN (1928-1962)

Sculpture éponge bleue sans titre (SE 22)

dry pigment and synthetic resin on natural sponge

4æ x 6¡ x 5¿in. (12 x 16.1 x 13cm.)

Executed in 1959

£80,000-120,000

US$99,000-150,000

€96,000-140,000

λ*321

GERHARD RICHTER (B. 1932) EIS (ICE)

signed 'Richter' (on the first page); numbered '61/90' (on the last page)

lacquer on artist's book

7√ x 4æin. (20 x 12cm.)

Executed in 1981, this work is number sixty-one from an edition of ninety unique variants

£25,000-35,000

US$31,000-43,000

€30,000-42,000

322

ALEXANDER CALDER (1898-1976) Boomerangs, One Striped

signed and dated 'Calder 57' (lower right)

ink on paper

26 x 20Ωin. (66.2 x 52.2cm.)

Executed in 1957

£30,000-50,000

US$38,000-62,000

€36,000-60,000

ANDY WARHOL (1928-1987)

Beatrice Lielie

signed and titled ‘Beatrice Lielie Andy Warhol' (lower centre)

gold leaf, silver appliqué and ink on paper

13¿ x 20¿in. (33.4 x 51.1 cm.)

Executed in 1956

£60,000-80,000

US$75,000-99,000

€72,000-96,000

324

ANDY WARHOL (1928-1987)

Margaret Truman

signed and titled 'Margaret Truman Andy Warhol' (lower centre)

gold leaf, silver appliqué and ink on paper

10 x 12√in. (25.5 x 32.8 cm.)

Executed in 1956

£60,000-80,000

US$75,000-99,000

€72,000-96,000

λ*325

LUCIAN FREUD (1922-2011)

Clarendon Crescent, Paddington

titled 'Clarendon Crescent Paddington' (upper left) ink, graphite and coloured pencil on paper laid down on board

17√ x 13¬in. (45.4 x 34.6cm.)

Executed in 1953

£40,000-60,000

US$50,000-74,000

€48,000-72,000

PROPERTY OF A GERMAN COLLECTOR

*326

ALEX KATZ (B. 1927)

Study for Black Brook 2

signed and dated 'Alex Katz 88' (upper right) oil on board

9 x 12in. (23 x 30.5cm.)

Executed in 1988

£20,000-30,000

US$25,000-37,000

€24,000-36,000

YOSHITOMO NARA (B. 1959)

Untitled (Who Snatched the Babies)

coloured pencil and graphite on envelope

10º x 4æin. (26.2 x 12cm.)

Executed in 2002

£40,000-60,000

US$50,000-74,000

€48,000-72,000

PROPERTY OF A PRIVATE EUROPEAN COLLECTOR

λ328

RAGHAV BABBAR (B. 1997)

Untitled

signed three times and dated 'BABBAR BABBAR 2024

BABBAR' (on the reverse) oil on canvas

40 x 30in. (101.6 x 76.2cm.)

Painted in 2024

£30,000-50,000

US$38,000-62,000

€36,000-60,000

*329

AI WEIWEI (B. 1957)

Colored Vases

industrial paint on Han Dynasty vases (206 BC - 220AD), in nineteen parts

smallest: 6æ x 6æ x 7√in. (17 x 17 x 20cm.)

largest: 11¡ x 9√ x 9√in. (29 x 25 x 25cm.)

Executed in 2012, this work is unique

£100,000-150,000

US$130,000-190,000

€120,000-180,000

λ330

TIM NOBLE (B. 1966) & SUE WEBSTER (B. 1967)

fuckingbeautiful (snow white version)

neon

63¡ x 57√ x 2¡in. (161 x 147 x 6cm.)

Executed in 2002, this work is number five from an edition of five plus two artist's proofs

£40,000-60,000

US$50,000-74,000

€48,000-72,000

*331

LI TIANBING (B. 1974)

Children Holding Signs in Front of the Yellow Trees

signed and signed in Chinese 'Li Tianbing' (on the reverse) oil on canvas

64 x 78in. (162.5 x 198.1cm.)

Painted in 2023

£50,000-70,000

US$62,000-86,000

€60,000-84,000

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

*332

ROBERT LONGO (B. 1953)

Jet Boys

signed and dated 'Robert Longo 1978' (on the mount); signed, titled and dated 'Jet Boys - Robert Longo 1977' (on the backing board)

charcoal and graphite on paper 21¿ x 22√in. (53.7 x 58.1cm.)

Executed in 1977-1978

£30,000-50,000

US$38,000-62,000

€36,000-60,000

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

*333

CARL ANDRE (1935-2024)

Two Bright and Dull Magnesium Piece

magnesium, in two parts (i) ¡ x 4¿ x 11¿in. (1 x 10.4 x 28.4cm.)

(ii) ¡ x 4¿ x 11¡in. (1 x 10.4 x 28.8cm.)

overall: ¡ x 8º x 11¡in. (1 x 20.8 x 28.8cm.)

Executed in 1973

£20,000-30,000

US$25,000-37,000

€24,000-36,000

PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION

*334

ED RUSCHA (B. 1937)

Pools #1-#9 (from the Pools Series)

ektacolour prints, in nine parts each image: 16 x 16in. (40.6 x 40.6cm.)

each sheet: 18Ω x 18Ωin. (46.9 x 46.9cm.)

Photographed in 1968 and printed in 1997, this work is number thirty from an edition of thirty plus ten artist’s proofs and one printer’s proof

£40,000-60,000

US$50,000-74,000

€48,000-72,000

λ*335

ALBERT OEHLEN (B. 1954)

Einsichten (Insights)

titled and dated 'Einsichten 93/99' (on the stretcher); signed 'A Oehlen' (on the reverse)

oil, enamel and acrylic on printed fabric

13¿ x 10æin. (33.2 x 27.2cm.)

Executed in 1993-1999

£30,000-50,000

US$38,000-62,000

€36,000-60,000

λ*336

BERNARD FRIZE (B. 1949)

Pia

signed, titled and dated '2014 ''Pia'' Bernard Frieze' (on the overlap)

acrylic and resin on canvas

70√ x 62√in. (180 x 159.8cm.)

Executed in 2014

£20,000-30,000

US$25,000-37,000

€24,000-36,000

λ*337

ANDRÉ BUTZER (B. 1973)

Geburtstag (Birthday)

signed and dated ' '99 A. Butzer' (lower left); signed twice, titled and dated twice 'A. Butzer '99 "Geburtstag" '99 A. Butzer' (on the reverse)

acrylic, metallic paint, spray paint, glitter and marker on canvas

65 x 65in. (165 x 165.2cm.)

Executed in 1999

£70,000-100,000

US$87,000-120,000

€84,000-120,000

PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION

*338

PETER HALLEY (B. 1953)

Enemy of the State

signed twice and dated 'Peter Halley Peter Halley 98-99' (on the reverse)

acrylic, metallic acrylic, pearlescent acrylic and Roll-A-Tex on two joined canvases

73¬ x 99in. (187 x 251.6cm.)

Executed in 1998-1999

£50,000-70,000

US$62,000-86,000

€60,000-84,000

*339

JOHN ARMLEDER (B. 1948)

After

signed, titled and dated 'J Armleder 1994 AFTER' (on the overlap)

oil, acrylic, enamel, lacquer and glitter on canvas

100¡ x 59ºin. (255.1 x 150.5cm.)

Executed in 1994

£20,000-30,000

US$25,000-37,000

€24,000-36,000

λ*340

ERNST WILHELM NAY (1902-1968)

Purpur und Orange (Purple and Orange)

signed and dated 'NAY 58' (lower right); signed, titled and dated twice 'NAY 1958 "Púrpúr und Orange" 1958' (on the stretcher); signed and dated 'Nay : 58' (on the reverse)

oil on canvas

39¡ x 31√in. (100 x 81cm.)

Painted in 1958

£100,000-150,000

US$130,000-190,000

€120,000-180,000

PROPERTY FROM A PRIVATE DANISH COLLECTION

λ*341

KAREL APPEL (1921-2006)

Personages

signed and dated 'Karel Appel 52' (upper left) oil on canvas

45¬ x 31√in. (116 x 81cm.)

Painted in 1952

£80,000-120,000

US$99,000-150,000

€96,000-140,000

λ*342

PAULA REGO (1935-2022)

The Conductor

signed and dated 'REGO 84' (on the reverse) oil on canvas

24 x 18in. (61 x 45.7cm.)

Painted in 1984

£30,000-50,000

US$38,000-62,000

€36,000-60,000

PROPERTY FROM A PRIVATE SWISS COLLECTION

*343

FERNANDO BOTERO (1932-2023)

Still Life with Violin and Sausages

signed and dated 'BOTERO 99' (lower right) oil on canvas

17¡ x 20Ωin. (44 x 52cm.)

Painted in 1999

£80,000-120,000

US$99,000-150,000

€96,000-140,000

PROPERTY OF AN IMPORTANT PRIVATE SWISS COLLECTOR

λ*344

DOMENICO GNOLI (1933-1970)

Terramafiusa

signed with the artist's initials and dated 'D.G. 60' (lower right) ink and gouache on board

13º x 21ºin. (33.6 x 54.1cm.)

Executed in 1960

£10,000-15,000

US$13,000-19,000

€12,000-18,000

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

λ345

MANOLO VALDÉS (B. 1942)

Vibraciones (Vibrations)

incised with the artist's initials 'MV' (on the reverse) alabaster, iron and wire

28√ x 31 x 9in. (73.2 x 78.7 x 22.9cm.)

Executed in 2016

£80,000-120,000

US$99,000-150,000

€96,000-140,000

PROPERTY OF A DISTINGUISHED EUROPEAN GENTLEMAN

λ*346

MIQUEL BARCELÓ (B. 1957)

Vu de Gogoly (View of Gogoly)

signed, titled and dated 'Vu de Gogoly Barceló. 2008' (on the reverse) mixed media on canvas

54æ x 77¿in. (139 x 196cm.)

Executed in 2008

£80,000-120,000

US$99,000-150,000

€96,000-140,000

ABDOULAYE KONATÉ (B. 1953)

Femme du Sahel (Woman of Sahel)

embroidered with the artist's signature and date 'A. Konaté 2015' (lower right); signed, titled and dated 'Femme du Sahel 2015 ABDOULAYE KONATÉ' (on a label affixed to the reverse)

textile

85√ x 58¿in. (218 x 147.5cm.)

Executed in 2015

£10,000-15,000

US$13,000-19,000

€12,000-18,000

λ*348

ALVARO BARRINGTON (B. 1983)

Black Power

signed with the artist's initials and dated 'AB 21' (on the reverse of artist's frame) oil and acrylic on burlap, in artist's wooden frame, steel oil drum, shelf and metal chains

overall: 75º x 103 x 26Ωin. (191.1 x 261.6 x 67.3cm.)

Executed in 2021

£40,000-60,000

US$50,000-74,000

€48,000-72,000

λ*349

VOJTĚCH KOVAŘÍK (B. 1993)

Son of the Evening signed and dated 'VOJTECH KOVARIK 2020' (on the reverse)

acrylic on canvas

78√ x 55ºin. (200.3 x 140.3cm.)

Painted in 2020

£60,000-80,000

US$75,000-99,000

€72,000-96,000

*350

SPENCER LEWIS (B. 1979)

Untitled

signed and dated 'S. Lewis 2021' (on the overlap); signed 'Spencer' (on the stretcher)

acrylic, oil, spray enamel and ink on jute

79¬ x 67¬in. (202.3 x 171.8cm.)

Executed in 2021

£25,000-35,000

US$31,000-43,000

€30,000-42,000

*351

UGO RONDINONE (B. 1964)

24. mai 2008

signed, titled and dated '24. mai 2008 Ugo Rondinone' (on the stretcher)

acrylic on canvas

39Ω x 27ºin. (100.2 x 69.2cm.)

Painted in 2008

£10,000-15,000

US$13,000-19,000

€12,000-18,000

PROPERTY FROM A PRIVATE COLLECTION

•352

AI WEIWEI (B. 1957)

Flowers

porcelain

79æ x 40ºin. (202.5 x 102.5cm.)

Executed in 2007

£25,000-35,000

US$31,000-43,000

€30,000-42,000

London | 26 February – 12 March 2025

HIGHLIGHTS VIEWING

27 February – 6 March 2025

8 King Street SW1Y 6QT, London

CONTACTS

Isabel Bardawil

Co-Head of Day Sale

+44 (0)20 7389 2866

ibardawil@christies.com

Stephanie Rao

Co-Head of Day Sale

+44 (0)20 7389 2523

stephanierao@christies.com

WOLFGANG TILLMANS (B. 1968)

summer still-life

signed, titled, inscribed, numbered and dated 'summerstill [sic] life ph 7 95 pr WT 5 96 1/3 + 1

Wolfgang Tillmans' (on the reverse) chromogenic print

image: 165⁄8 x 24in. (42.1 x 60.8cm.) sheet: 20 x 24in. (50.8 x 61cm.)

Photographed in 1995 and printed in 1996, this work is number one from an edition of three plus one artist's proof

£6,000-8,000

Courtesy of Galerie Buchholz

IMPRESSIONIST AND MODERN ART DAY AND WORKS ON PAPER SALE

Friday, 7 March 2025, 1:00 pm (GMT) 8 King Street, St. James’s London SW1Y 6QT

VIEWING

Thursday 27 February 10.00am - 8.00pm

Friday 28 February 9.00am - 5.00pm

Saturday 1 March 12.00pm - 5.00pm

Sunday 2 March 12.00pm - 5.00pm

Monday 3 March 9.00am - 5.00pm

Tuesday 4 March 9.00am - 5.00pm

Wednesday 5 March 9.00am - 5.00pm

Thursday 6 March 9.00am - 5.00pm

Friday 7 March 9.00am - 1.00pm

AUCTIONEERS

Hugh Creasy, Nick Orchard & Veronica Scarpati

SPECIALISTS

HEADS OF SALE

Veronica Scarpati

Head of Works on Paper Sale

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

Micol Flocchini

Head of Day Sale

+44 (0)20 7389 2262 mflocchini@christies.com

Annie Wallington

Senior Specialist, Head of Core Sales

+44 (0)20 7389 2638 awallington@christies.com

CONDITIONS OF SALE

The sale of each lot is subject to the Conditions of Sale, Important Notices and Explanation of Cataloguing Practice,which are set out in this catalogue and on christies.com. Please note that the symbols and cataloguing for some lots may change before the auction.

For the most up to date sale information for a lot, please see the full lot description,which can be accessed through the sale landing page on christies.com.

Katarina Stojanović Associate Specialist

+44 (0)20 7389 2854 kstojanovic@christies.com

Annabel Lawton

Cataloguer

+44 (0)20 7389 2528 alawton@christies.com

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as: PHOEBE-24037

Opposite: Lot 428

Alfred Sisley, Le quai à sable, environs de Port-Marly, 1875 (detail).

EXPERTISE COORDINATOR

Maria Morando

+44 (0)20 7752 3104 mmorando@christies.com

SALE COORDINATOR

Kalina Horton

+44 (0)20 7389 2989 khorton@christies.com

POST SALE SERVICES

Payment, Shipping and Collection

Tel: +44 (0)20 7752 3200

Fax: +44 (0)20 7752 3300

PostSaleUK@christies.com

BUYER’S PREMIUM

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

With thanks to Phoebe Putnam, Louisa Hutchinson & Gabrielle Ford for their assistance researching the sale.

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*401

MARC CHAGALL (1887-1985)

Au bord du lac de Constance, Mammern

stamped with the signature 'Chagall' (lower right) pastel, watercolour, brush and wash and India ink and pencil on paper

16Ω x 12¬ in. (42 x 31.9 cm.)

Executed in 1975

£4,000-6,000

US$5,000-7,400

€4,800-7,200

PROPERTY FROM A PRIVATE NORWEGIAN COLLECTION

λ*402

MARC CHAGALL (1887-1985)

Les amoureux au chevalet

signed 'Marc Chagall' (centre left); signed again and dated 'Chagall 23 nov.' (lower right) coloured crayon on frontispiece

12√ x 9æ in. (32.7 x 24.7 cm.)

£2,000-3,000

US$2,500-3,700

€2,400-3,600

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*403

MARC CHAGALL (1887-1985)

Esquisse pour L'Âne bleu

stamped with the signature 'Marc Chagall' (lower right) pastel and charcoal on paper

18√ x 24 in. (48 x 61 cm.)

Executed in 1954

£3,200-5,200

US$4,000-6,400

€3,900-6,200

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

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*404

MARC CHAGALL (1887-1985)

Intérieur fleuri au couple sur fond de poème

stamped with the signature 'Chagall' (lower right) brush and wash and pen and ink on embossed printed poem laid down on the artist's estate mount

6¬ x 4¡ in. (16.7 x 11.1 cm.)

Executed circa 1975

£4,800-6,800

US$6,000-8,400

€5,800-8,100

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*405

MARC CHAGALL (1887-1985)

Nu agenouillé et son amant au chapeau

stamped with the signature 'Chagall' (lower right) pen and ink on paper

7æ x 3√ in. (19.7 x 9.7 cm.)

Executed circa 1935

£1,800-2,800

US$2,300-3,500

€2,200-3,400

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*406

MARC CHAGALL (1887-1985)

Esquisse pour Concert bleu ou L'ange aux ailes rouges (1923-45)

stamped with the signature 'Chagall' (lower right) gouache, watercolour, brush and India ink and pencil on coloured card

11 x 8¡ in. (27.8 x 21.3 cm.)

Executed circa 1945

£4,000-6,000

US$5,000-7,400

€4,800-7,200

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*407

MARC CHAGALL (1887-1985)

Études en noir et blanc

stamped with the signature 'Chagall' (lower right) brush and pen and ink on paper

10Ω x 7 in. (26.8 x 18 cm.)

Executed circa 1956

£600-800

US$750-990

€720-960

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*408

MARC CHAGALL (1887-1985)

Esquisse pour Le philosophe vindicatif (illustration no. 20 pour les Contes de Boccace, Verve, Paris 1950)

stamped with the signature 'Chagall' (lower left) and inscribed 'Pour Boccace' (lower centre) brush and wash and pen and India ink and pencil on paper

13 x 9Ω in. (33 x 24.2 cm.)

Executed in 1949-1950

£6,500-8,500

US$8,100-11,000

€7,800-10,000

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*409

MARC CHAGALL (1887-1985)

Projet pour des médaillons autour de L'Odyssée (1974) et pour des projets de bijoux pour Vava

stamped with the signature 'Chagall' (lower right); inscribed 'pour Vava' (upper left)

blue ballpoint pen and pencil on paper

8º x 11æ in. (20.8 x 29.8 cm.)

Executed in 1974

£800-1,200

US$1,000-1,500

€960-1,400

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*410

MARC CHAGALL (1887-1985)

Le sapin à Mammern

stamped with the signature 'Chagall' (lower left)

pastel, gouache, brush and India ink and pencil on paper

16¬ x 12Ω in. (42.1 x 31.7 cm.)

Executed in 1975

£8,000-12,000

US$10,000-15,000

€9,600-14,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*411

MARC CHAGALL (1887-1985)

Nature morte et fleurs devant St-Paul de Vence

signed 'Marc Chagall' (lower centre); signed 'Marc Chagall' (on the reverse)

oil and gouache on paper laid down on canvas

20¿ x 25¬ in. (51.1 x 65.1 cm.)

Painted in 1967

£300,000-500,000

US$380,000-620,000

€370,000-600,000

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*412

MARC CHAGALL (1887-1985)

Rencontre devant la fenêtre

stamped with the signature 'Chagall' (lower left)

brush and pen and India ink on paper

8æ x 6Ω in. (22.2 x 16.4 cm.)

Executed circa 1980

£3,200-5,200

US$4,000-6,400

€3,900-6,200

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*413

MARC CHAGALL (1887-1985)

Étude pour l'Opéra (1953)

stamped with the signature 'Chagall' (lower left) pencil on paper

13¬ x 9¡ in. (34.7 x 23.7 cm.)

Drawn in 1953

£1,800-2,800

US$2,300-3,500

€2,200-3,400

λ*414

MARC CHAGALL (1887-1985)

Animal fabuleux: Fabel-Tier

signed 'Chagall' (lower right) gouache, watercolour, brush and ink and crayon on tinted paper laid down on card 26 x 20º in. (66 x 51.3 cm.)

Executed in 1926-1927

£280,000-350,000

US$350,000-430,000

€340,000-420,000

λ*415

PABLO PICASSO (1881-1973)

Pierrot

signed, dated and inscribed 'Picasso Pour Stelin le 4.5.72.' (lower left)

blue felt-tip pen on paper

13√ x 10º in. (35.4 x 25.9 cm.)

Executed on 4 May 1972

£10,000-15,000

US$13,000-19,000

€12,000-18,000

THE PROPERTY OF A PRIVATE SWISS COLLECTOR

λ*416

BERNARD BUFFET (1928-1999)

Grand duc

signed 'Bernard Buffet' (lower right) and dated '1987' (lower left) oil on canvas

36¡ x 25√ in. (92.3 x 65.7 cm.)

Painted in 1987

£70,000-100,000

US$87,000-120,000

€84,000-120,000

PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION

λ*417

PABLO PICASSO (1881-1973)

Hibou

hand-painted partially glazed earthenware tomette height: 13º in. (33.5 cm.)

Executed in 1957; this work is unique

£50,000-70,000

US$62,000-86,000

€60,000-84,000

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

λ*418

BERNARD BUFFET (1928-1999)

Saint-Tropez, le quai Suffren

signed 'Bernard Buffet.' (upper left) and dated '1972' (upper right); inscribed 'St Tropez Le quai Suffren (Var)' (on the reverse) oil on canvas

35º x 51¡ in. (89.5 x 130.5 cm.)

Painted in 1972

£100,000-150,000

US$130,000-190,000

€120,000-180,000

PROPERTY FROM A PRIVATE COLLECTION

λ*419

BERNARD BUFFET (1928-1999)

Le bouquet

signed 'Bernard Buffet' (upper right) and dated '1981' (lower left) oil on canvas

25¬ x 21º in. (65 x 54 cm.)

Painted in 1981

£40,000-60,000

US$50,000-74,000

€48,000-72,000

PROPERTY FROM A DISTINGUISHED ENGLISH COLLECTION

λ420

BERNARD BUFFET (1928-1999)

Château de Josselin

signed ‘Bernard Buffet’ (upper right) and dated ‘1971’ (upper left); inscribed 'Le Chateau de Josselin' (on the reverse) oil on canvas

35 x 51¿ in. (88.8 x 130 cm.)

Painted in 1971

£80,000-120,000

US$100,000-150,000

€96,000-140,000

PROPERTY FROM A DISTINGUISHED PRIVATE EUROPEAN COLLECTION

λ*421

PABLO PICASSO (1881-1973)

Grappe de raisins et ciseaux

signed 'Picasso' and stamped 'Madoura Plein Feu' (underneath)

white earthenware ceramic platter with coloured engobe and glaze

Length: 15 in. (38 cm.)

Executed in 1948; this work is unique

£40,000-60,000

US$50,000-75,000

€48,000-72,000

PROPERTY FROM THE NINA MILLER COLLECTION

PABLO PICASSO (1881-1973)

Quatres femmes

dated and numbered '17.1.48. VII' (on the underside) painted and partially glazed white earthernware pitcher height: 12¡ in. (31.4 cm.)

Executed on 17 January 1948; this work is unique

£70,000-100,000

US$87,000-120,000

€84,000-120,000

λ*423

PABLO PICASSO (1881-1973)

Scène de corrida: Picador

signed, dated and inscribed ‘Pour le Docteur Mantoux Picasso le 21.12.64.’ (along the upper edge) felt-tip pen on frontispiece

9¬ x 12Ω in. (24.4 x 31.8 cm.)

Executed on 21 December 1964

£15,000-20,000

US$19,000-25,000

€18,000-24,000

THE PROPERTY OF SYLVETTE DAVID

LYDIA CORBETT (NÉE SYLVETTE DAVID, B. 1934)

The Picasso Studio, Vallauris 1954

signed 'Sylvette David' (lower left) and signed again 'Lydia Corbett' (lower right); inscribed 'The Picasso Studio, Vallauris 1954' (on the stretcher)

acrylic on canvas

39¬ x 39¿ in. (100.5 x 99.5 cm.)

Painted in 2008

£5,000-8,000

US$6,300-9,900

€6,000-9,600

PROPERTY

PABLO PICASSO (1881-1973)

Nu

signed, dated and numbered 'Picasso 23.11.71. IV' (upper left)

pastel and wax crayon on paper

19√ x 26¿ in. (50.5 x 66.3 cm.)

Executed in Mougins on 23 November 1971

£120,000-180,000

US$150,000-220,000

€150,000-220,000

THE PROPERTY OF SYLVETTE DAVID 426

LYDIA CORBETT (NÉE SYLVETTE DAVID, B. 1934)

Sylvette in New York

signed 'Sylvette David' (lower left) and 'Lydia Corbett' (lower right); dated and inscribed 'Sylvette in New York 2018' (on the reverse)

acrylic and charcoal on masonite

23¬ x 23¬ in. (60 x 60 cm.)

Painted in 2018

£2,000-3,000

US$2,500-3,700

€2,400-3,600

PROPERTY FROM A PRIVATE COLLECTION, HEREFORDSHIRE

THÉO VAN RYSSELBERGHE (1862-1926)

Autoportrait (à Nantes)

dated and inscribed ‘Nantes 22 oct 1900-' (lower right); with the atelier stamp (lower right)

black Conté crayon on paper

8¡ x 10¿ in. (21.2 x 25.7 cm.)

Executed in Nantes on 22 October 1900

£4,000-6,000

US$5,000-7,500

€4,800-7,200

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

*428

ALFRED SISLEY (1839-1899)

Le quai à sable, environs de PortMarly

signed and dated 'Sisley.75' (lower left) oil on canvas

18¡ x 21√ in. (46.8 x 55.6 cm.)

Painted in 1875

£500,000-700,000

US$630,000-870,000

€610,000-840,000

*429

PAUL SIGNAC (1863-1935)

Saint-Servan. Le Pourquoi Pas?

signed 'P. Signac' (lower left); dated and inscribed 'Pourquoi Pas S. Servan 13 Oct 27' (lower right)

watercolour and black Conté crayon on paper laid down on card

10º x 16¿ in. (26.2 x 41.2 cm.)

Executed in Saint-Servan on 13 October 1927

£12,000-18,000

US$15,000-22,000

€15,000-22,000

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

*430

MAXIMILIEN LUCE (1858-1941)

Méréville, le troupeau de moutons

stamped ‘Luce’ (lower right) oil on canvas

25¬ x 36º in. (65 x 92 cm.)

Painted in 1902-1903

£40,000-60,000

US$50,000-74,000

€48,000-72,000

PROPERTY FROM A PRIVATE LONDON COLLECTION

λ431

PABLO PICASSO (1881-1973)

Fillette jouant à la balle

signed 'Picasso' (lower left) pen and ink on paper

12Ω x 9æ in. (31.7 x 24.7 cm.)

Executed circa 1902

£20,000-30,000

US$25,000-37,000

€24,000-36,000

PROPERTY FROM A DISTINGUISHED PRIVATE SWISS COLLECTION

*432

PIERRE-AUGUSTE RENOIR (1841-1919)

Baigneuse

signed 'Renoir.' (lower right) oil on canvas

8æ x 11 in. (22.2 x 28.1 cm.)

Painted circa 1916

£150,000-200,000

US$190,000-250,000

€190,000-240,000

PROPERTY FROM A DISTINGUISHED EAST ASIAN COLLECTION

*433

PAUL GAUGUIN (1848-1903)

Cheval et vache dans un pré

signed and dated 'P Gauguin 85' (lower right) oil on canvas

23Ω x 28Ω in. (59.7 x 72.5 cm.)

Painted in 1885

£400,000-600,000

US$500,000-740,000

€490,000-720,000

PROPERTY FROM A PRIVATE SWEDISH COLLECTION

*434

PAUL GAUGUIN (1848-1903)

Paysage de campagne avec usines

oil on card laid down on canvas

14 x 19æ in. (35.4 x 50 cm.)

Painted circa 1877-1878

£70,000-100,000

US$88,000-120,000

€84,000-120,000 THE

435

JEAN-LOUIS FORAIN (1852-1931)

Champ de courses

signed 'forain' (lower right)

pastel, gouache, watercolour and black Conté crayon on paper laid down on canvas

28¬ x 36¿ in. (72.7 x 91.8 cm.)

Executed circa 1895-1900

£20,000-30,000

US$25,000-37,000

€24,000-36,000

PROPERTY FROM THE ESTATE OF VIRGINIA FORTUNE RYAN, DOWAGER COUNTESS OF AIRLIE

436

JEAN-LOUIS FORAIN (1852-1931)

La loge fleurie

signed and dated 'J. L. Forain 6 janvier 1885' (upper right) oil on panel

6 x 8Ω in. (15.3 x 21.6 cm.)

Painted on 6 January 1885

£10,000-15,000

US$13,000-19,000

€12,000-18,000

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA

*437

HENRI FANTIN-LATOUR (1836-1904)

Nature morte, grosses fraises et roses

signed and dated 'Fantin. 78.' (upper left) oil on canvas

7º x 11√ in. (18.5 x 30.2 cm.)

Painted in 1878

£60,000-80,000

US$75,000-99,000

€72,000-96,000

THE PROPERTY OF AN IMPORTANT PRIVATE BRITISH COLLECTOR

°438

HENRI MATISSE (1869-1954)

Homme assis

signed 'H.MATISSE' (lower left)

oil on canvas

25Ω x 18º in. (64.7 x 46.2 cm.)

Painted in 1900

£250,000-350,000

US$310,000-430,000

€310,000-420,000

THE PROPERTY OF THE MARGARET RYAN FAMILY TRUST

439

ÉDOUARD VUILLARD (1868-1940)

Femme lisant

stamped 'E Vuillard' (Lugt 2497a; lower left) oil on board

13æ x 12¬ in. (35 x 32 cm.)

Painted circa 1895

£100,000-150,000

US$130,000-190,000

€120,000-180,000

HENRI FANTIN-LATOUR (1836-1904)

Nature morte aux raisins

signed and dated 'Fantin. 82' (upper left) oil on canvas

14¬ x 20√ in. (37 x 53 cm.)

Painted in 1882

£70,000-100,000

US$88,000-120,000

€84,000-120,000

THE

441

HENRI FANTIN-LATOUR (1836-1904)

Pêches et raisins

signed 'Fantin.' (lower left) and dated '1863' (lower right) oil on canvas

6º x 12º in. (16 x 31 cm.)

Painted in 1863

£20,000-30,000

US$25,000-37,000

€24,000-36,000

THE PROPERTY OF THE PAISLEY ART INSTITUTE

442

HENRI LE SIDANER (1862-1939)

La place, neige

signed 'LE SIDANER' (lower right) pastel on linen

23æ x 31√ in. (60.3 x 81 cm.)

Executed in Beauvais in 1901

£80,000-120,000

US$100,000-150,000

€96,000-140,000

HENRI LE SIDANER (1862-1939)

Le portail

signed 'LE SIDANER' (lower right) oil on canvas

25¬ x 32 in. (65.2 x 81.3 cm.)

Painted in Chartres in 1903

£60,000-100,000

US$75,000-120,000

€72,000-120,000

THE PROPERTY OF THE PAISLEY ART INSTITUTE

444

HENRI FANTIN-LATOUR (1836-1904)

Femme dans un paysage

signed 'Fantin' (lower right) oil on canvas

5¿ x 8¿ in. (13 x 20.5 cm.)

Painted circa 1877

£4,000-6,000

US$5,000-7,500

€4,800-7,200

THE PROPERTY OF THE

445

EUGÈNE BOUDIN (1824-1898)

Trois-mats devant Anvers

signed and dated 'E. Boudin. 72' (lower right) oil on panel

10¡ x 18º in. (26.3 x 46.2 cm.)

Painted in 1872

£25,000-35,000

US$32,000-44,000

€30,000-42,000

THE PROPERTY OF A PRIVATE EUROPEAN COLLECTOR

*446

AUGUSTE RODIN (1840-1917)

Le baiser, 4ème réduction dit aussi petit modèle

signed 'Rodin' (on the back of the rock) and stamped with the foundry mark 'F. BARBEDIENNE Fondeur' (on the left side of the rock); numbered 'F 13' (on the inside)

bronze with dark brown patina height: 9√ in. (25.2 cm.)

Conceived in 1886; this reduction in 1898; this bronze version cast by LeBlanc-Barbedienne between 1914 and 1918

£120,000-180,000

US$150,000-220,000

€150,000-220,000

THE PROPERTY OF A PRIVATE EUROPEAN COLLECTOR

*447

AUGUSTE RODIN (1840-1917)

Éternel Printemps, second état, 4ème

réduction dite aussi 'n°2'

signed 'Rodin' (on the right side of the base); stamped with the foundry mark 'F. BARBEDIENNE. Fondeur.' (on the left side of the base) and twice with the workshop assistant stamp 'VL’ (on the underside)

bronze with dark brown patina height: 9æ in. (24.6 cm.)

Conceived in 1884; this reduction in 1898; this example cast in bronze by the Leblanc-Barbedienne, Paris, between 1905 and 1910

£150,000-250,000

US$190,000-310,000

€180,000-300,000

THE PROPERTY OF A PRIVATE SWISS COLLECTOR

*448

HENRI MATISSE (1869-1954)

Vase de fleurs

signed and dated 'H. Matisse 26 Juin 44' (lower right) pen and India ink on paper

20Ω x 15æ in. (52 x 40 cm.)

Executed on 26 June 1944

£25,000-35,000

US$32,000-44,000

€30,000-42,000

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

*449

HENRI MATISSE (1869-1954)

Le Piquey, Arcachon

signed 'Henri . Matisse' (lower left) pencil on paper

9√ x 12¬ in. (25 x 31.9 cm.)

Drawn in Le Piquey, Arcachon in 1916

£15,000-25,000

US$19,000-31,000

€18,000-30,000

PROPERTY FROM A PRIVATE COLLECTION, MUNICH

λ*450

PABLO PICASSO (1881-1973)

Tête d'homme (recto); Tête d'homme (verso)

signed, dated and numbered 'Picasso 5.6.69. II' (lower left; recto); signed, dated and numbered 'Picasso 5.6.69. III' (lower right; verso) felt-tip pen on paper

12 x 9Ω in. (30.5 x 24 cm.)

Executed in Mougins on 5 June 1969

£50,000-70,000

US$62,000-87,000

€60,000-84,000

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*451

MARC CHAGALL (1887-1985)

Esquisse pour la couverture du recueil de poèmes de Andreï Voznessenski (Skrymtymnym, Gallimard, Paris, 1973)

stamped with the signature 'Chagall' (lower left) brush and wash and pen and India ink and pencil on paper

8¬ x 5æ in. (22 x 14.5 cm.)

Executed in 1973

£3,200-5,200

US$4,000-6,400

€3,900-6,200

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*452

MARC CHAGALL (1887-1985)

Peintre de profil

stamped with the signature 'Chagall' (lower right) gouache on paper

8¡ x 6 in. (21.4 x 15.3 cm.)

Executed circa 1980

£2,500-3,500

US$3,100-4,300

€3,000-4,200

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*453

MARC CHAGALL (1887-1985)

Nature morte avec poule

stamped with the signature 'Chagall' (lower right) gouache on paper

14√ x 18√ in. (37.8 x 48 cm.)

Executed in 1940

£8,000-12,000

US$10,000-15,000

€9,600-14,000

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*454

MARC CHAGALL (1887-1985)

Intérieur avec grand bouquet et deux perruches

stamped with the signature 'Marc Chagall' (lower right) pastel and pencil on paper

18√ x 13¡ in. (47.9 x 33.8 cm.)

Executed circa 1978-1980

£5,500-7,500

US$6,900-9,300

€6,600-9,000

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*455

MARC CHAGALL (1887-1985)

Intérieur aux bouquets

stamped with the signature 'Marc Chagall' (lower left) pencil on paper

18æ x 13º in. (47.6 x 33.6 cm.)

Drawn circa 1978-1980

£5,500-7,500

US$6,900-9,300

€6,600-9,000

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*456

MARC CHAGALL (1887-1985)

Intérieur avec bouquet au tournesol

stamped with the signature 'Chagall' (lower left) pencil on paper

18√ x 13º in. (47.8 x 33.8 cm.)

Drawn circa 1978-1980

£5,500-7,500

US$6,900-9,300

€6,600-9,000

THE PROPERTY OF A PRIVATE PARISIAN COLLECTOR

λ*457

MARC CHAGALL (1887-1985)

Les amoureux aux cyprès à Saint-Paul

stamped with the signature 'Marc Chagall' (lower left) pastel, gouache, coloured pencil and pencil on paper

30¡ x 22Ω in. (77.1 x 57.2 cm.)

Executed circa 1976

£70,000-100,000

US$87,000-120,000

€84,000-120,000

λ458

MARC CHAGALL (1887-1985)

Femme à l'âne vert ou Tête de vache

verte

signed 'Marc Chagall' (lower right) oil on canvas

12√ x 28Ω in. (33 x 72.3 cm.)

Painted in 1953

£550,000-750,000

US$690,000-930,000

€670,000-900,000

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*459

MARC CHAGALL (1887-1985)

Intérieur avec un vase

stamped with the signature 'Chagall' (lower left)

brush and wash and pen and India ink on paper

13¿ x 10 in. (33.2 x 25.5 cm.)

Executed in 1962

£5,500-7,500

US$6,900-9,300

€6,600-9,000

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*460

MARC CHAGALL (1887-1985)

Prière dans la nuit

stamped with the signature 'Chagall' (lower right) brush and wash and pen and ink and pencil on paper

4√ x 2√ in. (12.4 x 7.3 cm.)

Executed circa 1935

£400-600

US$500-740

€480-720

MARC CHAGALL: WORKS FORMERLY FROM THE ARTIST'S ESTATE

λ*461

MARC CHAGALL (1887-1985)

Couple devant la grande baie stamped with the signature 'Chagall' (lower right) gouache on paper

19√ x 14¿ in. (50.6 x 35.7 cm.)

Executed circa 1977

£8,000-12,000

US$10,000-15,000

€9,600-14,000

PROPERTY FROM A PRIVATE FAMILY COLLECTION, SWITZERLAND

λ*462

MARC CHAGALL (1887-1985)

Fin de journée

signed and dated 'Marc Chagall 1977' (lower right) brush and wash and pen and India ink, coloured crayon and charcoal on paper

22º x 24¡ in. (56.5 x 61.8 cm.)

Executed in 1977

£50,000-80,000

US$62,000-99,000

€60,000-96,000

PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

λ*463

MARC CHAGALL (1887-1985)

La maison natale

signed 'Marc Chagall' (lower left) brush and wash and India and blue ink on paper

35¬ x 24 in. (90.5 x 61 cm.)

Executed in 1964

£150,000-200,000

US$190,000-250,000

€190,000-240,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

*464

RAOUL DUFY (1877-1953)

La pelouse

signed 'Raoul Dufy' (lower left) oil on canvas

18º x 21¬ in. (46.5 x 55 cm.)

Painted circa 1950

£60,000-80,000

US$75,000-99,000

€72,000-96,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*465

JEAN DUFY (1888-1964)

Fantaisie équestre

signed and dated 'Jean Dufy 25' (lower right) oil on canvas

21º x 28æ in. (54 x 73 cm.)

Painted in 1925

£25,000-35,000

US$31,000-43,000

€30,000-42,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

λ*466

GEORGES ROUAULT (1871-1958)

Scène de cirque

indistinctly signed 'Georges Rouault' (lower left) oil and gouache on paper

14¬ x 16√ in. (37 x 43 cm.)

Painted in 1939

£25,000-35,000

US$31,000-43,000

€30,000-42,000

PROPERTY FROM A PRIVATE NORWEGIAN COLLECTION *467

LEONOR FINI (1907-1996)

Étude de ballet

gouache and pencil on paper 15¿ x 11 in. (38.5 x 28 cm.)

£1,000-1,500

US$1,300-1,900

€1,200-1,800

PROPERTY FROM A PRIVATE GERMAN COLLECTION

λ*468

HANNAH HÖCH (1889-1978)

Mutter und Kind

signed with initials 'H.H.' (lower left); signed and dated 'Höch 1924' (on the reverse) oil on canvas

24º x 19æ in. (61.5 x 50 cm.)

Painted in 1924

£40,000-60,000

US$50,000-75,000

€48,000-72,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

λ*469

HANNAH HÖCH (1889-1978)

Konstruktion mit Verdi

signed with the artist’s initials ‘H.H’ (lower right); signed again with the artist’s initials and inscribed ‘H.H Konstruktion mit Verdi’ (on the artist’s mount) photomontage on paper laid down on the artist’s mount sheet: 7¿ x 5√ in. (18.2 x 15 cm.)

artist’s mount: 11¡ x 10 in. (28.8 x 25.4 cm.)

Executed in 1948

£10,000-15,000

US$13,000-19,000

€12,000-18,000

PROPERTY FROM A PRIVATE AMERICAN COLLECTION *470

ALEXEJ VON JAWLENSKY (1864-1941)

Abstrakter Kopf

signed 'A. J.' (lower left) and dated '33' (lower right); signed, dated and inscribed 'A. Jawlensky. 1933. II' (on the reverse) oil on board

16√ x 13 in. (42.8 x 33 cm.)

Painted in 1933

£250,000-350,000

US$310,000-430,000

€310,000-420,000

PROPERTY FROM THE ESTATE OF WALTER DEXEL

λ*471

WALTER DEXEL (1890-1973)

Ohne Titel

signed and dated 'WDEXEL 64' (lower centre) oil on linen-finish paper laid down on board

16æ x 12 in. (42.7 x 30.4 cm.)

Painted in 1964

£15,000-25,000

US$19,000-31,000

€18,000-30,000

THE PROPERTY OF A PRIVATE COLLECTOR

λ*472

WALTER DEXEL (1890-1973)

Segelschiff

signed and dated 'W DEXEL 21' (lower left); signed, inscribed and numbered 'Vorsicht Glasbild Walter Dexel 21/6 Segelschiff' (on the reverse of the backing board) oil on glass in the artist's frame

12¡ x 10√ in. (31.5 x 27.5 cm.) including the artist's frame

Painted in 1921

£70,000-90,000

US$87,000-110,000

€84,000-110,000

*473

EGON SCHIELE (1890-1918)

Stehender männlicher Akt mit erhobenen Armen (Selbstbildnis) (recto); Baumstudie (verso)

signed and dated 'EGON SCHIELE 1911.' (recto centre right) pencil on paper

18æ x 12Ω in. (47.7 x 31.6 cm.)

Drawn in 1911 (recto); drawn in 1912 (verso)

£300,000-500,000

US$380,000-620,000

€360,000-600,000

*474

GUSTAV KLIMT (1862-1918)

Liebespaar nach rechts

with the Nachlass stamp (Lugt 1575; lower left); with the Nachlass stamp again (Lugt 1575; on the reverse) pencil on paper

14Ω x 22 in. (36.8 x 55.8 cm.)

Drawn in 1914

£50,000-80,000

US$62,000-99,000

€60,000-96,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION, FRANKFURT

*475

GUSTAV KLIMT (1862-1918)

Studie zu 'Gerechtigkeit' in der Ölskizze für die 'Jurisprudenz' (recto); Alter Mann im Profil, Studie im Zusammenhang mit der Ölskizze zu 'Medizin' (verso)

with the indistinct Nachlass stamp (Lugt 1575; recto lower right)

black Conté crayon on paper

17Ω x 12º in. (44.3 x 31 cm.)

Executed circa 1897-1898

£25,000-35,000

US$31,000-43,000

€30,000-42,000

THE PROPERTY OF A PRIVATE BELGIAN COLLECTOR

476

EGON SCHIELE (1890-1918)

Frau Sitzend mit Schuhen

signed and dated 'EGON SCHIELE 1917' (lower right)

black crayon on paper

18¿ x 11¬ in. (46 x 29.5 cm.)

Executed in 1917

£280,000-350,000

US$350,000-430,000

€340,000-420,000

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION, FRANKFURT

*477

MAX BECKMANN (1884-1950)

Lesendes Mädchen

signed 'Beckmann' (lower right); inscribed 'Lesendes Mädchen' (on the reverse)

pen and India ink and pencil on paper

10Ω x 12¬ in. (26.6 x 32 cm.)

Executed circa 1947

£7,000-10,000

US$8,800-12,000

€8,400-12,000

PROPERTY FROM A PRIVATE FRENCH COLLECTION

λ*478

EMIL NOLDE (1867-1956)

Porträt

signed 'Nolde.' (upper left)

watercolour and brush and India ink on paper

18√ x 13√ in. (48 x 35.2 cm.)

Executed in 1921

£15,000-20,000

US$19,000-25,000

€18,000-24,000

PROPERTY FROM A PRIVATE LONDON COLLECTION 479

AUGUST MACKE (1887-1914)

Porträtstudie Sofie Gerhardt with the Nachlass stamp (Lugt 1775b; on the reverse) oil on paper

14æ x 11 in. (37.4 x 28 cm.)

Painted in Bonn in 1912

£40,000-60,000

US$50,000-74,000

€48,000-72,000

PROPERTY FROM A PROMINENT PRIVATE CHICAGO COLLECTION

λ*480

JOSEPH CSÁKY (1888-1971)

Tête cubiste

signed, dated and numbered 'Csaky 1914 2/8' (on the right side); stamped with foundry mark 'CHIURAZZI NAPOLI' (on the back)

bronze with light brown patina height: 15 in. (38 cm.)

Conceived in 1914, and cast in bronze by Gennaro Chiurazzi, Naples, after 1971

£12,000-15,000

US$15,000-19,000

€15,000-18,000

PROPERTY FROM A PROMINENT PRIVATE CHICAGO COLLECTION

λ*481

JOSEPH CSÁKY (1888-1971)

Figure

signed, numbered and stamped with atelier and foundry marks 'CSAKY 1/8 Fonderie de la Plaine AC' (on the backside)

bronze with black patina height (excluding base): 24¬ in. (62.5 cm.)

Conceived in 1921 and in cast in bronze by Fonderie de la Plaine, after 1971 in an edition of 8

£6,000-8,000

US$7,500-9,900

€7,200-9,600

PROPERTY FROM A PRIVATE NORWEGIAN COLLECTION

λ*482

JOAN MIRÓ (1893-1983)

Dessin de la Grande Chaumière

signed and dated 'Miró 1937.' (lower right)

pencil on paper

10¬ x 8º in. (26.9 x 20.8 cm.)

Drawn in 1937

£8,000-12,000

US$10,000-15,000

€9,600-14,000

PROPERTY FROM A PRESTIGIOUS PRIVATE COLLECTION

λ483

JOAN MIRÓ (1893-1983)

Sans titre

signed, dated and inscribed 'Miró. 23-7-1946 à mon cher Joan Gomis, le jour de son anniversaire' (along the upper edges)

pen and India ink, colored crayons and pencil on paper

12º x 9¡ in. (31 x 23.7 cm.)

Executed on 23 July 1946

£70,000-100,000

US$87,000-120,000

€84,000-120,000

THE PROPERTY OF A DISTINGUISHED BRITISH COLLECTOR

λ484

JOAN MIRÓ (1893-1983)

Le roi guerrier

signed and numbered 'Miró 6/6' (on the back above the right foot) and stamped with the foundry mark 'Parellada' (on the back of the right foot)

height: 47º in. (120 cm.)

bronze with grey-green patina

Conceived in 1981 and cast in bronze by Fundició Parellada, Barcelona in a numbered edition of 7 numbered 0/6 to 6/6 plus 2 nominative casts

£150,000-200,000

US$190,000-250,000

€190,000-240,000

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION 485

WIFREDO LAM (1902-1982)

Sin título

signed and dated 'Wi Lam 1958' (lower right) pastel and charcoal on paper

23 x 29æ in. (58.4 x 75.6 cm.)

Executed in 1958

£12,000-18,000

US$15,000-22,000

€15,000-22,000

PROPERTY FROM A PRESTIGIOUS PRIVATE COLLECTION

λ486

YVES TANGUY (1900-1955)

Sans titre

gouache, pen and India ink and pencil on paper

10√ x 8¡ in. (27.5 x 21.3 cm.)

Executed in 1946

£50,000-70,000

US$62,000-87,000

€60,000-84,000

λ*487

MAX ERNST (1891-1976)

Oiseau tenant une branche dans son bec

paper collage, olive tree branch and pencil on paper laid down on board

11√ x 15 in. (30 x 38 cm.)

Executed circa 1955

£15,000-20,000

US$19,000-25,000

€18,000-24,000

PROPERTY FROM A PRIVATE NORWEGIAN COLLECTION

λ*488

SALVADOR DALÍ (1904-1989)

Femme humant une fleur d'arum

symbole de l'amour

signed and dated 'Salvador Dali 1936' (lower left)

pen and ink on paper

6¿ x 4æ in. (15.6 x 12.1 cm.)

Executed in 1936

£2,000-3,000

US$2,500-3,700

€2,400-3,600

PROPERTY FROM THE MOUGINS MUSEUM OF CLASSICAL ART

λ•*489

SALVADOR DALÍ (1904-1989)

Dix (10) d'épée, arcane mineur, projet pour le jeu de carte 'Le Tarot Universel de Salvador Dalí'

signed 'Dalí' (lower centre)

gouache on photographic base 12¿ x 9¡ (30.8 x 23.7 cm.)

Executed in 1971

£10,000-15,000

US$13,000-19,000

€12,000-18,000

PROPERTY FROM THE MOUGINS MUSEUM OF CLASSICAL ART

λ•*490

SALVADOR DALÍ (1904-1989)

Huit (8) de baton, arcane mineur, projet pour le jeu de carte 'Le Tarot

Universel de Salvador Dalí'

signed 'Dalí' (lower centre)

gouache on photographic base laid down on card 12 x 9¡ in. (30.6 x 23.7 cm.)

Executed in 1971

£10,000-15,000

US$13,000-19,000

€12,000-18,000

MAX ERNST (1891-1976) & LEONORA CARRINGTON (1917-2011)

La femme demi-tête

signed and numbered 'max ernst 3/8' (on the back); stamped with foundry mark 'Susse Frères Paris RESYRGAM' (on the back at the base)

bronze with green and grey patina

height: 68æ in. (174.5 cm.)

Conceived in 1938-1939

£30,000-50,000

US$38,000-62,000

€36,000-60,000

492

HANS BELLMER (1902-1975)

Fellatio

signed 'Bellmer' (lower right); dated '62' (lower left) pencil on paper

10º x 8º in. (26 x 20.9 cm.)

Drawn in 1962

£2,000-3,000

US$2,500-3,700

€2,400-3,600

PROPERTY FROM A PRIVATE ITALIAN COLLECTION *493

FRANCIS PICABIA (1879-1953)

Fixe

signed 'Francis Picabia' (lower right); inscribed 'FIXE' (upper centre)

brush and India ink and pencil on paper laid down on board

23¡ x 28º in. (59.3 x 71.6 cm.)

Executed in 1922

£50,000-70,000

US$63,000-87,000

€60,000-84,000

PROPERTY FROM A PRIVATE JAPANESE COLLECTION

λ*494

BALTASAR LOBO (1910-1993)

Jeune fille à genoux sur socle

signed and numbered 'Lobo E.Aº' (on the top of the base) bronze with green-brown patina height (including base): 42¿ in. (107 cm.)

Conceived between 1982 and 1983 and cast in bronze in a numbered edition of 7 numbered 0/6 to 6/6 plus 4 artist's proofs plus 1 hors de commerce proof by Susse Fondeur, Paris

£40,000-60,000

US$50,000-74,000

€48,000-72,000

THE PROPERTY OF AN IMPORTANT PRIVATE JAPANESE COLLECTOR

λ*495

JEAN-PIERRE CASSIGNEUL (B. 1935)

L'espagnole

signed ‘CASSIGNEUL.’ (lower right); signed, dated, inscribed and numbered '"L'espagnole Cassigneul 1969 No. 7' (on the reverse)

oil on canvas

36¿ x 25Ω in. (91.8 x 64.8 cm.)

Painted in 1969

£60,000-80,000

US$75,000-99,000

€72,000-96,000

λ*496

HERBERT GURSCHNER (1901-1975)

Dame

signed 'GURSCHNER' (lower left) oil on canvas

34¿ x 24 in. (86.7 x 61 cm.)

Painted circa 1932

£20,000-30,000

US$25,000-37,000

€24,000-36,000

THE PROPERTY OF AN IMPORTANT PRIVATE JAPANESE COLLECTOR

λ*497

MARIE LAURENCIN (1883-1956)

Le concert

signed ‘Marie Laurencin’ (upper right) oil on canvas

28æ x 23¬ in. (73 x 60 cm.)

£70,000-100,000

US$87,000-120,000

€84,000-120,000

THE PROPERTY OF AN IMPORTANT PRIVATE JAPANESE COLLECTOR

λ*498

MARIE LAURENCIN (1883-1956) Maquette (II)

indistinctly stamped with the signature 'Marie Laurencin' (lower right; recto)

oil, gouache, coloured crayon and pencil on board (recto); oil, gouache, black Conté crayon and pencil on board (verso)

18¡ x 40Ω in. (46.7 x 102.7 cm.)

Executed circa 1939

£40,000-60,000

US$50,000-74,000

€48,000-72,000

PROPERTY FROM A DISTINGUISHED PRIVATE EUROPEAN COLLECTION

*499

JACQUELINE MARVAL (1866-1932)

Les bavardes

signed 'Marval' (centre right) oil on canvas

23æ x 28√ in. (60.3 x 73.3 cm.)

Painted in 1905

£10,000-15,000

US$13,000-19,000

€12,000-18,000

THE PROPERTY OF A LADY

λ500

MARIE LAURENCIN (1883-1956)

La Ronde

signed 'Marie Laurencin' (lower right)

watercolour and pencil on paper laid down on board

13º x 17Ω in. (33.7 x 44.6 cm.)

Executed in 1934

£18,000-25,000

US$23,000-31,000

€22,000-30,000

THE PROPERTY OF AN IMPORTANT PRIVATE JAPANESE COLLECTOR

λ*501

JEAN-PIERRE CASSIGNEUL (B. 1935)

Portrait de femme

signed ‘CASSIGNEUL.’ (lower left) oil on canvas

36¿ x 25¬ in. (91.8 x 65 cm.)

Painted circa 1969

£20,000-30,000

US$25,000-37,000

€24,000-36,000

*502

JULES PASCIN (1885-1930)

Nénette à la villa des Camélias

signed 'Pascin' (lower left)

oil on canvas

36¿ x 28æ in. (91.7 x 73 cm.)

Painted in 1930

£25,000-35,000

US$31,000-43,000

€30,000-42,000

PROPERTY FROM A WEST COAST COLLECTION

λ503

MARINO MARINI (1901-1980)

Cavaliere

signed ‘MARINO’ (on the side of the horse); with raised initials and stamped with foundry mark 'M.M FONDERIA

ARTISTICA BATTAGLIA' (on the top of the base)

bronze with brown patina hand-painted by the artist height: 9¡ in. (23.7 cm.)

Conceived in 1951

£100,000-150,000

US$130,000-190,000

€120,000-180,000

THE PROPERTY OF A PRIVATE JAPANESE COLLECTOR

λ*504

GIORGIO DE CHIRICO (1888-1978)

Cavallo in riva al mare

signed 'g. de Chirico' (lower right) oil on canvas

15æ x 19æ in. (40 x 50 cm.)

Painted in the early 1960s

£25,000-35,000

US$32,000-44,000

€30,000-42,000

λ*505

MARINO MARINI (1901-1980)

Cavallo e cavaliere

signed 'MARINO' (lower right)

tempera, gouache and brush and pen and India ink on card

15æ x 14Ω in. (39.9 x 36.8 cm.)

Executed in 1948

£35,000-45,000

US$44,000-56,000

€42,000-54,000

THE PROPERTY OF A PRESTIGIOUS PRIVATE COLLECTOR

λ*506

GIORGIO DE CHIRICO (1888-1978)

Venezia, Palazzo Ducale

signed 'g. de chirico' (lower left) oil on canvas

17æ x 21¬ in. (45.2 x 55 cm.)

Painted in 1951-1952

£70,000-100,000

US$88,000-120,000

€84,000-120,000

THE PROPERTY OF A PRESTIGIOUS PRIVATE COLLECTOR

λ*507

CARLO CARRÀ (1881-1966)

Casa sul mare

signed and dated 'C. Carrà 951' (lower left) oil on canvas

15æ x 19æ in. (40 x 50 cm.)

Painted in 1951

£15,000-20,000

US$19,000-25,000

€18,000-24,000

PROPERTY FROM A PRIVATE LONDON COLLECTION

508

HENRI MANGUIN (1874-1949)

Toulon, l'entrée de la Rade

signed 'Manguin' (lower left) oil on board

9º x 13¬ in. (23.6 x 34.7 cm.)

Painted in winter 1926-1927

£10,000-15,000

US$13,000-19,000

€12,000-18,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

λ*509

MAURICE DE VLAMINCK (1876-1958)

L’étang

signed ‘Vlaminck’ (lower left) oil on canvas

18¿ x 24 in. (46 x 60.8 cm.)

Painted in 1923

£40,000-60,000

US$50,000-75,000

€48,000-72,000

*510

MAURICE UTRILLO (1883-1955)

Paysage

signed 'Maurice, Utrillo, V,' (lower right) gouache and pencil on paper

14¬ x 21º in. (37 x 54 cm.)

Executed circa 1923

£30,000-50,000

US$38,000-62,000

€36,000-60,000

THE PROPERTY OF AN IMPORTANT PRIVATE JAPANESE COLLECTOR

*511

MAURICE UTRILLO (1883-1955)

La caserne

signed 'Maurice, Utrillo, V,' (lower centre) oil on canvas

18 x 21Ω in. (45.8 x 54.7 cm.)

Painted circa 1938

£30,000-50,000

US$38,000-62,000

€36,000-60,000

THE PROPERTY OF A PRIVATE PARISIAN COLLECTOR

λ*512

JEAN DUFY (1888-1964)

Entrée du port de Honfleur

signed ‘Jean Dufy’ (lower left) oil on canvas

8æ x 21º in. (22.3 x 54.1 cm.)

Painted in 1947-1950

£12,000-18,000

US$15,000-22,000

€15,000-22,000

THE PROPERTY OF A PRIVATE PARISIAN COLLECTOR

λ*513

YOLANDE ARDISSONE

(B. 1927)

Le palais, Belle-Île-en-Mer

signed ‘ARDISSONE’ (lower right); signed and inscribed ‘LE PALAIS ARDISSONE’ (on the reverse) oil on canvas

31√ x 39¡ in. (81 x 100 cm.)

Painted in 1987

£6,000-8,000

US$7,500-9,900

€7,200-9,600

THE PROPERTY OF A PRIVATE PARISIAN COLLECTOR *514

RAOUL DUFY (1877-1953)

La place Arago

signed ‘Raoul Dufy’ (lower right)

gouache and watercolour on paper

19º x 25¬ in. (48.7 x 65.2 cm.)

Executed in 1947

£25,000-35,000

US$32,000-44,000

€30,000-42,000

THE PROPERTY OF A PRIVATE COLLECTOR

λ515

REUVEN RUBIN (1893-1974)

Chrysanthemums

signed 'rubin' and signed again in Hebrew (lower left); signed, dated and inscribed '1965 RUBINCHRYSANTHEMUS' (on the stretcher)

oil on canvas

36¡ x 23¡ in. (92.5 x 59.4 cm.)

Painted in 1965

£40,000-60,000

US$50,000-75,000

€48,000-72,000

PROPERTY FROM A PRIVATE LONDON COLLECTION

EDOUARD VUILLARD (1868-1940)

La bouquetière

stamped 'E Vuillard' (Lugt 2497a; lower right) distemper on canvas

13 x 21 in. (33 x 53.4 cm.)

Painted circa 1900

£30,000-50,000

US$38,000-62,000

€36,000-60,000

THE COLLECTION OF SAM JOSEFOWITZ: A LIFETIME OF DISCOVERY AND SCHOLARSHIP

•517

JÓZSEF RIPPL-RÓNAI (1861-1927)

Vöröshajú lányka virágot szagol

signed 'Rónai' (upper right) pastel on paper

14Ω x 11¡ in. (36.8 x 28.7 cm.)

Executed circa 1894

£5,000-7,000

US$6,200-8,700

€6,000-8,400

PROPERTY FROM A PRIVATE ENGLISH COLLECTION

λ518

GEORGES ROUAULT (1871-1958)

Vieille mère pleure maintenant

solitaire

signed ‘G Rouault’ (lower right) oil on cardboard laid down on canvas

27Ω x 20Ω in. (70 x 52.2 cm.)

Painted in 1939

£30,000-50,000

US$38,000-62,000

THE PROPERTY OF A PRIVATE PARISIAN COLLECTOR

λ*519

PAUL AÏZPIRI (1919-2016)

Le Port de St. Tropez

signed ‘AÏZPIRI’ (lower left) ; signed and inscribed ‘ST TROPEZ LE PORT AÏZPIRI’ (on the stretcher) oil on canvas

21 x 28Ω in. (53.5 x 72.4 cm.)

Painted in 1962

£5,000-7,000

US$6,300-8,700

€6,000-8,400

€36,000-60,000 *520

MAURICE DENIS (1870-1943)

Conversation à la fenêtre

signed with the artist's monogram (lower right) oil on board

8º x 9º in. (21 x 23.5 cm.)

Painted circa 1893

£15,000-20,000

US$19,000-25,000

€18,000-24,000

PROPERTY FROM A PRIVATE COLLECTION

*521

JULES PASCIN (1885-1930)

Portrait de Madame Jeanne Salmon signed 'pascin' (lower right) oil on canvas

28æ x 23¬ in. (73 x 60 cm.)

Painted in Paris in 1925

£15,000-25,000

US$19,000-31,000

€18,000-30,000

PROPERTY FROM A DISTINGUISHED PRIVATE EUROPEAN COLLECTION

*522

JULES PASCIN (1885-1930)

Jeune fille en chemise

oil on canvas

21¬ x 18º in. (55 x 46.2 cm.)

Painted in Paris in 1925

£10,000-15,000

US$13,000-19,000

€12,000-18,000

THE COLLECTION OF SAM JOSEFOWITZ: A LIFETIME OF SCHOLARSHIP AND DISCOVERY

•*523

MAURICE-ALBERT LOUTREUIL (1885-1925)

Petite fille au panier signed 'Loutreuil.' (upper left) oil on canvas

36 x 28Ω in. (91.5 x 72.5 cm.)

Painted in le Pré-St-Gervais in 1923

£2,500-3,500

US$3,200-4,400

€3,000-4,200

λ*524

ROBERT MARC (1943-1993)

Composition «B.O»

signed 'ROBERT MARC' (lower centre) oil on canvas

28¡ x 23¬ in. (72 x 60 cm.)

Painted in September 1988

£5,000-7,000

US$6,200-8,700

€6,000-8,400

λ525

CARLOS NADAL (1917-1998)

Mes amis les peintres

signed 'CNadal' (lower right); signed and inscribed 'CNadal MES AMIS LE PEINTRES' (on the reverse); with the atelier stamp (on the stretcher) oil and acrylic on canvas

25¬ x 36º in. (65 x 92 cm.)

£25,000-35,000

US$32,000-44,000

€30,000-42,000

λ526

CARLOS NADAL (1917-1998)

Parque

signed and dated 'CNadal 83' (lower right); signed, dated and inscribed 'Parque 1983 CNadal B' and stamped twice with the atelier stamp (on the reverse) oil and acrylic on board

18º x 21¬ in. (46.5 x 55 cm.)

Painted in 1983

£8,000-12,000

US$10,000-15,000

€9,600-14,000

MODERN BRITISH AND IRISH ART EVENING SALE

SELECTED HIGHLIGHTS

AUCTION

Wednesday, 19 March 2025, 6:30pm (GMT)

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

VIEWING

Thursday 13 March 9.00 am - 5.00 pm

Friday 14 March 9.00 am - 5.00 pm

Saturday 15 March 12.00 pm - 5.00 pm

Sunday 16 March 12.00 pm - 5.00 pm

Monday 17 March 9.00 am - 5.00 pm

Tuesday 18 March 9.00 am - 8.00 pm

Wednesday 19 March 9.00 am - 3.00 pm

HEAD OF SALE

Alice Murray

+44 (0)207 389 2423 amurray@christies.com

CONDITIONS OF SALE

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

ABSENTEE AND TELEPHONE BIDS

Tel: +44 (0)20 7389 2658

Fax: +44 (0)20 7930 8870

Opposite: Modern British and Irish Art Evening Sale

Frank Auerbach

Nude on Bed III, 1961 (detail)

£700,000-1,000,000

BUYER’S PREMIUM

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

λ

FRANCISZKA THEMERSON (1907-1988)

Eleven Persons and One Donkey Moving Forwards

signed and dated ‘Themerson 47’ (upper right) oil on canvas

27 x 32æ in. (68.6 x 83.2 cm.)

Painted in 1947.

£40,000-60,000

US$50,000-75,000

€48,000-72,000

SIR FRANK BOWLING, R.A. (B. 1934)

Untitled, June 1980

signed and dated ‘Frank Bowling/JUNE 1980’ (on the reverse)

acrylic, acrylic gel and metallic paint on canvas

71 x 28 in. (180.3 x 71.1 cm.)

Painted in 1980.

£80,000-120,000

US$100,000-150,000

€96,000-140,000

FRANK AUERBACH (1931-2024)

Nude on Bed III

oil on panel

18 x 24 in. (45.7 x 61 cm.)

Painted in 1961.

£700,000-1,000,000

US$880,000-1,200,000

€840,000-1,200,000

λ

λ

BEN NICHOLSON, O.M. (1894-1982)

c. 1925 (Jamaïque)

signed ‘Ben Nicholson’ (on the canvas overlap) oil on canvas, laid on board, in the artist’s carved frame 13 x 9Ω in. (32.8 x 24.1 cm.)

Painted circa 1925.

£80,000-120,000

US$100,000-150,000

€96,000-140,000

λ

DAME BARBARA HEPWORTH (1903-1975)

Maquette (Variation on a Theme)

bronze with a brown and green patina, on a marble base 17º in. (43.6 cm.) high, excluding base

Conceived in 1958 and cast in an edition of 9.

This work is recorded as BH 247.

£120,000-180,000

US$150,000-220,000

€150,000-220,000

SEAN SCULLY, R.A. (B. 1945)

Landline Green White

signed, inscribed and dated 'LANDLINE/GREEN WHITE/ Sean Scully/2014' (on the reverse) oil on aluminium

85 x 75 in. (216 x 190.4 cm.)

Painted in 2014.

£500,000-800,000

US$630,000-990,000

€600,000-960,000

BEN NICHOLSON, O.M. (1894-1982)

Nov 25-46 (still life)

signed and dated 'Ben Nicholson Nov 25-46' (on the canvas overlap) oil and pencil on canvas

24√ x 20 in. (63.2 x 50.8 cm.)

Painted in 1946.

£250,000-350,000

US$320,000-440,000

€300,000-420,000

SIR WILLIAM NICHOLSON (1872-1949)

The Lustre Bowl

signed and dated 'Nicholson. 1908' (lower right), signed with initials and inscribed 'Saturday/ My Dear W.H./ If you care for/ this bowl/ please keep it/ it's the best I can/ do. Apropos/ of nothing/ but my regard/ for you/ Ever/ W N' (on Savile Club headed paper attached to the reverse) oil on canvas-board

10√ x 13 in. (27.7 x 33 cm.)

Painted in 1908.

£120,000-180,000

US$150,000-220,000

€150,000-210,000

SIR WINSTON CHURCHILL,

O.M., R.A. (1874-1965)

The Bay of Eze

signed with initials 'WSC' (lower right) oil on canvas

24 x 18 in. (61 x 45.7 cm.)

Painted circa 1950.

£500,000-800,000

US$630,000-1,000,000

€600,000-960,000

MODERN BRITISH AND IRISH ART DAY SALE

SELECTED HIGHLIGHTS

AUCTION

Thursday, 20 March 2025, 2.00pm (GMT)

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

VIEWING

Thursday 13 March 9.00 am - 5.00 pm

Friday 14 March 9.00 am - 5.00 pm

Saturday 15 March 12.00 pm - 5.00 pm

Sunday 16 March 12.00 pm - 5.00 pm

Monday 17 March 9.00 am - 5.00 pm

Tuesday 18 March 9.00 am - 8.00 pm

Wednesday 19 March 9.00 am - 3.00 pm

HEAD OF SALE

Pippa Jacomb +44 (0)207 389 2293 pjacomb@christies.com

CONDITIONS OF SALE

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

ABSENTEE AND TELEPHONE BIDS

Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870

Opposite: Modern British and Irish Art Day Sale Euan Uglow

An Arc from the Eye, 1998 (detail)

£70,000-100,000

BUYER’S PREMIUM

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

HANS COPER (1920-1981)

Bottle vase with disc

impressed with artist's seal (on the underside) stoneware with layered porcelain slips over an incised body, and manganese glaze 8¬ in. (22 cm.) high

£15,000-25,000

US$19,000-31,000

€18,000-30,000

CELIA PAUL (B. 1959)

Study of my Mother oil on canvas

56 x 56 in. (142.3 x 142.3 cm.)

Painted in 1997.

£10,000-15,000

US$13,000-18,000

€12,000-18,000

EUAN UGLOW (1932-2000)

An Arc from the Eye

oil on canvas laid on board

14Ω x 10º in. (36.8 x 26 cm.)

Painted in 1998.

£70,000-100,000

US$88,000-120,000

€84,000-120,000

DAME BARBARA HEPWORTH (1903-1975)

Stringed figure with yellow signed and dated 'Barbara Hepworth 1960' (lower right), signed again, inscribed and dated again 'Barbara Hepworth/''Stringed figure with yellow''/1960' (on the reverse)

oil and pencil on board

13¿ x 20 in. (33.3 x 50.8 cm.)

Painted in 1960.

£60,000-80,000

US$75,000-100,000

€72,000-95,000

EILEEN AGAR (1899-1991)

Fandango

signed and dated 'AGAR/1968-9' (on the reverse), signed again, inscribed and dated again 'EILEEN AGAR/ FANDANGO/1968-9' (on the artist's label attached to the stretcher)

oil on canvas

44º x 44º in. (112.3 x 112.3 cm.)

Painted in 1968-69.

£20,000-30,000

US$25,000-37,000

€24,000-36,000

SIR ANTHONY CARO, O.M., R.A. (1924-2013)

Table Piece ‘Antibes’

painted steel and zinc, unique 64 in. (162.5 cm.) wide

Conceived in 1993.

£30,000-50,000

US$38,000-62,000

€36,000-60,000

GRAYSON PERRY, R.A. (B. 1960)

Pot in the Style of Art

signed 'Perry/1993' (on the underside), signed again with monogram (at the base)

glazed earthenware, unique 14æ in. (37.5 cm.) high

Executed in 1993.

£30,000-50,000

US$38,000-62,000

€36,000-60,000

DUNCAN MCCORMICK (B. 1977)

Pink Sky With Skater

signed 'MCCORMICK' (lower left), signed again, inscribed and dated '''PINK SKY WITH SKATER''/2020/DUNCAN MCCORMICK' (on the reverse)

acrylic on canvas

48 x 36 in. (121.9 x 91.4 cm.)

Painted in 2020.

£10,000-15,000

US$13,000-19,000

€13,000-18,000

CONDITIONS OF SALE • BUYING AT CHRISTIE’S

CONDITIONS OF SALE

These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms, so you should read them carefully before doing so.You will find a glossary at the end explaining the meaning of the words and expressions coloured in bold. As well as these Conditions of Sale, lots in which we offer Non-Fungible Tokens for sale are governed by the Additional Conditions of Sale – Non-Fungible Tokens, which can be found at Appendix A to these Conditions of Sale. For the sale of Non-Fungible Tokens, to the extent there is a conflict between the “London Conditions of Sale Buying at Christie’s” and “Additional Conditions of Sale – Non-Fungible Tokens”, the latter controls.

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

• BEFORE THE SALE

A

1

• DESCRIPTION OF LOTS

(a) Certain words used in the catalogue description have special meanings. You can find details of these on the page headed ‘Important Notices and Explanation of Cataloguing Practice’ which forms part of these terms. You can find a key to the Symbols found next to certain catalogue entries under the section of the catalogue called ‘Symbols Used in this Catalogue’.

(b) Our description of any lot in the catalogue, any condition report and any other statement made by us (whether orally or in writing) about any lot including about its nature or condition, artist, period, materials, approximate dimensions or provenance are our opinion and not to be relied upon as a statement of fact. We do not carry out in-depth research of the sort carried out by professional historians and scholars. All dimensions and weights are approximate only.

2

• OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a lot apart from our authenticity warranty contained in paragraph E2 and to the extent provided in paragraph I below.

• CONDITION

3

(a) The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Their nature means that they will rarely be in perfect condition Lots are sold ‘as is’, in the condition they are in at the time of the sale, without any representation or warranty or assumption of liability of any kind as to condition by Christie’s or by the seller.

(b) Any reference to condition in a catalogue entry or in a condition report will not amount to a full description of condition, and images may not show a lot clearly. Colours and shades may look different in print or on screen to how they look on physical inspection. Condition reports may be available to help you evaluate the condition of a lot Condition reports are provided free of charge as a convenience to our buyers and are for guidance only. They offer our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our staff are not professional restorers or conservators. For that reason they are not an alternative to examining a lot in person or taking your own professional advice. It is your responsibility to ensure that you have requested, received and considered any condition report.

• VIEWING LOTS PRE-AUCTION

4

(a) If you are planning to bid on a lot, you should inspect it personally or through a knowledgeable representative before you make a bid to make sure that you accept the description and its condition We recommend you get your own advice from a restorer or other professional adviser.

(b) Pre-auction viewings are open to the public free of charge. Our specialists may be available to answer questions at pre-auction viewings or by appointment.

5

• ESTIMATES

Estimates are based on the condition, rarity, quality and provenance of the lots and on prices recently paid at auction for similar property. Estimates can change. Neither you, nor anyone else, may rely on any estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium or any applicable taxes.

• WITHDRAWAL

6

Christie’s may, at its option, withdraw any lot at any time prior to or during the sale of the lot. Christie’s has no liability to you for any decision to withdraw.

7 • JEWELLERY

(a) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to improve their look, through methods such as heating and oiling. These methods are accepted by the international jewellery trade but may make the gemstone less strong and/or require special care over time.

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

(c) All types of gemstones may have been improved by some method. You may request a gemmological report for any item which does not have a report if the request is made to us at least three weeks before the date of the auction and you pay the fee for the report.

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

sold in our auctions. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports will be described in the catalogue. Reports from American gemmological laboratories will describe any improvement or treatment to the gemstone. Reports from European gemmological laboratories will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. We do not guarantee nor are we responsible for any report or certificate from a gemmological laboratory that may accompany a lot

(f) For jewellery sales, estimates are based on the information in any gemmological report or, if no report is available, assume that the gemstones may have been treated or enhanced.

8 • WATCHES & CLOCKS

(a) Almost all clocks and watches are repaired in their lifetime and may include parts which are not original. We do not give a warranty that any individual component part of any watch or clock is authentic. Watchbands described as ‘associated’ are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights or keys.

(b) As collectors’ watches and clocks often have very fine and complex mechanisms, a general service, change of battery or further repair work may be necessary, for which you are responsible. We do not give a warranty that any watch or clock is in good working order. Certificates are not available unless described in the catalogue.

(c) Most watches have been opened to find out the type and quality of movement. For that reason, watches with water resistant cases may not be waterproof and we recommend you have them checked by a competent watchmaker before use. Important information about the sale, transport and shipping of watches and watchbands can be found in paragraph H2(g).

B • REGISTERING TO BID

1 • NEW BIDDERS

(a) If this is your first time bidding at Christie’s or you are a returning bidder who has not bought anything from any of our salerooms within the last two years you must register at least 48 hours before an auction to give us enough time to process and approve your registration. We may, at our option, decline to permit you to register as a bidder. You will be asked for the following:

(i) for individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of your current address (for example, a current utility bill or bank statement).

(ii) forcorporate clients:YourCertificate ofIncorporation orequivalent document(s) showing your name and registered address together with documentary proof of directors and beneficial owners; and (iii) for trusts, partnerships, offshore companies and other business structures, please contact us in advance to discuss our requirements.

(b) We may also ask you to give us a financial reference and/or a deposit as a condition of allowing you to bid. For help, please contact our Credit Department on +44 (0)20 7839 9060.

2 • RETURNING BIDDERS

We may at our option ask you for current identification as described in paragraph B1(a) above, a financial reference or a deposit as a condition of allowing you to bid. If you have not bought anything from any of our salerooms in the last two years or if you want to spend more than on previous occasions, please contact our Credit Department on +44 (0)20 7839 9060.

• IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS

3

If in our opinion you do not satisfy our bidder identification and registration procedures including, but not limited to completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller.

• BIDDING ON BEHALF OF ANOTHER PERSON

4

(a) As authorised bidder. If you are bidding on behalf of another person who will pay Christie’s directly, that person will need to complete the registration requirements above before you can bid, and supply a signed letter authorising you to bid for them.

(b) As agent for a principal: If you register in your own name but are acting as agent for someone else (the “ultimate buyer(s)”) who will put you in funds before you pay us, you accept personal liability to pay the purchase price and all other sums due. We will require you to disclose the identity of the ultimate buyer(s) and may require you to provide documents to verify their identity in accordance with paragraph E3(b).

5

• BIDDING IN PERSON

If you wish to bid in the saleroom you must register for a numbered bidding paddle at least 30 minutes before the auction. You may register online at www.christies.com or in person. For help, please contact the Credit Department on +44 (0)20 7839 9060.

• BIDDING SERVICES

6

The bidding services described below are a free service offered as a convenience to our clients and Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

(a) Phone Bids

Your request for this service must be made no later than 24 hours prior to the auction. We will accept bids by telephone for lots only if our staff are available to take the bids. If you need to bid in a language other than in English, you must arrange this well before the auction. We may record telephone bids. By bidding on the telephone, you are agreeing to us recording your conversations. You also agree that your telephone bids are governed by these Conditions of Sale.

(b) Internet Bids on Christie’s LIVE™

For certain auctions we will accept bids over the Internet. For more information, please visit www.christies.com/register-and-bid As well as these Conditions of Sale, internet bids are governed by the Christie’s LIVE™ Terms of Use which are available at www. christies.com/christies-live-terms

c) Written Bids

You can find a Written Bid Form at any Christie’s office or by choosing the sale and viewing the lots online at www.christies. com. We must receive your completed Written Bid at least 24 hours before the auction. Bids must be placed in the currency of the saleroom. The auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the reserve. If you make a written bid on a lot which does not have a reserve and there is no higher bid than yours, we will bid on your behalf at around 50% of the low estimate or, if lower, the amount of your bid. If we receive written bids on a lot for identical amounts, and at the auction these are the highest bids on the lot we will sell the lot to the bidder whose written bid we received first.

• CONDUCTING THE SALE

1

C

• WHO CAN ENTER THE AUCTION

We may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid.

• RESERVES

2

Unless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without reserve with the symbol • next to the lot number. The reserve cannot be more than the lot’s low estimate, unless the lot is subject to a third party guarantee and the irrevocable bid exceeds the printed low estimate. In that case, the reserve will be set at the amount of the irrevocable bid. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º♦

• AUCTIONEER’S DISCRETION

3

The auctioneer can at their sole option:

(a) refuse any bid; (b) move the bidding backwards or forwards in any way they may decide, or change the order of the lots;

(c) withdraw any lot; (d) divide any lot or combine any two or more lots;

(e) reopen or continue the bidding even after the hammer has fallen; and

(f) in the case of error or dispute related to bidding and whether during or after the auction, to continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot. If you believe that the auctioneer has accepted the successful bid in error, you must provide a written notice detailing your claim within 3 business days of the date of the auction. The auctioneer will consider such claim in good faith. If the auctioneer, in the exercise of their discretion under this paragraph, decides after the auction is complete, to cancel the sale of a lot, or reoffer and resell a lot, they will notify the successful bidder no later than by the end of the 7th calendar day following the date of the auction. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way prejudice Christie’s ability to cancel the sale of a lot under any other applicable provision of these Conditions of Sale, including the rights of cancellation set forth in section B(3), E(2)(i), F(4) and J(1).

4

• BIDDING

The auctioneer accepts bids from:

(a) bidders in the saleroom; (b) telephone bidders, and internet bidders through ‘Christie’s LIVE™ (as shown above in Section B6); and (c) written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction.

5 • BIDDING ON BEHALF OF THE SELLER

The auctioneer may, at their sole option, bid on behalf of the seller up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders. The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve. If lots are offered without reserve the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot. If no bid is made at that level, the auctioneer may decide to go backwards at their sole option until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold.

6 • BID INCREMENTS

Bidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at their sole option where the bidding should start and the bid increments.

• CURRENCY CONVERTER

7

The saleroom video screens (and Christies LIVE™) may show bids in some other major currencies as well as sterling. Any conversion is for guidance only and we cannot be bound by any rate of exchange used. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

• SUCCESSFUL BIDS

8

Unless the auctioneer decides to use their discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by post and/or email after the auction, we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges.

(e) We do not obtain a gemmological report for every gemstone

• LOCAL BIDDING LAWS

9

D

You agree that when bidding in any of our sales that you will strictly comply with all local laws and regulations in force at the time of the sale for the relevant sale site.

• THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

1 • THE BUYER’S PREMIUM

In addition to the hammer price the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge 26% of the hammer price up to and including £800,000, 21% on that part of the hammer price over £800,000 and up to and including £4,500,000, and 15.0% of that part of the hammer price above £4,500,000. VAT will be added to the buyer’s premium and is payable by you. For lots offered under the VAT Margin Scheme or Temporary Admission VAT rules, the VAT may not be shown separately on our invoice because of tax laws. You may be eligible to have a VAT refund in certain circumstances if the lot is exported. Please see the “VAT refunds: what can I reclaim?” section of ‘VAT Symbols and Explanation’ for further information.

2 • TAXES

The successful bidder is responsible for all applicable tax including any VAT, GST, sales or compensating use tax or equivalent tax wherever such taxes may arise on the hammer price and the buyer’s premium VAT charges and refunds depend on the particular circumstances of the buyer. It is the buyer’s responsibility to ascertain and pay all taxes due. VAT is payable on the buyer’s premium and, for some lots, VAT is payable on the hammer price. Following the departure of the UK from the EU (Brexit), UK VAT and Customs rules will apply only.

For lots Christie’s ships or delivers to the United States, sales or use tax may be due on the hammer price, buyer’s premium and/or any other charges related to the lot, regardless of the nationality or citizenship of the purchaser. Christie’s will collect sales tax where legally required. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or delivered. Successful bidders claiming an exemption from sales tax must provide appropriate documentation to Christie’s prior to the release of the lot. For shipments/deliveries to those states for which Christie’s is not required to collect sales tax, a successful bidder may be required to remit use tax to that state’s taxing authorities. Christie’s recommends you obtain your own independent tax advice with further questions.

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

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

3 • ARTIST’S RESALE ROYALTY

In certain countries, local laws entitle the artist or the artist’s estate to a royalty known as ‘artist’s resale right’ when any lot created by the artist is sold. We identify these lots with the λ symbol next to the lot number. If these laws apply to a lot, you must pay us an extra amount equal to the royalty. We will pay the royalty to the appropriate authority on the seller’s behalf.

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

Royalty for the portion of the hammer price (in Pound Sterling)

4% up to 50,000

3% between 50,000.01 and 200,000

1% between 200,000.01 and 350,000

0.50% between 350,000.01 and 500,000 over 500,000, the lower of 0.25% and 12,500 GBP.

E • WARRANTIES

1 • SELLER’S WARRANTIES

For each lot, the seller gives a warranty that the seller:

(a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot, or the right to do so in law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else.

If one or more of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses. The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded.

2 • OUR AUTHENTICITY WARRANTY

We warrant, subject to the terms below, that the lots in our sales are authentic (our ‘authenticity warranty’). If, within five years of the date of the auction, you give notice to us that your lot is not authentic, subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The terms of the authenticity warranty are as follows:

(a) It will be honoured for claims notified within a period of five years from the date of the auction. After such time, we will not be obligated to honour the authenticity warranty

(b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading’). It does not apply to any information other than in the Heading even if shown in UPPERCASE type

(c) The authenticity warranty does not apply to any Heading or part of a Heading which is qualified Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. For example, use of the

term ‘ATTRIBUTED TO…’ in a Heading means that the lot is in Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and a lot’s full catalogue description before bidding.

(d) The authenticity warranty applies to the Heading as amended by any Saleroom notice

(e) The authenticity warranty does not apply where scholarship has developed since the auction leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the sale or drew attention to any conflict of opinion.

(f) The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot

(g) The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest or restriction by anyone else. The benefit of this authenticity warranty may not be transferred to anyone else.

(h) In order to claim under the authenticity warranty, you must: (i) give us written notice of your claim within five years of the date of the auction. We may require full details and supporting evidence of any such claim;

(ii) at Christie’s option, we may require you to provide the written opinions of two recognised experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic. If we have any doubts, we reserve the right to obtain additional opinions at our expense; and

(iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.

(i) Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, in any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses.

(j) Books. Where the lot is a book, we give an additional warranty for 14 days from the date of the sale that if on collation any lot is defective in text or illustration, we will refund your purchase price, subject to the following terms:

(i) This additional warranty does not apply to:

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

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

(c) books not identified by title;

(d) lots sold without a printed estimate;

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

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

(ii) To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 14 days of the date of the sale.

(K) South East Asian Modern and Contemporary Art and Chinese Calligraphy and Painting.

In these categories, the authenticity warranty does not apply because current scholarship does not permit the making of definitive statements. Christie’s does, however, agree to cancel a sale in either of these two categories of art where it has been proven the lot is a forgery. Christie’s will refund to the original buyer the purchase price in accordance with the terms of Christie’s authenticity warranty, provided that the original buyer notifies us with full supporting evidence documenting the forgery claim within twelve (12) months of the date of the auction. Such evidence must be satisfactory to us that the lot is a forgery in accordance with paragraph E2(h)(ii) above and the lot must be returned to us in accordance with E2h(iii) above. Paragraphs E2(b), (c), (d), (e), (f) and (g) and (i) also apply to a claim under these categories.

(l) Chinese, Japanese and Korean artefacts (excluding Chinese, Japanese and Korean calligraphy, paintings, prints, drawings and jewellery).

In these categories, paragraph E2 (b) – (e) above shall be amended so that where no maker or artist is identified, the authenticity warranty is given not only for the Heading but also for information regarding date or period shown in UPPERCASE type in the second line of the catalogue description (the “SubHeading”). Accordingly, all references to the Heading in paragraph E2 (b) – (e) above shall be read as references to both the Heading and the SubHeading

• YOUR WARRANTIES

3

(a) You warrant that the funds used for settlement are not connected with any criminal activity, including tax evasion, and you are neither under investigation, nor have you been charged with or convicted of money laundering, terrorist activities or other crimes.

(b) Where you are bidding as agent on behalf of any ultimate buyer(s) who will put you in funds before you pay Christie’s for the lot(s), you warrant that:

(i) you have conducted appropriate customer due diligence on the ultimate buyer(s) and have complied with all applicable anti-money laundering, counter terrorist financing and sanctions laws;

(ii) you will disclose to us the identity of the ultimate buyer(s) (including any officers and beneficial owner(s) of the ultimate buyer(s) and any persons acting on its behalf) and on our request, provide documents to verify their identity;

(iii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes;

(iv) you do not know, and have no reason to suspect that the ultimate buyer(s) (or its officers, beneficial owners or any persons acting on its behalf) are on a sanctions list, are under investigation for, charged with or convicted of money laundering, terrorist activities or other crimes, or that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion; and

(v) where you are a regulated person who is supervised for anti-money laundering purposes under the laws of the EEA or

another jurisdiction with requirements equivalent to the EU 4th Money Laundering Directive, and we do not request documents to verify the ultimate buyer’s identity at the time of registration, you consent to us relying on your due diligence on the ultimate buyer, and will retain their identification and verification documents for a period of not less than 5 years from the date of the transaction. You will make such documentation available for immediate inspection on our request.

• PAYMENT

F

1

• HOW TO PAY

(a) Immediately following the auction, you must pay the purchase price being: (i) the hammer price; and (ii) the buyer’s premium; and (iii) any amounts due under section D3 above; and (iv) any duties, goods, sales, use, compensating or service tax or VAT.

Payment is due no later than by the end of the seventh calendar day following the date of the auction, or no later than 24 hours after we issue you with an invoice in the case of payment made in cryptocurrency, as the case may be (the ‘due date’).

(b) We will only accept payment from the registered bidder. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name. You must pay immediately even if you want to export the lot and you need an export licence.

(c) You must pay for lots bought at Christie’s in the United Kingdom in the currency stated on the invoice in one of the following ways:

(i) Wire transfer

You must make payments to:

Lloyds Bank Plc, City Office, PO Box 217, 72 Lombard Street, London EC3P 3BT. Account number: 00172710, sort code: 30-00-02 Swift code: LOYDGB2LCTY. IBAN (international bank account number): GB81 LOYD 3000 0200 1727 10.

(ii) Credit Card

We accept most major credit cards subject to certain conditions. You may make payment via credit card in person. You may also make a ‘cardholder not present’ (CNP) payment by calling Christie’s Post-Sale Services Department on +44 (0)20 7752 3200 or for some sales, by logging into your MyChristie’s account by going to: www.christies.com/mychristies. Details of the conditions and restrictions applicable to credit card payments are available from our Post-Sale Services Department, whose details are set out in paragraph (e) below.

If you pay for your purchase using a credit card issued outside the region of the sale, depending on the type of credit card and account you hold, the payment may incur a cross-border transaction fee. If you think this may apply to, you, please check with your credit card issuer before making the payment. Please note that for sales that permit online payment, certain transactions will be ineligible for credit card payment.

(iii) Cash

We accept cash subject to a maximum of £5,000 per buyer per year at our Cashier’s Department only (subject to conditions).

(iv) Banker’s draft

You must make these payable to Christie’s and there may be conditions.

(v) Cheque

You must make cheques payable to Christie’s. Cheques must be from accounts in pounds sterling (GBP) from a United Kingdom bank.

(vi) Cryptocurrency

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

(d) You must quote the sale number, lot number(s), your invoice number and Christie’s client account number when making a payment. All payments sent by post must be sent to: Christie’s, Cashiers Department, 8 King Street, St James’s, London, SW1Y 6QT.

(e) For more information please contact our Post-Sale Service Department by phone on +44 (0)20 7752 3200 or fax on +44 (0)20 752 3300.

2

• TRANSFERRING OWNERSHIP TO YOU

You will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price, even in circumstances where we have released the lot to the buyer.

• TRANSFERRING RISK TO YOU

3

The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following:

(a) When you collect the lot; or

(b) At the end of the 30th day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse as set out on the page headed ‘Storage and Collection’, unless we have agreed otherwise with you in writing.

• WHAT HAPPENS IF YOU DO NOT PAY

4

(a) If you fail to pay us the purchase price in full by the due date we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights or remedies we have by law):

(i)to charge interest from the due date at a rate of 5% a year above the UK Lloyds Bank base rate from time to time on the unpaid amount due;

(ii) we can cancel the sale of the lot. If we do this, we may sell the lot again, publicly or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale;

(iii) we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue you for such amounts;

(iv) we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law; (v) we can take what you owe us from any amounts which we or any company in the Christie’s Group may owe you (including any

deposit or other part-payment which you have paid to us);

(vi) we can, at our option, reveal your identity and contact details to the seller;

(vii) we can reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;

(viii) to exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and (ix) we can take any other action we see necessary or appropriate.

(b) If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other part-payment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction.

(c) If you make payment in full after the due date, and we choose to accept such payment we may charge you storage and transport costs from the date that is ninety (90) calendar days following the auction in accordance with paragraphs Gc and Gd.

5

• KEEPING YOUR PROPERTY

If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law. We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe. However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us.

• COLLECTION AND STORAGE

G

(a) You must collect purchased lots within thirty (30) days from the auction (but note that lots will not be released to you until you have made full and clear payment of all amounts due to us).

(b) If you do not collect any lot within ninety (90) days following the auction we can, at our option:

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

(ii) move the lot to another Christie’s location or an affiliate or third party warehouse and charge you transport costs and administration fees for doing so and you will be subject to the third party storage warehouse’s standard terms and to pay for their standard fees and costs.use’s standard terms and to pay for their standard fees and costs.

(iii) sell the lot in any commercially reasonable way we think appropriate.

(c) The Storage Conditions which can be found at www.christies.com/ en/help/buying-guide/storage-conditions will apply.

(d) Nothing in this paragraph is intended to limit our rights under paragraph F4

• TRANSPORT AND SHIPPING

H

1

• TRANSPORT AND SHIPPING

We will enclose a transport and shipping form with each invoice sent to you. You must make all transport and shipping arrangements. However, we can arrange to pack, transport and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate, especially for any large items or items of high value that need professional packing before you bid. We may also suggest other handlers, packers, transporters or experts if you ask us to do so. For more information, please contact Christie’s Art Transport on +44 (0)20 7839 9060. See the information set out at www.christies.com/shipping or contact us at arttransportlondon@ christies.com. We will take reasonable care when we are handling, packing, transporting and shipping a lot However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act or neglect.

• EXPORT AND IMPORT

2

Any lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries. Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of any lot you purchase.

(a) You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot. We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one. For more information, please contact Christie’s Art Transport Department on +44 (0)20 7839 9060. See the information set out at www.christies.com/shipping or contact us at arttransport_ london@christies.com.

(b) You alone are responsible for any applicable taxes, tariffs or other government-imposed charges relating to the export or import of the lot. If Christie’s exports or imports the lot on your behalf, and if Christie’s pays these applicable taxes, tariffs or other government-imposed charges, you agree to refund that amount to Christie’s.

(c) Lots made of protected species Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. This material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the country in which the lot is sold and import it into another country as a licence may be required. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age, and you will need to obtain these at your own cost. Several countries have imposed restrictions on dealing in elephant ivory, ranging from a total ban on importing African elephant ivory in the United States

to importing, exporting and selling under strict measures in other countries. The UK and EU have both implemented regulations on selling, exporting and importing elephant ivory. In our London sales, lots made of or including elephant ivory material are marked with the symbol and are offered with the benefit of being registered as ‘exempt’ in accordance with the UK Ivory Act. Handbags containing endangered or protected species material are marked with the symbol ≈ and further information can be found in paragraph H2(h) below. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of property containing such protected or regulated material.

(d) Lots of Iranian origin

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

(e) Gold

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

(f) Jewellery over 50 years old

Under current laws, jewellery over 50 years old which is worth £39,219 or more will require an export licence which we can apply for on your behalf. It may take up to eight weeks to obtain the export jewellery licence.

(g) Watches

Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol ψ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its discretion, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within one year of the date of the sale. Please check with the department for details on a particular lot. For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots

(h) Handbags

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

• OUR LIABILITY TO YOU

I

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties

(b) (i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these Conditions of Sale; or (ii) we do not give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) In particular, please be aware that our written and telephone bidding services, Christie’s LIVE™, condition reports, currency converter and saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission or breakdown in these services.

(d) We have no responsibility to any person other than a buyer in connection with the purchase of any lot

(e) If, in spite of the terms in paragraphs (a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

J

• OTHER TERMS

1

• OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel a sale of a lot if: (i) any of your warranties in paragraph E3 are not correct; (ii) we reasonably believe that completing the transaction is or may be unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

• RECORDINGS

2

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law. However, we may, through this process, use or share these recordings with another Christie’s Group company and marketing partners to analyse our customers and to help us to tailor our services for buyers. If you do not want to be videotaped, you may make arrangements to make a telephone or written bid or bid on Christie’s LIVE™ instead. Unless we agree otherwise in writing, you

may not videotape or record proceedings at any auction.

• COPYRIGHT

3

We own the copyright in all images, illustrations and written material produced by or for us relating to a lot (including the contents of our catalogues unless otherwise noted in the catalogue). You cannot use them without our prior written permission. We do not offer any guarantee that you will gain any copyright or other reproduction rights to the lot

• ENFORCING THIS AGREEMENT

4

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as being deleted and the rest of this agreement will not be affected.

• TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

5

You may not grant a security over or transfer your rights or responsibilities under these terms on the contract of sale with the buyer unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

• TRANSLATIONS

6

If we have provided a translation of this agreement, we will use this original version in deciding any issues or disputes which arise under this agreement.

• PERSONAL INFORMATION

7

We will hold and process your personal information and may pass it to another Christie’s Group company for use as described in, and in line with, our privacy notice at www.christies.com/about-us/ contact/privacy and if you are a resident of California you can see a copy of our California Consumer Privacy Act statement at https:// www.christies.com/about-us/contact/ccpa

• WAIVER

8

No failure or delay to exercise any right or remedy provided under these Conditions of Sale shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

• LAW AND DISPUTES

9

This agreement, and any contractual or non-contractual dispute arising out of or in connection with this agreement, will be governed by English law. Before either you or we start any court proceedings and if you and we agree, you and we will try to settle the dispute by mediation in accordance with the CEDR Model Mediation Procedure. If the dispute is not settled by mediation, you agree for our benefit that the dispute will be referred to and dealt with exclusively in the English courts; however, we will have the right to bring proceedings against you in any other court.

•REPORTING ON WWW.CHRISTIES.COM

10

Details of all lots sold by us, including catalogue descriptions and prices, may be reported on www.christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree to requests to remove these details from www. christies.com

K

• GLOSSARY auctioneer: the individual auctioneer and/or Christie’s. authentic: a genuine example, rather than a copy or forgery of: (i) the work of a particular artist, author or manufacturer, if the lot is described in the Heading as the work of that artist, author or manufacturer;

(ii) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture;

(iii) a work for a particular origin source if the lot is described in the Heading as being of that origin or source; or (iv) in the case of gems, a work which is made of a particular material, if the lot is described in the Heading as being made of that material.

authenticity warranty: the guarantee we give in this agreement that a lot is authentic as set out in section E2 of this agreement.

buyer’s premium: the charge the buyer pays us along with the hammer price catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice

Christie’s Group: Christie’s International Plc, its subsidiaries and other companies within its corporate group.

condition: the physical condition of a lot due date: has the meaning given to it in paragraph F1(a).

estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot

Heading: has the meaning given to it in paragraph E2.

SubHeading: has the meaning given to it in paragraph E2. lot: an item to be offered at auction (or two or more items to be offered at auction as a group).

other damages: any special, consequential, incidental or indirect damages of any kind or any damages which fall within the meaning of ‘special’, ‘incidental’ or ‘consequential’ under local law.

purchase price: has the meaning given to it in paragraph F1(a).

provenance: the ownership history of a lot

qualified: has the meaning given to it in paragraph E2 and Qualified Headings means the section headed Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’.

reserve: the confidential amount below which we will not sell a lot saleroom notice: a written notice posted next to the lot in the saleroom and on www.christies.com which is also read to prospective telephone bidders and notified to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale, or before a particular lot is auctioned.

UPPER CASE type: means having all capital letters.

warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

VAT SYMBOLS AND EXPLANATION (FOR ALL LOTS EXCLUDING NFTS)

IMPORTANT NOTICE:

The VAT liability in force on the date of the sale will be the rules under which we invoice you. You can find the meanings of words in bold on this page in the glossary section of the Conditions of Sale.

VAT PAYABLE

No Symbol

†

We will use the VAT Margin Scheme in accordance with Section 50A of the VAT Act 1994 & SI VAT (Special Provisions) Order 1995. No VAT will be charged on the hammer price VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

θ We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyer’s premium and shown separately on our invoice. For qualifying books only, no VAT is payable on the hammer price or the buyer’s premium

* These lots have been imported from outside the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

Ω These lots have been imported from outside the UK for sale and placed under the Temporary Admission regime. Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

α The VAT treatment will depend on whether you have registered to bid with a UK address or non-UK address:

• If you register to bid with an address within the UK you will be invoiced under the VAT Margin Scheme (see No Symbol above).

• If you register to bid with an address outside of the UK you will be invoiced under standard VAT rules (see † symbol above)

‡ For wine offered ‘in bond’ only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer

If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be charged on the Duty inclusive hammer price

Whether you buy the wine in bond or out of bond, 20% VAT will be added to the buyer’s premium and shown on the invoice.

VAT refunds: what can I reclaim?

Non-UK buyer If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:

No symbol We will refund the VAT amount in the buyer’s premium

and α We will refund the VAT charged on the hammer price. VAT on the buyer’s premium can only be refunded if you are an overseas business. The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.

‡ (wine only)

No Excise Duty or Clearance VAT will be charged on the hammer price providing you export the wine while ‘in bond’ directly outside the UK using an Excise authorised shipper. VAT on the buyer’s premium can only be refunded if you are an overseas business. The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.

* and Ω We will refund the Import VAT charged on the hammer price and the VAT amount in the buyer’s premium

1. We CANNOT offer refunds of VAT amounts or Import VAT to buyers who do not meet all applicable conditions in full. If you are unsure whether you will be entitled to a refund, please contact Client Services at the address below before you bid.

2. No VAT amounts or Import VAT will be refunded where the total refund is under £100.

3. To receive a refund of VAT amounts/ Import VAT (as applicable) a non-UK buyer must:

a) have registered to bid with an address outside of the UK; and

b) provide immediate proof of correct export out of the UK within the required time frames of: 30 days of

collection via a ‘controlled export’, but no later than 90 days from the date of the sale for * and Ωlots. All other lots must be exported within 90 days of the sale.

4. Details of the documents which you must provide to us to show satisfactory proof of export/ shipping are available from our VAT team at the address below. We charge a processing fee of £35.00 per invoice to check shipping/ export documents. We will waive this processing fee if you appoint Christie’s Shipping Department to arrange your export/shipping.

5. Following the UK’s departure from the EU (Brexit), private buyers will only be able to secure VAT-free

COPYRIGHT NOTICE

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

© COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2024)

invoicing and/or VAT refunds if they instruct Christie’s or a third party commercial shipper to export out of the UK on their behalf.

6. Private buyers who choose to export their purchased lots from the UK hand carry will now be charged VAT at the applicable rate and will not be able to claim a VAT refund.

7. If you appoint Christie’s Art Transport or one of our authorised shippers to arrange your export/shipping we will issue you with an export invoice with the applicable VAT or duties cancelled as outlined above. If you later cancel or change the shipment in a manner that infringes the rules outlined above we will issue a revised invoice charging you all applicable taxes/charges. If you

export via a third party commercial shipper, you must provide us with sufficient proof of export in order for us to cancel the applicable VAT or duties outlined above.

8. If you ask us to re-invoice you under normal UK VAT rules (as if the lot had been sold with a † symbol) instead of under the Margin Scheme the lot may become ineligible to be resold using the Margin Schemes. You should take professional advice if you are unsure how this may affect you.

9. All reinvoicing requests, corrections, or other VAT adjustments must be received within four years from the date of sale.

If you have any questions about VAT refunds please contact Christie’s Client Services on info@christies.com Tel: +44 (0)20 7389 2886. Fax: +44 (0)20 7839 1611.

SYMBOLS USED IN THIS CATALOGUE

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

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

º

♦

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

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

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

¤ A party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot

λ

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

• Lot offered without reserve

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

≈

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

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

ψ

Lot incorporates material from endangered species which is shown for display purposes only and is not for sale.

See paragraph H2(h) of the Conditions of Sale for further information.

Lot is a Non Fungible Token (NFT). Please see Appendix A – Additional Conditions of Sale – Non- Fungible Tokens in the Conditions of Sale for further information.

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

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

† , Ɵ, *, Ω, α, ‡ See VAT Symbols and Explanation in the Conditions of Sale for further information.

See Storage and Collection Page.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot

IMPORTANT NOTICES

CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION

Δ Property in which Christie’s has an ownership or financial interest

From time to time, Christie’s may offer a lot in which Christie’s has an ownership interest or a financial interest. Such lot is identified in the catalogue with the symbol Δ next to its lot number. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest in the front of the catalogue.

º Minimum Price Guarantees

On occasion, Christie’s has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the lot. This is known as a minimum price guarantee. Where Christie’s holds such financial interest, we identify such lots with the symbol ° next to the lot number.

º♦ Third Party Guarantees/Irrevocable bids

Where Christie’s has provided a Minimum Price Guarantee, it is at risk of making a loss, which can be significant if the lot fails to sell. Christie’s therefore sometimes chooses to share that risk with a third party who agrees, prior to the auction, to place an irrevocable written bid on the lot. If there are no other higher bids, the third party commits to buy the lot at the level of their irrevocable written bid. In doing so, the third party takes on all or part of the risk of the lot not being sold. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º♦ In most cases, Christie’s compensates the third party in exchange for accepting this risk. Where the third party is the successful bidder, the third party’s remuneration is based on a fixed financing fee. If the third party is not the successful bidder, the remuneration may either be based on a fixed fee or an amount calculated against the final hammer price. The third party may also bid for the lot above the irrevocable written bid.

Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not they have a financial interest in relation to the lot

Property in which Christie’s has an interest and Third Party Guarantee/Irrevocable bid

Where Christie’s has a financial interest in a lot and the lot fails to sell, Christie’s is at risk of making a loss. As such, Christie’s may choose to share that risk with a third party whereby the third party contractually agrees, prior to the auction, to place an irrevocable written bid on the lot. Such lot is identified with the symbol next to the lot number. Where the third party is the successful bidder on the lot, they will not receive compensation in exchange for accepting this risk. If the third party is not the successful bidder, Christie’s may compensate the third party. The third party is required by us to disclose to anyone they are advising of their financial interest in any lot in which Christie’s has a financial interest. If you are advised by or bidding through an agent on a lot in which Christie’s has a financial interest that is subject to a contractual written bid, you should always ask your agent to confirm whether or not they have a financial interest in relation to the lot

Bidding by parties with an interest

When a party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot, we will mark the lot with this symbol ¤. This interest can include beneficiaries of an estate that consigned the lot or a joint owner of a lot Any interested party that successfully bids on a lot must comply with Christie’s Conditions of Sale, including paying the lot’s full buyer’s premium plus applicable taxes.

Post-catalogue notifications

If Christie’s enters into an arrangement or becomes aware of bidding that would have required a catalogue symbol, we will notify you by updating christies.com with the relevant information (time permitting) or otherwise by a pre-sale or prelot announcement.

Other Arrangements

Christie’s may enter into other arrangements not involving bids. These include arrangements where Christie’s has advanced money to consignors or prospective purchasers or where Christie’s has shared the risk of a guarantee with a partner without the partner being required to place an irrevocable written bid or otherwise participating in the bidding on the lot. Because such arrangements are unrelated to the bidding process they are not marked with a symbol in the catalogue.

Please see: http://www.christies.com/ financial-interest/ for a more detailed explanation of minimum price guarantees and third party financing arrangements.

EXPLANATION OF CATALOGUING PRACTICE

Terms used in a catalogue or lot description have the meanings ascribed to them below. Please note that all statements in a catalogue or lot description as to authorship are made subject to the provisions of the Conditions of Sale, including the authenticity warranty. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration. Written condition reports are usually available on request.

A term and its definition listed under ‘Qualified Headings’ is a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the authenticity warranty shall not be available with respect to lots described using this term.

PICTURES, DRAWINGS, PRINTS, MINIATURES AND SCULPTURE

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

QUALIFIED HEADINGS

“Attributed to…”: in Christie’s qualified opinion probably a work by the artist in whole or in part.

“Studio of …”/“Workshop of …”: in Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under their supervision.

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

“Follower of …”: in Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil.

“Manner of …”: in Christie’s qualified opinion a work executed in the artist’s style but of a later date.

“After …”: in Christie’s qualified opinion a copy (of any date) of a work of the artist.

“Signed …”/“Dated …”/ “Inscribed …”: in Christie’s qualified opinion the work has been signed/dated/inscribed by the artist.

“With signature …”/“With date …”/ “With inscription …”: in Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist.

The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published.

STORAGE AND COLLECTION

COLLECTION LOCATION AND TERMS

Specified lots (sold and unsold) marked with a filled square ( ) not collected from Christie’s, 8 King Street, London SW1Y 6QT by 5.00pm on the day of the sale will, at our option, be removed to Crozier Park Royal (details below). Christie’s will inform you if the lot has been sent offsite.

If the lot is transferred to Crozier Park Royal, it will be available for collection from 12.00pm on the second business day following the sale.

Please call Christie’s Client Service 24 hours in advance to book a collection time at Crozier Park Royal. All collections from Crozier Park Royal will be by pre-booked appointment only

Tel: +44 (0)20 7839 9060

Email: cscollectionsuk@christies.com.

If the lot remains at Christie’s, 8 King Street, it will be available for collection on any working day (not weekends) from 9.00am to 5.00pm.

COLLECTION AND CONTACT DETAILS

Lots will only be released on payment of all charges due and on production of a Collection Form from Christie’s. Charges may be paid in advance or at the time of collection. We may charge fees for storage if your lot is not collected within thirty days from the sale. Please see paragraph G of the Conditions of Sale for further detail.

Tel: +44 (0)20 7839 9060

Email: cscollectionsuk@christies.com

SHIPPING AND DELIVERY

Christie’s Post-Sale Service can organise local deliveries or international freight. Please contact them on +44 (0)20 7752 3200 or PostSaleUK@christies.com.

CROZIER PARK ROYAL

Unit 7, Central Park Central Way London NW10 7FY

Vehicle access via Central Way only, off Acton Lane.

COLLECTION FROM CROZIER PARK ROYAL

Please note that the opening hours for Crozier Park Royal are Monday to Friday 8.30am to 4.30pm and lots transferred are not available for collection at weekends.

As a leader in the art market,

Christie’s is committed to building a sustainable business model that promotes and protects the environment. Our digital platform on christies.com offers a conscious approach, creating an immersive space where we bring art to life through high quality images, videos and in-depth essays by our specialists.

With this robust online support, Christie’s will print fewer catalogues to ensure that we achieve our goal of Net Zero by 2030. However, when we do print, we will uphold the highest sustainable standards.

Please scan for more information about our sustainability goals and projects.

The catalogue you are reading is:

printed on fully recycled paper;

printed with vegetable-based ink and biodegradable laminates;

printed in close proximity to our markets in an effort to reduce distribution emissions.

IDENTITY VERIFICATION

From January 2020, new anti-money laundering regulations require Christie’s and other art businesses to verify the identity of all clients. To register as a new client, you will need to provide the following documents, or if you are an existing client, you will be prompted to provide any outstanding documents the next time you transact.

Private individuals:

• A copy of your passport or other government-issued photo ID

• Proof of your residential address (such as a bank statement or utility bill) dated within the last three months

Please upload your documents through your christies.com account: click ‘My Account’ followed by ‘Complete Profle’. You can also email your documents to info@christies.com or provide them in person.

Organisations:

• Formal documents showing the company’s incorporation, its registered ofice and business address, and its oficers, members and ultimate benefcial owners

• A passport or other government-issued photo ID for each authorised user

Please email your documents to info@christies.com or provide them in person.

Paris | 8 April 2025

VIEWING

2-8 April 2025

9 avenue Matignon

75008 Paris

Antoine Lebouteiller alebouteiller@christies.com

+33 (0)1 40 76 85 83

SOPHIE TAEUBER-ARP (1889-1943) Relief rond en quatre hauteurs, éléments courbes, coupant(s), cassant(s) painted wood relief diameter: 235/8 in.

Executed in 1936; this work is unique €1,900,000-2,500,000

© Bridgeman Images

christies.com

PHOTO CREDITS

FRONT COVER

20th/21st CENTURY: LONDON EVENING SALE

Lot 10, Francis Bacon, Portrait of Man with Glasses III, 1963. © The Estate of Francis Bacon. All rights reserved. DACS 2025.

FRONTISPIECE 1

20th/21st CENTURY: LONDON EVENING SALE

Lot 25, Tamara de Lempicka, Portrait du Docteur Boucard, 1928 (detail).

FRONTISPIECE 2

20th/21st CENTURY: LONDON EVENING SALE

Lot 18, David Hockney, Between Kilham and Langtoft, 2006 (detail).

FRONTISPIECE 3

20th/21st CENTURY: LONDON EVENING SALE

Lot 15, Cy Twombly, Untitled, 1970 (detail).

FRONTISPIECE 4

20th/21st CENTURY: LONDON EVENING SALE

Lot 21, Michael Andrews, School IV: Barracuda under Skipjack Tuna, 1978 (detail)

FRONTISPIECE 5

20th/21st CENTURY: LONDON EVENING SALE

Lot 20, Lucian Freud, Mark the Collector, 2008 (detail).

FRONTISPIECE 6

20th/21st CENTURY: LONDON EVENING SALE

Lot 19, Frank Auerbach, Primrose Hill - Early Summer, 1981-1982 (detail).

FRONTISPIECE 7

20th/21st CENTURY: LONDON EVENING SALE

Lot 7, Jenny Saville, Study for Pietà IV, 2019-2020 (detail).

FRONTISPIECE 8

20th/21st CENTURY: LONDON EVENING SALE

Lot 6, Egon Schiele, Knabe in Matrosenanzug (Boy in a Sailor Suit), 1914 (detail).

FRONTISPIECE 9

THE ART OF THE SURREAL

Lot 108, René Magritte, La reconnaissance infinie, 1933 (detail).

FRONTISPIECE 10

20th/21st CENTURY: LONDON EVENING SALE

Lot 10, Francis Bacon, Portrait of Man with Glasses III, 1963 (detail).

FRONTISPIECE 11

20th/21st CENTURY: LONDON EVENING SALE

Lot 13, Fernand Leger, L’Armistic, 1918 (detail).

FRONTISPIECE 12

20th/21st CENTURY: LONDON EVENING SALE

Lot 32, Franz Marc, Katzen, Rot und Weiß, 1912 (detail).

FRONTISPIECE 13

20th/21st CENTURY: LONDON EVENING SALE

Lot 41, Bridget Riley, Painting with Verticals 1, 2006 (detail).

FRONTISPIECE 14

20th/21st CENTURY: LONDON EVENING SALE

Lot 23, Bridget Riley, Daphne, 1988 (detail).

FRONTISPIECE 15

20th/21st CENTURY: LONDON EVENING SALE

Lot 14, Jean-Michel Basquiat, Untitled, 1983 (detail).

FRONTISPIECE 16

20th/21st CENTURY: LONDON EVENING SALE

Lot 31, Fernand Leger, Le coquillage, 1929 (detail).

FRONTISPIECE 17

THE ART OF THE SURREAL

Lot 105, Paul Delvaux, Nuit de Noël, 1956 (detail).

FRONTISPIECE 18

20th/21st CENTURY: LONDON EVENING SALE

Lot 24, Lyonel Feininger, Hinter der Kirche II (Behind the Church II), 1917 (detail).

FRONTISPIECE 19

20th/21st CENTURY: LONDON EVENING SALE

Lot 48, Marc Chagall, Les paysans au puit ou Scène bibliquesur fond bleu et vert), 1981 (detail).

FRONTISPIECE 20

THE ART OF THE SURREAL Lot 104, René Magritte, Le faux miroir, 1952 (detail).

FRONTISPIECE 21

THE ART OF THE SURREAL Lot 111, Max Ernst, Coloradeau de Méduse, 1953 (detail).

FRONTISPIECE 22

THE ART OF THE SURREAL Lot 110, Jean (Hans) Arp, Amphore infinie, 1929 (detail).

FRONTISPIECE 23

20th/21st CENTURY: LONDON EVENING SALE

Lot 33, Sigmar Polke, Mondlandschaft mit Schilf (Moonlit Landscape with Reeds), 1969 (detail).

FRONTISPIECE 24

THE ART OF THE SURREAL Lot 114, René Magritte, La lumière du pôle, 1907 (detail).

FRONTISPIECE 25

THE ART OF THE SURREAL Lot 115, Léon Spilliaert, Digue et plage, 1926-1927 (detail).

FRONTISPIECE 26

20th/21st CENTURY: LONDON EVENING SALE

Lot 9, Amedeo Modigliani, Portrait de Lunia Czechowska, 1917-1918 (detail).

FRONTISPIECE 27

THE ART OF THE SURREAL Lot 119, René Magritte, Le stropiat, 1948 (detail).

FRONTISPIECE 28

POST-WAR & CONTEMPORARY ART DAY SALE

Lot 209, Jadé Fadojutimi, Untitled, 2025 (detail).

© Jadé Fadojutimi, Photo credit: Mark Blower.

FRONTISPIECE 29

POST-WAR & CONTEMPORARY ART DAY SALE

Lot 207, Peter Doig, Lion in the Road (Port of Spain), 2020 (detail).

FRONTISPIECE 30

POST-WAR & CONTEMPORARY ART DAY SALE

Lot 245, Jean-Michael Basquiat, Untitled, 1981 (detail).

FRONTISPIECE 31

POST-WAR & CONTEMPORARY ART DAY SALE

Lot 294, Cy Twombly, Untitled (Rome), 1962 (detail).

FRONTISPIECE 32

POST-WAR & CONTEMPORARY ART DAY SALE

Lot 256, George Condo, Mr Twiddle, 2010 (detail).

FRONTISPIECE 33

IMPRESIONIST AND MODERN ART DAY AND WORKS ON PAPER SALE

Lot 458, Marc Chagall, Femme à l’âne vert ou Tête de vache, 1953 (detail).

FRONTISPIECE 34

IMPRESIONIST AND MODERN ART DAY AND WORKS ON PAPER SALE

Lot 438, Henri Matisse, Homme assis, 1900 (detail).

FRONTISPIECE 35

IMPRESIONIST AND MODERN ART DAY AND WORKS ON PAPER SALE

Lot 414, Marc Chagall, Animal fabuleux: Fabel-Tier, 1926-1927 (detail).

FRONTISPIECE 36

IMPRESIONIST AND MODERN ART DAY AND WORKS ON PAPER SALE

Lot 473, Egon Schiele, Stehender männlicher Akt mit erhobenen Armen (Selbstbildnis) (recto); Baumstudie (verso), Drawn in 1911 (recto); drawn in 1912 (verso) (detail).

FRONTISPIECE 37

IMPRESIONIST AND MODERN ART DAY AND WORKS ON PAPER SALE

Lot 428, Alfred Sisley, Le quai à sable, environs de Port-Marly, 1875 (detail).

FRONTISPIECE 38

IMPRESIONIST AND MODERN ART DAY AND WORKS ON PAPER SALE

Lot 411, Marc Chagall, Nature morte et fleurs devant St-Paul de Vence, 1967 (detail).

FRONTISPIECE 39

20th/21st CENTURY: LONDON EVENING SALE

Lot 5, Wassily Kandinsky, Schwarze Begleitung, 1923 (detail).

FRONTISPIECE 40

20th/21st CENTURY: LONDON EVENING SALE

Lot 16, Claude Monet, Waterloo Bridge, 1901 (detail).

BACK COVER

THE ART OF THE SURREAL

Lot 108, René Magritte, La reconnaissance infinie, 1933. © ADAGP, Paris and DACS, London 2025.

A

Adnan, E. 234

Ai, W. 329, 352

Aïzpiri, P. 519

Alys, F. 261

Andre, C. 333

Andrews, M. 21

Anselmo, G. 289

Appel, K. 341

Ardissone, Y. 513

Armleder, J. 339

Arp, J. 110, 112

Auerbach, F. 19

B

Baas, M. 284

Babbar, R. 328

Bacon, F. 10

Banksy. 276

Barcelo, M. 346

Barrington, A. 348

Baselitz, G. 39, 305, 319

Basquiat, J. 14, 44, 243, 245

Beckmann, M. 477

Begum, R. 224

Bellmer, H. 492

Berman, S. 213

Beuys, J. 264

Boetti, A. 293, 296

Borremans, M. 285, 286, 287

Botero, F. 52, 343

Boudin, E. 445

Bourgeois, L. 28, 241

Branch, W. 208

Brice, L. 211A

Broodthaers, M. 288

Brown, C. 42, 267

Buffet, B. 416, 418, 419, 420

Bull, L. 231

Butzer, A. 337

C

Caguiat, J. 2

Calder, A. 30, 322

Cantons, V. 217

Carrà, C. 507

Carrington, L. 101, 103

Cassigneul, J-P. 495, 501

Chagall, M. 48, 49, 401, 402, 403, 404, 405, 406, 407, 408, 409, 410, 411, 412, 413, 414, 451, 452, 453, 454, 455, 456, 457, 458, 459, 460, 461, 462, 463

Chillida, E. 26

Clemente, F. 44

Colón, N. 229

Condo, G. 256, 259, 318

Corbett, L. 424, 426

Cragg, T. 304

Craven, A. 313

Csáky, J. 480, 481

D

Da Corte, A. 257

Dalí, S. 122, 488, 489, 490

de Chirico, G. 123, 124, 504, 506

De Lempicka, T. 25

Delaunay, R. 12

Delvaux, P. 105, 106, 107

Denis, M. 520

Dexel, W. 471, 472

Doig, P. 207, 265, 273

Donati, E. 125

Dufy, J. 465, 512

Dufy, R. 464, 514

EEmin, T. 210, 240, 266, 268

Ernst, M. & Carrington, L. 491

Ernst, M. 111, 118, 120, 487

F

Fadojutimi, J. 209

FAILE. 221, 222

Fantin-Latour, H. 437, 440, 441, 444

Feininger, L. 24

Fini, L. 467

Fontana, L. 300

Footes, L. 211

Forain, J.-L. 435, 436

Ford, W. 317

Förg, G. 303

Freud, L. 20, 325

Frize, B. 336

G

Gauguin, P. 433, 434

Giovanelli, L. 230

Gnoli, D. 344

Gormley, A. 43, 275

Goss, N. 205

Gurschner, H. 496

HHades, A. 220

Halley, P. 338

Haring, K. 242, 244, 258

Hempton, C. 225

Herbelin, N. 238

Hirst, D. 274, 277

Höch, H. 468, 469

Hockney, D. 18, 22

Hodgkin, H. 47

Holzer, J. 291

J

von Jawlensky, A. 470

Johnson, R. 248

K

Kandinsky, W. 5

Kantarovsky, S. 3

Katz, A. 308, 309, 310, 326

Kawara, O. 250

KAWS. 255

Keith-Roach, C. 227

Kentridge, W. 316

Kiefer, A. 306

Kirchner, E. 34

Klein, Y. 320

Klimt, G. 474, 475

Konaté, A. 347

Kovařík, V. 349

Krishanu, M. 204

Kruger, B. 251, 252

L

Lam, W. 485

Laurencin, M. 497, 498, 500

Le Sidaner, H. 442, 443

Léger, F. 13, 31

Lewis, S. 350

Liebermann, M. 51

Lobo, B. 494

Loeb, S. 203

Longo, R. 332

Loutreuil, M.-A. 523

Luce, M. 430

M

Macke, A. 479

Magritte, R. 104, 108, 114, 117, 119, 121

Manguin, H. 508

Marc, F. 32

Marc, R. 524

Marden, H. 226

Marini, M. 503, 505

Marval, J. 499

Masson, A. 116

Matisse, H. 438, 448, 449

McDonald, P. 223

McKinney, D. 1

Miró, J. 482, 483, 484

Modigliani, A. 9

Monet, C. 16

N

Nadal, C. 525, 526

Nara, Y. 253, 327

Nay, E. 340

Noble, T & Webster, S. 330

Noland, K. 312

Nolde, E. 478

O

Oehlen, A. 36, 335

Ofili, C. 270

Opie, J. 272

Owens, L. 311

P

P., Paul. 232

Paalen, W. 109

Paolini, G. 299

Pascin, J. 502, 521, 522

Peake, E. 218

Peyton, E. 236

Picabia, F. 113, 493

Picasso, P. 8, 11, 51, 415, 417, 421, 422, 423, 425, 431, 450

Pistoletto, M. 301

Polke, S. 33

R

Rauch, N. 45, 315

Rego, P. 342

Renoir, P.-A. 50, 432

Richter, D. 262

Richter, G. 38, 40, 260, 263, 302, 314, 321

Riley, B. 23, 41, 271

Rippl-Rónai, J. 517

Rodin, A. 446, 447

Rondinone, U. 351

Rouault, G. 466, 518

Rubin, G. 202

Rubin, R. 515

Ruscha, E. 29, 334

Ryman, R. 295

van Rysselberghe, T. 427

S

Salvo. 298

Saville, J. 7

Scarpitta, S. 297

Schad, C. 35

Schiele, E. 6, 36, 473, 476

Scully, S. 46, 307

Signac, P. 429

Simão, M. 233

Sisley, A. 428

Smith, L. 228

Spilliaert, L. 115

Stevenson, J. 214

Sunstrum, P. 212

TTanguy, Y. 486

Tàpies, A. 27, 102

Tianbing, L. 331

Tillmans, W. 278, 279, 280, 281, 282, 283

Tilson, H. 201

Trockel, R. 292

Twombly, C. 15, 294

U

Utrillo, M. 510, 511

V.

Valdés, M. 345

de Vlaminck, M. 509

Vuillard, É. 439, 516

WWalker, C. 206, 237

Warhol, A. 44, 246, 249, 323, 324

Weiner, L. 290

Wesselmann, T. 247

Whitehorse, E. 4

Wilson, G. 215

Wood, I. 239

Wood, J. 254

Y Yang, X. 216

Yukhnovich, F. 235