Masters Exhibition Catalogue

Pablo Picasso | HEAD OF SCHOOL|

Presenting Gallery Rouge’s 7th Annual Masters Exhibition 6TH – 15TH May 2017, Gallery Rouge St Albans Private View Friday 5th May 6 – 8pm

EXHIBITION CATALOGUE

All works are available to acquire, All works are available to acquire, and come with the certificate of and come with the certificate of authenticity. authenticity.

More information about the More information about the provenance/public cataloguing of provenance/public cataloguing of each piece, and framing is available each piece, and framing is available on request. on request.

To register your interest in a piece To register your interest in a piece ahead of the exhibition opening, ahead of the exhibition opening, please get in touch with us at the please get in touch with us at the gallery. gallery.

01727 860401 01727 860401 stalbans@galleryrouge.co.uk stalbans@galleryrouge.co.uk stalbans@galleryrouge.co.uk www.galleryrouge.co.uk We We look look forward forward to to seeing seeing many many of of th you you on on Friday Friday 5 5th at at the the opening. opening.

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CONTENTS

PABLO PICASSO JOAN MIRO BERNARD BUFFET HENRI MATISSE JEAN COCTEAU GEORGE BRAQUE ALBERTO GIACOMETTI TSUGAHARU FOUJITA SALVADOR DALI MARC CHAGALL

PABLO PICASSO

Le Modele Nu

Le Modele Nu (s.8692) The Nude Model Medium: Original Etching, Paris, second state, between 29th January and 29th March 1927, on similijapon paper, signed by the artist in pencil, lower left.

Edition: 6/40. There were also 10 proofs on Japan, 100 proofs on Arches and several other proofs on both papers.

Note: The model with short hair and thin body is typical of the models in fashion during the 1920’s. Probably this depicts Marie Therese. In the archives is a letter from La Society des Amateurs d’Art et des Collectionaires, indicating that the sum of 5000 francs has been paid to Picasso on the 29th March to sell the copper to the Society.

Size: 28.5 x 37.5 cm (paper size) Condition: Some staining at sheet edges on the margins caused by taping verso. Not visible when mounted.

Public Collections: MOMA, New York - The gift of Mrs. Saidie A. May

£7,500

La Toilette

La Toilette (s.8680) Medium: Original Lithograph, May/July 1923, crayon on stone, on tinted Van Gelder wove Paper, with full margins, signed by the artist in pencil.

Edition: 38 / 50 - Probably 5 trial proofs and 12 artist’s proofs were made.

Size: 27 x 20.4 cm Publisher: D H Kahnweiller, Galerie Simon, Paris Note: In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with Sergei Diaghilev's troupe, for whom Picasso was designing a ballet. Their first child, Paulo, was born in 1921 and the artist gloried in being a father for the first time. This is part of a series of lithographs made when Paulo was about 2 years of age.

The woman depicted does not resemble Olga but the idea of fatherhood and children doubtless provoked the making of this and its companion works.

Provenance: Buchholz Gallery, USA Condition: In good condition.

Public Collections: Kunstmuseum, Berne

ÂŁ8,000

Minotaure caressant une femme

Minotaure caressant une femme (8659) Reclining Sculptor and Model with Mask Medium: Original Etching, Paris, 18th May 1933, on small Montval Fillegree paper, with Vollard watermark signature, signed by the artist in pencil.

Edition: 260 Size: 44.5 x 34 cm (paper size) Public Collections: British Museum, London. The Museum recently acquired a complete series of the Vollard Suite which includes this work. They were all on public display in 2012 in the Department of prints and drawings Musee Picasso, Paris, France

ÂŁ12,000-00

Le Sauvetage de la Noyee II

Le Sauvetage de la Noyee II (s.8698) The rescue of the drowned II Medium: Original Etching, printed with tone, 18th December 1932, signed by the artist in pencil, with full margins, on verge blanc mince without a watermark.

Edition: 17/50 (there were 19 additional artist’s proofs numbered in Roman numerals, and three unsigned and unnumbered proofs in this edition).

Printed by: Frelaut, Paris in 1961 Published by: Galerie Louis Leiris, Paris Size: 32.7 x 37.6 cm (Paper size) Note: In May 1931, Picasso moved into the Chateau de Boisgeloup, which was conveniently close to Paris. In the summer of 1932, the artist’s wife Olga and son, Paulo , left for Juan-les-Pins whilst Picasso stayed on at Boisgeloup. It is believed that Marie-Therese, Picasso’s mistress, may have paid a few brief visits to Boisgeloup, as several photographs of her on the beaches exist from this time. In August and September, the artist produced a series of canvases representing women bathing at the beach. The paintings are gay, burlesque and “cartoon-like.” The women have amoeba-like anatomy pushing and pulling in different directions, and sometimes bend their bodies with the professional movements of Picasso’s circus acrobats of February 1933. Picasso made no prints during the summer, but at the end of November and the beginning of December in Paris he revisited the theme of bathing women, this time on zinc and copper plates. The result is some twenty small images. The series ended with three somewhat larger compositions, the sauvetages (life-saving).

Here there is a difference with the woman of the canvases: surrounded by curious, even monstrous shapes, Marie-Therese is always there, always beautiful. In the “sauvetages” she again has multiple embodiments, one of them as an unconscious, perhaps drowned swimmer. This rescue scene is an allusion to a real story in which Marie-Therese nearly drowned before Picasso’s eyes - an experience which left him deeply shaken. The artist may have imagined that his young lover was the innocent victim of his vengeful wife, Olga, who did threaten to murder her rival, MarieTherese. The series of works of which this is one owe much to the Surrealist movement with which the artist was involved between 1925 and 1937. Picasso had taken part in the Surrealists first exhibition and gave his permission for many of his works to be reproduced in Surrealist publications. Much to the disgust of the Surrealist leader, Andre Breton, Picasso was never a devoted follower of the movement and ultimately turned away from it.

Public Collections: Musee Picasso, Paris ; Bibliotheque Nationale.

£8,500

Le Repos du Sculpteur II

Le repos du sculpteur II (s.8696) Medium: Original Etching , Paris, 3rd April 1933 , on small Montval fillegree paper, with Vollard signature watermark, signed by the artist in pencil. The plate for this was cancelled in 1956 and still exists in the Musee Picasso, Paris.

Edition: 260 - This was never numbered.

Note: The publication of the hundred etchings created by Picasso between 1930 and 1937 was one of Ambroise Vollard's most impressive undertakings. Vollard was one of the greatest art dealers and publishers of his time and his championship of some of the most celebrated artists of the day deserves the thanks of later generations. His artists, to name but a few, included Cezanne, Renoir, Gauguin, Van Gogh, Rousseau, Rouault and Picasso. Picasso met Vollard in Paris in 1901 and worked with him over an extended period. When the Vollard Suite etchings were first made they were in fact rarely signed (with the exception of some rare proofs made on vellum in editions of 3). Vollard died tragically in a car accident in 1939 and eventually, after the Second World War, most of the Vollard Suite passed into the hands of the famous Dealer Petiet. Petiet knew that Picasso would never sign anything until he was paid for it and the artist required a substantial fee for putting his signature on the Vollard Suite etchings. Accordingly Petiet gave his buyers the option of buying them either unsigned or, for 10% more on the cost, signed. This meant that Picasso signatures from 1939 until the artists death appear on Vollard Suite etchings. Obviously there is a difference in the artists signature as he aged.

Size: 44.5 x 34 cm (paper size) Public Collections: Musee Picasso, Paris

ÂŁ9,000

Deux Beveurs Catalans

Deux Buveurs Catalans (s.8697) Medium: Original Etching, Paris, 29th November 1934 , on small Montval Fillegree paper, with Vollard watermark signature, signed by the artist in pencil, inscribed 376 on lower left (The Petiet stock number) Edition: There was an edition of 260 proofs on small Montval paper.

There were also 50 proofs on larger Montval paper, 3 proofs on Parchment and 3 trial proofs Note: This is etching number 12 from the Vollard Suite. Old age and youth are contrasted by the different drawing styles. The simple etched outline conveys the innocence of the young man while the experience of the knarld old man is expressed through the build up off densely knit lines. The later echoes the figure of the aged Rembrandt while the young man appears as the observer in the blind Minotaur series (Other works within the Suite Vollard).

The publication of the hundred etchings created by Picasso between 1930 and 1937 was one of Ambroise Vollard's most impressive undertakings.

Picasso met Vollard in Paris in 1901 and worked with him over an extended period. When the Vollard Suite etchings were first made they were in fact rarely signed. Vollard died tragically in a car accident in 1939 and eventually, after the Second World War, most of the Vollard Suite passed into the hands of the famous Dealer Petiet. Petiet knew that Picasso would never sign anything until he was paid for it and the artist required a substantial fee for putting his signature on the Vollard Suite etchings. Accordingly Petiet gave his buyers the option of buying them either unsigned or, for 10% more on the cost, signed. This meant that Picasso signatures from 1939 until the artist’s death appear on Vollard Suite etchings. The cancelled plate is in the Picasso Museum, Paris.

Size: 44.5 x 34 cm (paper size) Public Collections: British Museum, London. The Museum recently acquired a complete series of the Vollard Suite which includes this work.

They were all on public display in 2012 in the Department of prints and drawings.

Provenance: Baron Petiet, Paris (His stock number 376 below left) Bonhams Auction 30th September 2006, sale No.15673, lot number 118.

ÂŁ10,000

Bulls in Vallauris, 1957

Bulls in Vallauris, 1957 (s. 8619) Medium: Original Linocut, one block printed in pale blue, on unidentified paper, signed and dated by the artist in the print and signed in blue crayon, with underline in red crayon, and numbered in blue crayon.

Size: 65 x 100 cm (Paper size) Edition: 171/198. (there were also approximately twenty artist's proofs) Condition: In good condition, with fresh vibrant colours some minor foxing at sheet edges.

ÂŁ8,000

Femme nue cuelliant des fleurs

Femme nue cueillant des fleurs (s.7167) Nude woman picking flowers Medium: Original Colour Linocut, Mougins - 1962, on velin Arches watermarked paper, in three colours (beige, brown and black), signed by the artist in pencil. The edition published.

Size: 62.4 x 44.2 cm (Paper size) Edition: 13/50 Provenance: Lot 134 Sothebys sale “Old Master & Contemporary Prints” - 7th April 2009

£15,000

Seated Nude

Seated Nude (s.8579) Nu assis Medium: Original Colour Linocut, 2nd State, Mougins , 23rd April 1962, on velin Arches watermarked paper, in three colours (pinkish beige, light brown and black from one block), signed by the artist in pencil lower, with full margins. The edition published.

Size: 62.4 x 44.2 cm (Paper size) Edition: Artists proof (There were 20 proofs, 9 or more signed, for the artist and publisher). The published edition was 50.

Note: The first State of this exists in just one example in black.

Our work comes from the second definitive and published state. The Linoleum still exists.

ÂŁ14,000

Peintres au champs: Une dejeuner sur L’Herbe Impressioniste

Peintres au champs: Une dejeuner sur L’Herbe Impressioniste (s.8059) Two painters and reclining nude outdoors Medium: Original Sugar Lift Aquatint with grease on copper, 21st September 1968, Mouguins, on Rives Paper, signed by the artist in pencil.

Edition: 40/50. There were also 17 artists proofs and 5 impressions made before steel facing.

Size: 40.3 x 32.8 cm (paper size) Note: This was number 328 of the 347 Series. The cancelled plate still exists and was used by Crommelynck, the printer, to make three works in 1979 (one for their reference and 2 for the Administrateur Judicaire). Picasso was fascinated by the scandalous painting by Manet called “Dejeuner sur L’Herbe” which depicted two men having a picnic with a naked woman. He made many interpretations of this impressionist masterpiece. This example fits neatly into the 347 series inasmuch as it shows men in 17th century costume with their large hats and cloaks. The piece has a subtle eroticism with the nude between the two men. The idea of a cover of forest trees is creatively made with a large area of intricate aquatint to the right of the reclining figures.

Provenance: Martin Lawrence Gallery Collections: Marina Picasso Collection

£6,500

Television: Course de Chars a L’Antique

Television: Course de Chars a L’Antique (s.8685) Television: Tank racing in ancient times. Roman chariot rider with prancing horse.

Medium: Original Etching, 13/4/1968. Mouguins, on Rives Paper, with full margins, signed by the artist in pencil and dated in the plate.

Edition: 22/50. There were also 17 artist’s proofs.

Size: 31.4 x 41.7 cm (Plate size) Note: The Roman one horse carriage, derived from the GalloBrittanic single horse war chariot, was an essedum and this appears to be what the figure on this etching is driving. This was number 35 from the 347 series. It was made the same day as a similar Aquatint depicting the same subject but of fundamentally different composition. It depicts an ancient times bearded charioteer driving his prancing horse. Quite a lot of the 347 series was devoted to classical scenes such as this.

Public Collections: Picasso Museum, Munster, Picasso Museum Malaga Condition: Generally, in good condition. Some fixing verso which does does not come through to recto

£7,500

Paysan et Maja I

Paysan et Maja I. (s.8593) Peasant and Maja Medium: Original Etching 11/3/1971, on Rives paper, signed by the artist in pencil Edition: 33/50. There were also 15 artist’s proofs.

Note: This is plate 74 from the Series 156.

Provenance: The stock of Henri M Petiet, Paris. The dealers stamp H.M.P in an oval, verso. Petiet was one of the most famous art dealers of Paris in the post war era. He bought the stock of Vollard on that dealer’s untimely death and proceeded to become one of the leading print dealers in Paris. The fact that our piece emanates from this source gives authenticity and prominence to it.

Size: 25 x 32.8 cm (Paper size)

£5,800

Les Saltimbanques

Les Saltimbanques The Tumblers Medium: Original crayon Lithograph, 5/3/1958, on Arches watermarked paper, drawing on Lithographic paper transferred to stone, signed by the artist in red crayon.

Exhibitions: Thiem, Günther & Karin v. Maur. Pablo Picasso in der Staatsgalerie Stuttgart: Ausstellung zum 100. Geburtstag des Künstlers mit Leihgaben aus Sammlungen in Baden-Württemberg (Staatsgalerie Stuttgart, 1 März - 17 Mai, 1981). Stuttgart: Staatsgalerie Stuttgart. 1981. (307) Provenance: Galerie 65, Cannes. We have an invoice dated 16th May, 1966 addressed to Monsieur Michael J Kutza, Chicago, Illinois. This famous Gallery exhibited Picasso’s works for many years.

Note: The unsigned version of this was made to be included in the book “Souvenirs d’un collectioneur” by Andre Level, published in 1959. Level was a famous collector who in 1904 founded a Club to buy into contemporary works which were as an investment and to be sold after 10 years. In 1908 the little club purchased Picasso’s large painting “La famille des Satimbanques for the sum of 1000 Francs - an amount which made the other collectors of the day recoil. “That is how” Level remarked “the man became my friend and to whom I owe my greatest joys in art”. The painting was sold 10 years later for 11500 Francs. The collector published his memoirs in 1959 and Picasso gave Level this lithograph for the frontispiece of his book which can be considered an illusion to the event back in 1908. The monkey on the organ grinder is also present!

Size: 44.5 x 32.2 cm (Paper size) Edition: XIX/XXV. The signed edition consisted of 100 numbered proofs and 25 artist’s proofs numbered in Roman numerals from which our example comes.

£4,950

Manolo Huguet: Affiche pour Musée d'Art

moderne, Céret

Manolo Huguet: Affiche pour Musée d'Art moderne, Céret (s.8592) Manolo Huguet - Poster for the Museum of Modern Art, Ceret Medium: Original Lithograph, 15/7/1957, crayon on transfer paper, printed on vellum paper, signed by the artist in pencil Edition: There was a signed edition of 100 on Arches before lettering from which our example comes. A further edition of 500 were made which are unsigned.

Note: This was made for the exhibition held at the Museum of Modern Art, Cerete, between August and October 1957, which featured Picasso’s long-time friend Manolo Huguet. Huguet was a Catalan sculpture who helped welcome Picasso to Paris and the art scene. Huguet was primarily a sculptor and moved to Céret, a small, historical town where Picasso, Braque and Chagall lived and worked as well. Picasso has taken great care in portraying his dear friend. Huguet’s three quarters profile is pensive and charming. His heavily lidded eyes are down cast, as if envisioning his next artistic masterpiece. Huguet’s hair is parted to the side, charmingly framing his thin face. The thin, elegant lines which form his face create a playful textural quality. Above his head, Picasso has written “Manolo Huguét” in large, beautiful cursive font. Thin, dotted lines frame this beautiful portrait, bringing the focus immediately to the subject’s contemplative expression.

Provenance: The stock of Henri M Petiet, Paris. The dealers stamp H.M.P in an oval, verso. Petiet was one of the most famous art dealers of Paris in the post war era. The fact that our piece emanates from this source gives authenticity and Size: 64.7 x 48.5 cm (Paper size)

£1,850

Nu a la chaise

Nu a la chaise (s.8413) Nude with chair Medium: Original Lithograph in colours, Vallauris 18/3/1954, in 4 colours (blue, green, violet and black), each executed with lithographic crayon on transfer paper, then transferred to stone, on Arches paper, dated in the stone above right, signed by the artist in pencil.

Edition: 38/50.

Size: 50.5 x 38 cm (paper size) Note: We currently have in our possession a signed photograph by Andre Villers entitled “Picasso en Popeye” which shows a humorous depiction of the artist dressed up as Popeye the Sailor Man with his fancy hat and beard. It is a very well-known work. In the background, middle right, a copy of this lithograph, unframed, is hanging on the wall.

£9,000

Drawings of Picasso – Poster – Three Drinkers

Drawings of Picasso: Poster - Sala Gaspar Three Drinkers (s.7838) Medium: Original Lithograph , Cannes , 3/7/1961, in black and white; crayon and transfer paper, then transferred to stone, on offset paper, signed and dated by the artist in the stone.

Edition : Several proofs for the artist and printer. An edition of 50 signed and numbered impressions on Rives wove paper 900 x 650 mms, 60 unsigned impressions on Rives paper.

Our Work: 500 unsigned copies on offset paper Note: This was made to publicise an exhibition of Picasso’s drawings held at the Gallery of Sala Gaspar, Barcelona, in April 1961.

Size: 90 x 65 cm (paper size) Published by: Sala Gaspar, Barcelona

ÂŁ450

AFTER PABLO PICASSO

Amnistia: Prisionner et colombe de la paix

Amnistía: prisonnier et colombe de la paix (Para mi amigo Arias) Amnesty, Prisoner and Dive of Peace (for my friend Arias) Medium: Lithograph after Picasso, 6/11/1959, Signed and dated in the stone and by the artist in pencil lower right, with full margins Printed by: Mourlot Freres, Paris, France Size: 75 x 52 cm (Paper size) Note: This is an “Avant les Letres” lithograph in respect of a poster entitled “Amnistia” which was made on thin poster paper. This “Avant les lettres” lithograph rarely comes up for sale and although it seems to have been made in an edition of 200 signed and numbered proofs, for whatever reason, there have been few examples survived to this day as is evidenced by how infrequently the item comes upon for sale. It is a rare item.

Picasso was heavily involved in the Peace Movement and an important part of which, certainly for him, was to protest the tyrannical rule of General Franco.

An estimated 500,000 Spanish Republican refugees fled from Spain in 1939.

Material in the Picasso archive shows the artists close relationship with the Spanish Communist party after the liberation of France in 1944. A Blue Schoolbook records donations given by the artist to the League of Wounded Spaniards for the sum of 433,880 Francs - a considerable sum in those times.

The word “Amnistia” was to become the motto of a major international campaign against Franco and the focus of protest the imprisonment of Spanish Republicans in Spain. By the late 1950’s protests against the Spanish Government had become a mass movement and Picasso’s freedom symbol of a Dove was used on a leaflet to petition the government. The Pleyel Appeal for Spanish prisoners and exiles was held in Paris in November 1959 and it was for this event that our poster was undoubtably created. The poster shows a Spanish Republican behind prison bars with a Dove of Peace flying past. An undeniably powerful metaphor. Eugenio Arias, to whom the poster version is dedicated, was forced to leave school early and had a life common to many who fled Spain under Franco to seek a new life in France.

Edition: 2/200

£12,500

Composition au Verre et Compotier

Composition au Verre et Compotier (s.8409) Composition with glass and fruit bowl - Le Verre d’absinthe Medium: Etching and aquatint in colours, circa 1965, on Arches, signed in pencil, numbered 202/300, published by Atelier Crommelynck, Paris, with their blindstamp, with full margins, a deckle edge above and below.

Size: 64.5 x 84 cm (Paper size) Note: Instilled with Picasso's innate sense of creative ease, this captivating still life highlights one of Picasso's favorite thematic drinks: absinthe. Absinthe rose to great popularity in the late 19th to early 20th century, particularly in France among Parisian artists and writers. Due to its association with this bohemian culture, social conservatives and prohibitionists strongly opposed the consumption of absinthe. As part of this bohemian, Parisian lifestyle, Picasso often depicted absinthe as a subject or prop within works such as La Verre d'Absinthe. Shrouded in soft lilac, the glass of absinthe instantly makes itself known as the subject of the composition. To its right, an abstract bowl of fruit conveyed in dark, earthy tones contrasts with the soft coloration of the glass of absinthe. Exemplary for its bold coloration and strong sense of texture achieved through the etching and collotype mediums, this print evokes a sense of refinement and class despite the somewhat disreputable nature of absinthe.

Richard Solomon states of printmaker Aldo Crommelynck, "He formed an especially close working relationship with Picasso. In 1963, Picasso decided he need a printer close by his house. Picasso would create etchings on copper plates supplied by Crommelynck in the morning and Crommelynck would return with proofs in the afternoon. When the proofing was complete, the plates went to Crommelynck's studio in Paris to be editions. Crommelynck printed for Picasso for over twenty years and collaborated on most of his intaglio projects.

Edition: 236/300

ÂŁ11,000

JOAN MIRO

Sans Titre, 7/x/68 (s.8654) Without title Medium: Original drawing, 7/10/1968, in coloured crayons, Red, Black, Blue, Indigo and yellow, on paper signed and dated 7/X/68 in pencil by the artist. Dedicated “a Antonii Albareda” in pencil. We have, alas, been unable to find who is this personage.

Size: 49 x 37.5 cm (Paper size) Note: ADOM state that this is drawn on a page of the portfolio “Les Essencies de la Terra” (Published by Poligrafa in 1968, Cramer 123). There is no evidence of this on the paper itself so we asked ADOM why they stated this to be the case. Their response was that the paper corresponds to the paper in question and it is known that on that date, 7/x/1968, Miro did make a few drawings on a small number of portfolios.

Authentification: We have a certificate from ADOM dated 7/2/2017 authenticating this work.

Provenance: Gallery label verso : La Galeria Dau al Set, Barcelona.

£55,000

Dans le Grenier a sel

Dans le Grenier a sel (s.8687) In the salt cellar.

Medium: Original Etching, aquatint, 1975, in colours, on Arches paper, with full margins, signed by the artist in pencil.

Edition: 35/50 There were also some HC copies made.

Size: 64.5 x 90.5 cms (Paper Size) Condition: In very good condition with nice fresh colours.

ÂŁ12,500

Escalade vers la Lune

Escalade vers la Lune (s.8686) Climbing to the Moon Medium: Original Etching, aquatint, 1969, in colours, on Mandeure rage paper, with full margins, signed by the artist in pencil.

Edition: 10/75 There were also some HC copies made.

Size: 104.5 x 75.5 cm (Paper Size) Condition: In very good condition with nice fresh colours

ÂŁ15,000

Barb 1

Barb 1 (s.8653) Medium: Original Etching with Carborundum in colours, 1987, on Pearl Jaoan paper, signed with a stamp signature (as issued) Size: 66 x 50 cm (Paper Size) Note: This comes from a series of works for which the plates were made during the lifetime if the artist but were published after his death. There were 4 in the suite entitled BARB 1 to BARB IV. Edition: V/XXV There were 8 copies on Arches paper, stamped, marked P/A and numbered 1/8 to 8/8 75 copies on Arches, Numbered and stamped.

25 copies on Pearl Japan, stamped, numbered I/XXV to XXV/XXV (From which our example comes) 4 copies on pearl Japan, stamped, marked I/IV to IV/IV Authentification: This is stamped verso: “Gravure Original certified Authenthentique. Pour la succession Miro, Emilio F Miro (Joan Miro’s son) and signed by him.

£3,600

Ocella

Ocella (s.8641) Medium: Original Lithograph, 1978, in colours, on Velin Arches paper with full margins, signed by the artist in pencil Edition: 15/125 There were also 25 signed HC copies and 21 Artists proofs.

Size: 56 x 76 cms (Paper size) Note: This was part of a series consisting of this work and another entitled “La Formiga” Condition: In good condition with fresh colours

£5,850

Le Lezard aux plumes d’or - Grebe dailies de papillon (Maeght 797)

Le Lezard aux plumes d’or - Grebe dailies de papillon- (Maeght 797) Medium: Original lithograph, 1971, in colours, on Rives paper with the watermarked signature of the artist, (Not hand signed), with folding leaves of the book Size: 34 x 47.8 cm (Paper Size) Note: This was part of a series of 15 Lithographs which Miro made for the poet Louis Broder.

Printed by: Mourlot Imprimeur, Paris, France Published by: Broder Editeur, Paris, France Provenance: 1) Brodeur Editeur, Paris, France 2) German Dealer (who purchased direct from the above)

ÂŁ1,000

Ma de: Proverbis

Ma de: Proverbis (s.8700) Hand Made Proverbs Medium: Original Lithograph, 1970, in colours, on japan paper with full margins, signed by the artist in pencil Edition: X/XXV on Japan paper Another signed and numbered edition of 75 was made on Arches paper.

Size: 56.5 x 76 cm (Paper size) Note: This came from the deluxe edition of 25 printed on japan paper. It was created to illustrate the poem by Shuzo Takiguchi in 7 different languages. Takiguchi introduced Surrealism in Japan in the late 1920s. He is known for his collaboration with important poets and painters such as André Breton, Marcel Duchamp, Sam Francis and Antoni Tàpies. In 1940 he wrote a monograph on Joan Miró. In 1970 he published "Handmade Proverbs dedicated to Joan Miró".

Miro declared an end to painting in favour of inventing a new visual vocabulary to upset pre-established Academic traditions.

His amoeba-like figures and calligraphic marks converge to create a distinctly abstract composition, clearly represented in the present lot. Miro’s later work is punctuated with constellation-like symbols, strung together to make a kind of surrealist, astrological map.

Condition: In good condition with fresh colours

£4,500

Passage de L’Egyptienne (5)

Passage de L’Egyptienne (5) (s.8635) The Egyptian Woman passes Medium: Original Etching, 1985, on Rives paper, in colours, an unsigned proof Edition: There were 10 copies on rives with an additional suite 0f 13 on Japan Hodomura paper, signed and numbered there were 15 copies on pearl japan, signed and numbered there were 121 copies on rives, signed and numbered Our piece, unsigned and not numbered, comes from a small number of nominal copies reserved fir friends and artisans of the book.

Size: 60.5 x 42.5 cm (Paper size) Note: This was part of a series of 26 Lithographs made to accompany the book of the same name. It was published

by Andre Pierre de Mandiargues and included a suite of 20 Original etchings by Joan Miro of which this is one.

Condition: In good condition with fresh colour.

ÂŁ1,250

Passage de L’Egyptienne (7)

Passage de L’Egyptienne (7) (s.8635) The Egyptian Woman passes Medium: Original Etching, 1985, on Rives paper, in colours, an unsigned proof Edition: There were 10 copies on rives with an additional suite 0f 13 on Japan Hodomura paper, signed and numbered there were 15 copies on pearl japan, signed and numbered there were 121 copies on rives, signed and numbered Our piece, unsigned and not numbered, comes from a small number of nominal copies reserved fir friends and artitsans of the book.

Size: 60.5 x 42.5 cm (Paper Size) Printed by: Atelier Morning, Paris.

Published by: RLD Paris, 1985 Note: This was part of a series of 26 Lithographs made to accompany the book of the same name. It was published by Andre Pierre de Mandiargues and included a suite of 20 Original etchings by Joan Miro of which this is one.

Condition: In good condition with fresh colour.

ÂŁ1,250

BERNARD BUFFET

Le Temple de L’Amite

Le Temple de L’Amite (s.8423) The temple of friendship Medium: Original Etching in colours, 1990, signed by the artist in pencil.

Size: 77 x 58 cm (Paper size) Edition: EA (Artists proof) - From an unknown edition size Literature: This is too late to have been included in the catalogue raisonee which was published several years before the death of the artist.

Public Collections: Bibliothèque Nationale, Paris, France Note: This comes from a small series Buffet made in 1989/1990 of the Russian Palaces. The Temple of Friendship is situated in the Pavlovsk Palace, an 18th century Imperial residence built by Tsar Paul I near Saint Petersburg.

After his death, it became the home of his widow, Maria Feodorovna. It is now a state museum and a public park.

£1,500

Bouquet d'anĂŠmones oranges

Bouquet d'anémones oranges (s.8476) Bouquet of Orange Anemones Medium: Original Lithograph in colours, on Arches watermarked paper, signed by the artist in pencil Size: 50 x 39.5 cm (Paper Size) Edition: (Artists proof), E.A. XXVII/XXX. There were 30 artist’s proofs and a signed and numbered edition of 150 Public Collections: Bibliothèque Nationale, Paris, France

£2,800

Marguerites dans un mazagran

Marguerites dans un mazagran, 1985 (s.8477) Medium: Original Lithograph in 6 colours, 1985, on Arches watermarked paper, signed by the artist in pencil Size: 49.5 x 30 cm (Paper size) Edition: EA (Artists proof), E.A. XXVIII/XXX. There were 30 artist’s proofs and a signed and numbered edition of 150 Public Collections: Bibliothèque Nationale, Paris, France

£2,500

Pot de Begonias

Pot de Begonias, 1981 (s.8250) Pot of Begonias Medium: Original Lithograph in 8 colours, 1981, on Arches (infinity) watermarked paper, signed by the artist in pencil Size: 76 x 58 cm (Paper size) Edition: 131/150. There were also 30 artist’s proofs.

Public Collections: Bibliothèque Nationale, Paris, France

£2,500

HENRI MATISSE

Seated Nude Facing Left

Seated Nude facing left (s.8505) Medium: Original Etching, 1932, on Chine appliqué paper laid on Arches, with margins, an unsigned (as normal) proof.

Edition: 145 Size: 33.3 x 25 cm (Paper size) Note: This was published in a book entitled “Poesies” by Stephen Mallard in 1932. The work had 29 etchings by Henri Matisse. The published, Albert Skira, had already had a great success in working with Picasso on “Les Metamorphoses d’ovine” and turned to Matisse for his second publication.

Matisse was new to book illustrator at this period and this was his first work where he needed to illustrate several poems in an artistic way. The illustrations were designed to complement rather than enhance the poetry. Matisse concentrated on what he did best: woman - her beauty, whether nude or adorned, her hair, her jewels. There were 30 plates made by Matisse which were used to print images which were subsequently not used in the publication and this item is one of those. All are noted and illustrated in the Dutoit catalogue raisonee.

A limited number of these were made and these are considerably rarer then the published versions.

This example is plate number VIII refused for “Tristess d’et" Provenance: Roger Labourer, Paris (The printer) Condition: In good condition with very minor foxing

£1,250

JEAN COCTEAU

Portrait de Georges Marchal

Portrait de Georges Marchal Medium: Pencil on paper, signed and dated below right “Jean 1944” Size: 47 x 31 cm (Paper size) Note: Georges Marchal (1920 - 1997) was a French actor. By the early 1950s, he had become one of the top male stars of French cinema, second only, perhaps, to actor Jean Marais. In 1951, Marchal married French actress Dany Robin and together they were a popular couple. On television, Marchal played Claude Jade’s father in the TV-series The Island of thirty coffins, and appeared as Richelieu, and Phillipe IV, and in adaptations of Balzac, Hugo, George Sand and Colette. Divorced from Dany Robin in 1969, Marchal married Michele Heyberger in 1983.

This drawing came from the collection of Severin Wunderman.

Much of this famous collection was given to the Cocteau Museum in Menton on the French Riviera. Wunderman was 19 when he began collecting works by Cocteau. He had offered his collection to the University of Texas but later withdrew the offer, keeping his collection in his own Cocteau museum in Irvine, California, which he dedicated in 1985. He would frequently lend pieces to exhibitions and shows. The work Wunderman left upon his death in 1963 was catalogued by the Cocteau expert Annie Guédras, who identified at least three dozen fakes and copies among the pieces, some of which were destined for Wunderman's donation to the museum. The museum did eventually withdraw the works in question. Guédras later felt that she was excluded from the Cocteau Committee that created the museum in the early 2000s because of her discovery.

Authentification: A certificate from the Jean Cocteau expert, Annie Guedras, comes with this item. This document is dated at Perigueux, 16th November 2016 , and is Archive Number 5941 E.

£5,000

Portrait d’Hermann Dietz

Portrait d’Hermann Dietz (s.8598) Double Portrait of Herman Dietz Medium: Original Ink and Pencil on paper, circa 1906/7, signed with the monogram lower right “JC” (An unusual annotation which the artist used) Annotated on the right above: “N/vous a pas script not’ papa Monsieur Bertrand! …. On nous (illegible) …. a Bertrand…. On vous lache!….. Triste!…. Triste!….”

Size: 30.5 x 18.5 cm Note: This accomplished drawing was made whilst the artist was only about 16 years of age. Cocteau had been unsuccessful as a student failing his Bacalauriat. He was sent to Val-Andre, a Breton seaside resort, to the home of Hermann Dietz, a teacher at the Lyceee Buffon, who gave remedial courses to students.

Dietz was not successful in enthusing the bright student in his studies - Cocteau preferred tennis, paddling in the sea, working on his poems or sketching out his theatrical work. Cocteau’s first novel “Le Grand Ecart”, written in 1923, featured a “Monsieur Berlin” whose persona was modelled on Herman Dietz.

Authentication: A certificate from the Jean Cocteau expert, Annie Guedras, dated 15th May 2002, Archive number 4123, comes with this item.

Coillections: Collection Dominique Bert, Le Louvre des Antquaires: Jean Cocteau Exhibition 23/3/2007 - 22/4/2007 Illustrated in the catalogue number 8, page 15

£2,250

Le Tango

Le Tango (s.8599) The Tango Medium: Original drawing, Ink on paper, and collage, circa 1915, signed and dated below right “Jim” Size: 22.5 x 25.5 cm Note: For some strange reason Cocteau did sign a number of his drawings made at this period with the pseudonym “Jim” and this is recorded in the Dermit certification. There is an element of collage in the piece (visible in the right hand of the violinist).

The drawing has much of the characteristic of a caricature, where the lady “tangoist” collapses into the arms of her friends after an exhausting and energetic dance. At the time this drawing was made Cocteau was heavily involved with various personalities in writing and producing ballets. No doubt our drawing, made during the time of the First World war, was part of the creative impulses going through the poet and artist at the time. The Tango played an important part of the dance routines employed at this period and our drawing shows an amusing scene of this genre.

Authentication: A certificate from Edouard Dermit, the artists adopted son, dated 10/10/1986, comes with this item.

Exhibitions: The previous owner exhibited this in several Important Exhibitions: Musee de Montparnasse, Paris: “Jean Cocteau” 7th November 2001 - 3rd February 2002 Aix-enProvence,: Galerie d’Art du Conseil General des Bouches-duRhone: “Autour de Cocteau” April/June 2005 (Reproduced in the catalogue) Evian, Palais Lumière “Jean Cocteau: Sur le pas d’un magician” February - May 2010 (Label verso)

£3,800

Willy, Polaire, Toby Chien et Colette au Palace de Glace, Circa 1935

Willy, Polaire, Toby Chien et Colette au Palace de Glace, Circa 1935 (s.8600) Medium: Original drawing, Chine Ink on paper, signed and dated below right “Jean” with a star.

Size: 27 x 21 cm Note: This was executed for the work “Portraits - Souvenirs (1900 1914) by Grasset in 1935. Collette was a scandalously talented performer, a practiced seductress of both men and women and the flamboyant author of some of the greatest works of 20th century literature. Having spent her childhood in the shadow of an overpowering mother, Colette escaped at age twenty into a turbulent marriage with the sexy, unscrupulous Willy--a literary charlatan who took credit for her bestselling Claudine novels. Weary of Willy's sexual domination, Colette pursued an extremely public lesbian love affair with a niece of Napoleon's. At forty, she gave birth to a daughter who bored her, at fortyseven she seduced her teenage stepson, and in her seventies, she flirted with the Nazi occupiers of Paris, even though her beloved third husband, a Jew, had been arrested by the Gestapo. And all the while, this incomparable woman poured forth a torrent of masterpieces. Colette’s husband, Willy, wrote “Claudine at school” and the stage version was a great success. The persona of “Claudine” was played by the actress Polaire. Willy had the two ladies dress as girlish twins and showed them off in Paris. Such outings played up the erotic ambiguity of the relationship between the two ladies and the portly and middle aged Willy.

Cocteau was a great friend of Colette whose literary works he admired greatly. Our drawing, made in about 1935, harps back to an earlier period in Colette’s life and is an amusing portrait of the trio in an ice cream palace with their pet dog, Toby, sitting at a table enjoying an afternoon excess. They are attired in fashionable garb and obviously, all smiling, laughing and enjoying the occasion.

Authentication: A certificate from the Jean Cocteau expert, Annie Guedras, comes with this item.

£6,500

Faun a la brindille

Faun a la brindille (s.8273) Medium: Pen and ink and Grey Crayon drawing ,1939, inscribed “Apres quinze ans! Je n’oisais pas revenir. Et je retriove mes fantoms en chair et en os: signed “Jean C” with star, date avril 1939, titled “Hotel Chateclere” “after 15 years I return to the Oasis and find the ghosts in my bones" Size: 34.4 x 29.2 cm Note: Cocteau went to Piquet in 1917 with Andre L Hote and stayed at the hotel Chantecler, a small guest house. He went back there over the following years and in 1920 was with Raymond Rodriguez where was written the greater part of “Le disable au corps” which was to be published in 1923, the year of Radriguet’s death. Amongst the artist’s friends who visited the hotel were the sculptor Jacques Lipchitz, the comedian Pierre Bertin, the composer Georges Asuric and painter Jean Hugo.

Cocteau returned to the hotel in April 1933 with Jean Marais but the character of the place, which had in the past given him so much pleasure, had changed. Perhaps this is why when he returned in 1939 he was not so enamoured of the place and hence the inscription on this drawing. It could well be that Cocteau considered that coming back to this treasured spot full of happy past memories he became unhappy. We have also photographs of a postcard of this luxury hotel as it had been in the time of Cocteau’s visit.

Authentication: A certificate from the Jean Cocteau expert, Annie Guedras, comes with this item dated at Perigueux the 19th March 2015, reference No 5810 in the archives.

£5,500

Elegant Lady at her window and Messenger Bird

Elegant lady at her window and Messenger Bird (s. 8609) Elegante a sa fenêtre et oiseau messager Medium: Original drawing in pencil, circa 1935, signed by the artist with initials “JC” Size: 65 x 50 cm (paper size) Note: The Cocteau expert, Annie Guedras, issued a document with additional information about this work.

Jean Cocteau was commissioned to execute a series of drawings for the Couture House, Molyneux and these were entitled “Douze Portraits des robes de Molyneux”.

She illustrates a drawing, another from the series, which was the title piece.

Authenticity: The buyer acquires a certificate by Annie Guedras, the well-known Cocteau expert, dated at Perigueux on the 20th August 2015 under archive number 5844 E n

£7,000

Robes du soir sur fond ĂŠtoile

Robes du soir sur fond étoile (s. 8610) Evening dresses in a field of stars Medium: Original drawing in pencil, circa 1935, signed by the artist with initials “JC” Size: 65 x 50 cm (paper size) Note: The Cocteau expert, Annie Guedras, issued a document with additional information about this work.

Jean Cocteau was commissioned to execute a series of drawings for the Couture House, Molyneux and these were entitled “Douze Portraits des robes de Molyneux”.

She illustrates a drawing, another from the series, which was the title piece.

£7,000

AFTER GEORGE BRAQUE

Les Fleurs Violets

Les Fleurs Violets (s.8421) Bouquet des Fleurs Medium: Etching and Aquatint in colours, circa 1955/60, on Arches watermarked paper, signed by the artist in pencil, with blindstamp "ATELIER CROMMELYNCK PARIS" Size: 66 x 50.2 cm (paper size) Edition: 92/200 - There was also an edition of 50 on Japan paper.

Publisher: Atelier Crommelynck, Paris Note: This array of bright violet and pink flowers appears to come alive amidst the rich hues and tones of the print.

The various, subtle yellows and browns of the composition contrast nicely with the purple arrangement, allowing it to emanate with the radiance and vibrancy of spring. This vase of a bright and colourful arrangement of flowers gives new meaning to the still life genre. Braque helped redefine the meaning of the still life, adding a vibrant energy and evocative emotion inherent in the colour and strokes of the work. The deep yellows and browns of the vase helps bring out the delicate speckles of pink and violet flowers, which hang loosely over the side.

The flowers themselves appear to bleed in with the remaining tones of the background, allowing for a depth and richness that makes Braque's work so extraordinary.

ÂŁ3,250

Two Birds

Two Birds (s.8664) Les Deux Oiseaux Medium: Collotype in colours, circa 1960, on Vellin paper, initialled in the plate, signed by the artist in pencil, with full margins.

Published by: Editions parler, Grenoble, France Reference: Dora Vallier :”Braque, the Complete Graphics” Catalogue raisonee - page 300 Note: This was made to be included in the French Literary work “Le Pays Total” with poems by Andre Verdet.

Edition: HC - Apart from a signed and numbered edition of 75 Condition: In good condition

£1,650

ALBERTO GIACOMETTI

Nude with Flowers

Nude with flowers (s.8622) Nu aux fleurs Medium: Original Lithograph, 1960, on BFK Rives watermarked paper, with full margins, signed by the artist in pencil Size: 60 x 55 cm (paper size) Edition: 89/90 Published by: Maeght Editeur , Paris Note: In October 1959 Giacometti met Yvonne Marguerite Poiraudeau, a prostitute in a bar. She called herself Caroline and she was 21 years old whilst the artist was 58. Caroline was particularly adept at using her eyes seductively and soon she began to pose for the artist.

Wanting a part of her that no one else could touch, he purchased the bottom of one of her feet as his exclusive terrain. He made several portraits of her.

ÂŁ6,500

Nu Assis

Nu assis (s.8633) Seated Nude Medium: Original Lithograph, 1965, on Rives BFK paper, with full margins, signed by the artist in pencil Size: 30.5 x 22 inches (paper size) Edition: From the signed and numbered edition of 100 Published by: Gemini G E L’; Los Angeles, with their chop mark on verso Note: In October 1959 Giacometti met Yvonne Marguerite Poiraudeau in a bar. She called herself Caroline and she was 21 years old whilst the artist was 58. Caroline was particularly adept at using her eyes seductively and soon she began to pose for the artist. Lust suggests that this may have been Giacometti's favourite among his lithographs because it was released in the largest signed and numbered edition of any of his prints.

The work was also included in “Derriere le miroir” in an edition of 1500 unsigned lithographs on lighter different paper but with no margins.

Provenenance: From the Estate of Blossom and Ben Norman, Los Angeles, CA Acquired from the above by Weintraub Gallery, New York (Receipt provided)

£6,250

Bust II (Buste II)

Bust II (Buste II) (s.8672) Medium: Original Lithograph, 1960, on BFK Rives watermarked paper, with full margins, signed by the artist in pencil Size: 65.1 x 49.8 cm Edition: 128/150 Published by: Maeght Editeur , Paris Note: In October 1959 Giacometti met Yvonne Marguerite Poiraudeau in a bar. She called herself Caroline and she was 21 years old whilst the artist was 58. Caroline was particularly adept at using her eyes seductively and soon she began to pose for the artist. He made several portraits of her.

ÂŁ6,500

Buste d’homme

Buste d’homme (s.8671) Bust of man Medium: Original Lithograph, 1964, on BFK Rives paper, with full margins, signed by the artist in pencil Size: 679. x 49.8 cm Edition: 68/75 Published by: Maeght Editeur, Paris Note: In all probability, this represents the artists brother, Diego, who assisted Alberto in his art and later became very well known for his furniture.

ÂŁ6,250

Head of Man

Head of man (s.8679) Tete d’homme Medium: Original Lithograph, 1964, on BFK Rives watermarked paper, with full margins. signed by the artist in pencil Size: 65.1 x 47.9 cm Edition: 22/75 Literature: Herbert Lust “Alberto Giacometti The complete graphics” Number 47, page 60 Published by: Maeght Editeur , Paris Note: In all probability this represents the artists brother, Diego, who assisted Alberto in his art and later became very well known for his furniture. £6,500

TSUGAHARU FOUJITA

Amour devant le chevalet

Amour devant le chevalet (s.8512) Cupid in front of the easel Medium: Original drawing, circa 1930, on paper, signed by the artist below left Size: 10.5 x 8 cm (Paper size) Note: The artist made a number of romantic small drawings such as this (an example being Sylvia Bisson 28.172 in the catalogue Raisonee which was given as a Christmas present). It is a typical charming bijou object!

Certification: A certificate by Madame Sylvia Buisson, the acknowledged Foujita expert, is provided with this work.

Condition: In good condition.

ÂŁ4,850

Self Portrait at the Piano

Self Portrait at the piano (s.8695) Autoportrait au Piano Medium: Original drawing, 1932, in ink and wash, on paper, signed and dated by the artist centre both in English and Japanese. Dedicated above “Vive Lucila Machaca Garcia” Verso is a hand written note written in Spanish.

Size: 25 x 18.5 cm (Paper size) Note: The artist was a keen pianist and this rather raucus drawing, full of joie de vivre, reflects this. The hand-written note on the back of the piece reads as follows: hola!! creí en la desaparición de los verdaderos artistas. Lucila Manuela de García me ha demostrado el error reconciliándome con la humanidad Santa María de los Buenos Aires This translates as: I believed in the disappearance of true artists. Lucila Machuca de Garcia has shown me the error, reconciling with humanity.

Signed in Santa Maria de los Buenos Aires”. We do not know the persona of this lady. However, we do know that in 1931 Foujita broke up with his third wife and fled to South America with his new love “Mady”. The artist travelled and painted all over Latin America giving hugely successful exhibitions all the way. In Buenos Aires, Argentina, some 60,000-people attended his exhibition and more than 10,000 queued up to receive his autograph. In 1933 Foujita left for Japan where he was acclaimed as a celebrity. It is more than likely that this drawing was done in Buenos Aires and the dedicee was an admirer of his woks.

Certification: A certificate by Madame Sylvia Buisson, the acknowledged Foujita expert, is provided with this work.

£8,000

SALVADOR DALI

Kneeling Woman with Flower

Kneeling woman with flower Medium: Original etching reworked in drypoints 1967, signed in pencil, on Japanese watermarked paper.

Size: 28.5 x 38.2 cm (paper size) Note: The vignettes were published separately under the title Petits Nus Ronsard in an edition of 95 on Japanese paper. Neither Prestel nor Field give titles to these works so I have myself titled them. Les Amours de Cassandre was a work by Cassandra Salivate (1530 - 1607) written in the time of the French King Francis I. Ronsard, evidently, was in love with a woman of a superior social rank. Unfortunately, he was a tonsured monk and the lady later married another. In his writings, she became a muse and the subject of admiration and Platonic love.

Edition: 37/95 Published by: Robbe. The edition consisted of: M&L 258/Field 73.1.1 - Kneeling woman with flower M&L 259 / Field 73.1.2 - Nude with wine glass M&L 260/Field 73.1.3 - Back of nude M&L 261 / Field 73.1.4 - Woman jumping over flower M&L 262 / Field 73.1.5 - Facing Nude M&L 263 / Field 73.1.8 - Nude with flower M&L 264 / Field 73.1.7 - Woman riding with conical hat M&L 265 / Field 73.1.6 - Nude with guitar Literature: Prestel 258 - 265 (Pages 163/4); Field 73-1 to 73-8 (Pages 42/43) Condition: excellent

ÂŁ950

Nude with Wine Glass

Nude with wine glass Medium: Original etching reworked in drypoints 1967, signed in pencil, on Japanese watermarked paper.

Size: Vignette 28.5 x 38.2 cm (paper size) Note: The vignettes were published separately under the title Petits Nus Ronsard in an edition of 95 on Japanese paper.

Edition: 37/95 Published by: Robbe. The edition consisted of: M&L 258/Field 73.1.1 - Kneeling woman with flower M&L 259 / Field 73.1.2 - Nude with wine glass M&L 260/Field 73.1.3 - Back of nude M&L 261 / Field 73.1.4 - Woman jumping over flower M&L 262 / Field 73.1.5 - Facing nude M&L 263 / Field 73.1.8 - Nude with flower M&L 264 / Field 73.1.7 - Woman riding with conical hat M&L 265 / Field 73.1.6 - Nude with guitar Condition: excellent

ÂŁ950

Back of Nude

Back of Nude Medium: Original etching reworked in drypoints 1967, signed in pencil, on Japanese watermarked paper.

Size: Vignette 28.5 x 38.2 cm (paper size) Note: The vignettes were published separately under the title Petits Nus Ronsard in an edition of 95 on Japanese paper.

Edition: 37/95 Published by: Robbe. The edition consisted of: M&L 258/Field 73.1.1 - Kneeling woman with flower M&L 259 / Field 73.1.2 - Nude with wine glass M&L 260/Field 73.1.3 - Back of nude M&L 261 / Field 73.1.4 - Woman jumping over flower M&L 262 / Field 73.1.5 - Facing nude M&L 263 / Field 73.1.8 - Nude with flower M&L 264 / Field 73.1.7 - Woman riding with conical hat M&L 265 / Field 73.1.6 - Nude with guitar Condition: excellent

ÂŁ950

Woman Jumping over Flower

Woman Jumping Over Flower Medium: Original etching reworked in drypoints 1967, signed in pencil, on Japanese watermarked paper.

Size: Vignette 28.5 x 38.2 cm (paper size) Note: The vignettes were published separately under the title Petits Nus Ronsard in an edition of 95 on Japanese paper. Les Amours de Cassandre was a work by Cassandra Salivate (1530 - 1607) written in the time of the French King Francis I. Ronsard, evidently, was in love with a woman of a superior social rank.

Unfortunately, he was a tonsured monk and the lady later married another. In his writings, she became a muse and the subject of admiration and Platonic love.

Edition: 37/95 Published by: Robbe. The edition consisted of: M&L 258/Field 73.1.1 - Kneeling woman with flower M&L 259 / Field 73.1.2 - Nude with wine glass M&L 260/Field 73.1.3 - Back of nude M&L 261 / Field 73.1.4 - Woman jumping over flower M&L 262 / Field 73.1.5 - Facing nude M&L 263 / Field 73.1.8 - Nude with flower M&L 264 / Field 73.1.7 - Woman riding with conical hat M&L 265 / Field 73.1.6 - Nude with guitar Condition: excellent

ÂŁ950

Facing Nude

Facing Nude Medium: Original etching reworked in drypoints 1967, signed in pencil, on Japanese watermarked paper.

Size: Vignette 28.5 x 38.2 cm (paper size) Note: The vignettes were published separately under the title Petits Nus Ronsard in an edition of 95 on Japanese paper.

Edition: 37/95 Published by: Robbe. The edition consisted of: M&L 258/Field 73.1.1 - Kneeling woman with flower M&L 259 / Field 73.1.2 - Nude with wine glass M&L 260/Field 73.1.3 - Back of nude M&L 261 / Field 73.1.4 - Woman jumping over flower M&L 262 / Field 73.1.5 - Facing nude M&L 263 / Field 73.1.8 - Nude with flower M&L 264 / Field 73.1.7 - Woman riding with conical hat M&L 265 / Field 73.1.6 - Nude with guitar Condition: excellent

ÂŁ950

Nude with Flower

Nude with Flower Medium: Original etching reworked in drypoints 1967, signed in pencil, on Japanese watermarked paper.

Size: Vignette 28.5 x 38.2 cm (paper size) Note: The vignettes were published separately under the title Petits Nus Ronsard in an edition of 95 on Japanese paper.

Edition: 37/95 Published by: Robbe. The edition consisted of: M&L 258/Field 73.1.1 - Kneeling woman with flower M&L 259 / Field 73.1.2 - Nude with wine glass M&L 260/Field 73.1.3 - Back of nude M&L 261 / Field 73.1.4 - Woman jumping over flower M&L 262 / Field 73.1.5 - Facing nude M&L 263 / Field 73.1.8 - Nude with flower M&L 264 / Field 73.1.7 - Woman riding with conical hat M&L 265 / Field 73.1.6 - Nude with guitar Condition: excellent

ÂŁ950

Woman Riding with Conical Hat - SOLD

Woman Riding with Conical Hat Medium: Original etching reworked in drypoints 1967, signed in pencil, on Japanese watermarked paper.

Size: Vignette 28.5 x 38.2 cm (paper size) Note: The vignettes were published separately under the title Petits Nus Ronsard in an edition of 95 on Japanese paper.

Edition: 37/95 Published by: Robbe. The edition consisted of: M&L 258/Field 73.1.1 - Kneeling woman with flower M&L 259 / Field 73.1.2 - Nude with wine glass M&L 260/Field 73.1.3 - Back of nude M&L 261 / Field 73.1.4 - Woman jumping over flower M&L 262 / Field 73.1.5 - Facing nude M&L 263 / Field 73.1.8 - Nude with flower M&L 264 / Field 73.1.7 - Woman riding with conical hat M&L 265 / Field 73.1.6 - Nude with guitar Condition: excellent

SOLD

Nude with Guitar - SOLD

Nude with Guitar Medium: Original etching reworked in drypoints 1967, signed in pencil, on Japanese watermarked paper.

Size: Vignette 28.5 x 38.2 cm (paper size) Note: The vignettes were published separately under the title Petits Nus Ronsard in an edition of 95 on Japanese paper.

Edition: 37/95 Published by: Robbe. The edition consisted of: M&L 258/Field 73.1.1 - Kneeling woman with flower M&L 259 / Field 73.1.2 - Nude with wine glass M&L 260/Field 73.1.3 - Back of nude M&L 261 / Field 73.1.4 - Woman jumping over flower M&L 262 / Field 73.1.5 - Facing nude M&L 263 / Field 73.1.8 - Nude with flower M&L 264 / Field 73.1.7 - Woman riding with conical hat M&L 265 / Field 73.1.6 - Nude with guitar Condition: excellent

SOLD

MARC CHAGALL

Les Champs Elysees

Les Champs Elysees (s.8678) Medium: Lithograph, in colours, 1954, on Arches paper, signed

by Marc Chagall in the stone and in pencil, lower left margin.

Not signed by Sorlier.

Edition: 145/200 References: 1. Sorlier, C. (1975). Chagall's Posters: A Catalogue Raisonné. Crown Publishers: NY. Poster is listed and illustrated on pg. 78-9. 2. Sorlier, C. (1984). Chagall Lithographs, Vol. V 1974-1979. Crown Publishers: NY. Listed and illustrated as catalogue raisonné no. CS6 on pg. 195.

Published by: Editions Time Maeght, Paris Note: In 1954 Chagall had a major exhibition with Galerie Maeght in Paris and made a poster to commemorate this which was made on flimsy paper with text. The artist had made a painting in 1952 depicting The Champs Elysees and this was made in Lithographic form by Charles Sorlier who was the Master printer working at Galerie Maeght. Our work is an “avant les lettres” proof of this work. The famed Eiffel Tower and the ChampsElysées are intertwined with lush flowers, a couple embracing, and a rainbow of yellow, orange, pink, and violet. So many different scenes and colours blend together effortlessly to create an incredible, balanced, interpretation of love and land.

Size: 69.5 cm x 47.5 cm (paper size)

£13,000

All works are available to acquire, and come with the certificate of authenticity.

More information about the provenance/public cataloguing of each piece, and framing is available on request.

To register your interest in a piece ahead of the exhibition opening, please get in touch with us at the gallery.

01727 860401 stalbans@galleryrouge.co.uk stalbans@galleryrouge.co.uk www.galleryrouge.co.uk We look forward to seeing many of you on Friday 5th at the opening.