Old Master Prints

OL

D M

AS

TE

R P

RIN

TS

3 DECEMBER 2014 LONDON

2

25-26 NOVEMBER

OLD MASTERS, 19TH CENTURY

& IMPRESSIONIST ARTAMSTERDAM

2 DECEMBER

OLD MASTER AND BRITISH DRAWINGS

AND WATERCOLOURS

LONDON, SOUTH KENSINGTON

2 DECEMBER

OLD MASTER & BRITISH PAINTINGS

EVENING SALELONDON, KING STREET

3 DECEMBER

OLD MASTER & BRITISH PAINTINGS

DAY SALELONDON, KING STREET

4 DECEMBER

PRINTS & MULTIPLESLONDON, SOUTH KENSINGTON

10 DECEMBER

THE I.Q. VAN REGTEREN ALTENA

COLLECTION PART II.

DUTCH AND FLEMISH DRAWINGS

FROM 1500 TO 1900AMSTERDAM

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3

OLD MASTER PRINTS

Wednesday 3 December 2014

AUCTION

Wednesday 3 December 2014

at 2.00 pm

8 King Street, St. James’s

London SW1Y 6QT

AUCTION CODE AND NUMBER

In sending absentee bids or making

enquiries, this sale should be referred

to as ROMA -1540

CONDIT IONS OF SALE

This auction is subject to

Important Notices,

Conditions of Sale and

to reserves.

[20]

PROPERTIES FROM

The Estate of Edgar M. Bronfman

The Estate of Nuala O’Donnell Pell

The Collection of Nathan and Joan Lipson

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© COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2014)

5

2 Calendar of Auctions

2 Christie’s International Print Department

2 Specialists and Services for this Auction

3 Auction Information

6 Property for Sale

80 Index

81 Important Notices and Explanation of Cataloguing Practice

82 Buying at Christie’s

83 Storage and Collection

84 Conditions of Sale and Limited Warranty

86 Salerooms and Offices Worldwide

88 Christie’s Specialist Departments and Services

93 Absentee Bids Form

94 Catalogue Subscriptions

f r o n t a n d b a c k c o v e r :

Lot 112

i n s i d e f r o n t c o v e r :

Lot 94

o p p o s i t e : Lot 81

i n s i d e b a c k c o v e r :

Lot 113

christies.com

CONTENTS

6

1

15TH CENTURY, SOUTHERN GERMANY

One plate from: Seelenwurzgarten (Two men leading an oxen, a church being build in the background) (Schramm 12, 100; Schreiber 5230; Gof S-365)

woodcut with hand-colouring in pale green, pink and red, circa 1480-83, on laid

paper, without watermark, a strong and even impression with contemporary,

very transparent hand-colouring, published by Conrad Dinckmut, Ulm, on 4

October 1483, the fifth edition of this very rare book, Dinckmut’s second edition,

the full leaf with margins, folded, with three pages of letter-press text in gothic

script (Johannes Schönberger’s Type I bis), inscribed in brown ink with the page

number 114 at upper right, some pale foxing, some time staining and surface dirt,

generally in very good condition

B. 198 x 128 mm., S. 261 x 188 mm.

£1,000-1,500 $1,800-2,600 €1,300-1,900

*2

MARTIN SCHONGAUER (1450-1491)

The Resurrection, from: The Passion of Christ (Bartsch 20; Lehrs, Hollstein 30)

engraving, circa 1480, without watermark, a very good, even impression, printing

with great clarity and good contrasts, trimmed outside the borderline and

retaining a fillet of blank paper all around, with a vertical and a horizontal central

fold with small repaired, unobtrusive paper splits, a very skilfully made-up area

at the upper sheet edge and in the blank sky, just reaching into the upper rays of

the nimbus

S. 165 x 117 mm.

£7,000-10,000 $12,000-17,000 €8,800-13,000

P R O V E N A N C E :

Ambroise Firmin-Didot (1790-1876), Paris (L. 119); his posthumous sale, Danlos, Paris,

16 April – 12 May 1887, lot 484 (Fr. 240).

Louis Galichon (1829-1893), Paris (L. 1060); his posthumous sale, 4-9 March 1895,

lot 1054 (Fr. 220).

Atherton Curtis (1863-1943), New York and Paris, and Louise Burleigh Curtis

(1869-1910), Maine and Paris (L. 94); probably sold prior to their posthumous sale at

Gutekunst & Klipstein, Bern, 28 April 1955.

Albert W. Blum (1882-1952), Switzerland and Short Hills, New Jersey (L. 79b); then by

descent to the current owner.

*3

MARTIN SCHONGAUER

The Agony in the Garden, from: The Passion of Christ (B. 9; L., Holl. 19)

engraving, circa 1480, on laid paper, without watermark, a fine early impression,

trimmed to the borderline, the sheet toned and with pale staining and minor

foxing, generally in good condition

P., S. 163 x 115 mm.

£10,000-15,000 $18,000-26,000 €13,000-19,000

7

4

ANDREA MANTEGNA (1431-1503)

A Bacchanal with Silenus (B. 20; Hind 3; Martineau 75)

engraving with drypoint, early 1470s, on laid paper, watermark Small Circle (Martineau 1; similar to Briquet

2925-7), a later impression of this rare and important engraving, probably printed in France around 1540, an

unusually large sheet for this print, showing the irregular, curved platemark at the sides and partially below,

trimmed into the platemark but well outside the subject above, some pale foxing, a tiny paper loss at the

upper sheet edge, otherwise in very good condition

S. 328 x 458 mm.

£5,000-7,000 $8,600-12,000 €6,300-8,800

8

plates of the core group - which she considered to be Mantegna’s – and two separate hands on the four additional plates including The Descent into Limbo - presumably Cavalli and another, unknown engraver.

Whoever the engraver may have been, it is clear that the engravings were executed in the immediate surroundings of the artist and that he retained ultimate control over the plates. In 1996 Rodolfo Signorini published the estate inventory of Mantegna’s son Ludovico of 1510, which listed several of his father’s engraved plates, including plates of the core group as well as others, amongst them The Descent into Limbo and The

Flagellation with a Pavement – the two prints being engraved on the two sides of the same plate.

The further history of the plates is equally intriguing. Paper evidence has shown that the majority of impressions – but only of those present in Ludovico’s estate – are not on Italian, but on French paper, leading Landau and Boorsch to conclude that the plates must have found their way from Mantua to France, and were reprinted there around 1540-45. While there are a few documented impressions of The Descent into Limbo on early Italian paper, for instance at The Cleveland Museum of Art, and The Museum of Fine Arts, Boston, the majority are on French paper of the mid-16th century. The extreme scarcity of surviving 15th century impressions seems to preclude any sizeable lifetime edition. Hind recorded a total of 45 impressions, only nine of which were in private hands at the time of publication in 1948. At least four of these have since entered public collections. The present impression thus ofers an exceptional opportunity to acquire one of the great engravings of the Italian Renaissance - as Suzanne Boorsch concluded: ‘What cannot be doubted is that these prints, translating as they do Mantegna’s incisive drawing style into the intractable medium of the copper plate, are the climax of 15th century Italian printmaking and fully merit the admiration they have elicited over the centuries’. (S. Boorsch, ‘Mantegna and his Printmakers’, Andrea Mantegna, 1992, p. 64).

The present fine impression was acquired by Barbara Piasecka Johnson in 1989 to complement the famous painting of the same subject, formerly from the collection of Sir Stephen Courtauld, which she had purchased only two years earlier. Both the painting and the engraving were included in the Mantegna exhibition at the Royal Academy, London, in 1992.

We would like to thank Catherine Jenkins, London, for her help in cataloguing this lot and for confirming the origin and date of the paper.

Based on a drawing attributed to Andrea Mantegna in the collection of the Bibliothèque de l’Ecole Nationale Supérieure des Beaux-Arts, Paris, The Descent into Limbo belongs, together with The Flagellation with a Pavement (B. 1), The Deposition (B. 4), and The

Entombment with Four Birds (B. 2) to a group of engravings relating to the Passion and Resurrection of Christ.

The composition centres on the figure of Christ standing on the shattered gates of Hell, holding the staf and banner of the Resurrection. Mantegna’s radical innovation of depicting Christ from behind, directly in front of the abyss and not from the side as in Byzantine and Italian antecedents, has the dramatic efect of involving the viewer in Christ’s act of salvation, as he reaches down to liberate the souls of the dead.

While Mantegna’s invention of this extraordinary composition is undisputed, the attribution of the engraving has long been controversial and remains uncertain. David Landau noted that the engraving and drawing correspond so closely in scale and detail that the image must have been transferred to the plate via a tracing or some other mechanical means. Unusually however, the engraver of The Descent into Limbo departed from the original composition in places: by extending the height of the rock façade and elaborating its cracked surface; by completing the figure of Eve to the right of Christ; by altering the features of the central demon and re-positioning his left arm to accommodate the curved shape of his instrument. Although it has traditionally been ascribed to Mantegna’s workshop or school, Landau in 1992 proposed that The Descent into Limbo be added to the corpus of seven plates generally attributed to Mantegna himself, arguing that this degree of variation from the drawing was not indicative of a copyist. This view was contested by Suzanne Boorsch, who not only rejected the re-attribution but challenged Mantegna’s authorship of any engravings, suggesting instead that the entire engraved oeuvre was the work of an unidentified professional engraver. The discovery of a contract from 1475 between the artist and the goldsmith Gian Marco Cavalli (circa 1454–after 1508) in the state archives of Mantua in 2000 confirmed Mantegna’s collaboration with at least one engraver. This remarkable document did not, however, specify any prints made by Cavalli - nor did it rule out that Mantegna had made some engravings himself. Following this documentary evidence, Shelley Fletcher in 2001 published the results of her microscopic examination of the seven plates traditionally attributed to Mantegna and the four questionable plates (Print

Quarterly, XXIII, no. 4, 2001). The comparison revealed subtle but distinct diferences in the engraving technique between the two groups: she identified a single hand on the

With Colnaghi’s, London (their inventory number C. 7533 in pencil verso).

With David Tunick, New York.

Acquired from the above in 1989.

E X H I B I T E D :

Royal Castle, Warsaw, Opus Sacrum, 1990, no. 11.

The Royal Academy of Arts, London, Andrea Mantegna, 1992, no. 67a.

Royal Castle, Warsaw, The Masters of Drawing. Drawings from the Barbara Piasecka Johnson Collection, 2010 - 2011, p. 110.

L I T E R A T U R E :

A. M. Hind, Early Italian Engravings, Bernard Quaritch Ltd., London, 1948, no. 9.

J. A. Levenson, K. Oberhuber & J. L. Sheenan, Early Italian Engravings, The National Gallery of Art, Washington, 1973, no. 80.

D. Landau, S. Boorsch, J. Martineau (ed.), Andrea Mantegna, The Royal Academy of Arts, London, & The Metropolitan

Museum of Art, New York (exh. cat.), 1992, no. 67a (this impression illustrated).

R. Signorini, ‘New Findings about Andrea Mantegna: His Son Ludovico’s Post-mortem Inventory (1510)’, Journal of the

Warburg and Courtauld Institutes, LIX, 1996, pp. 103-338.

S. Fletcher, ‘A Closer Look at Mantegna’s Prints’, Print Quarterly, XVII, No. 1, 2001, pp. 3-41.

PROPERTY FROM THE BARBARA PIASECKA JOHNSON COLLECTION. PROCEEDS TO BENEFIT THE BARBARA

JOHNSON FOUNDATION.

*5

WORKSHOP OF ANDREA MANTEGNA (1431-1503)

The Descent into Limbo (Bartsch 5; Hind 9; Martineau 67a)

engraving, circa 1475-1480, on laid paper, without watermark, a fine impression of this very rare and important

print, richly inked and with strong contrasts, printed in France circa 1540-45, the sheet trimmed into the image on

all sides, some skilfully repaired tears and made-up paper losses

S. 413 x 320 mm.

£60,000-80,000 $110,000-140,000 €76,000-100,000


10

VARIOUS PROPERTIES

*6

ALBRECHT DÜRER (1471-1528)

The Holy Family with the Butterfly (B. 44; Meder, Holl. 142; Schoch, Mende, Scherbaum 2)

engraving, circa 1495, on laid paper, watermark fragment Bull’s Head

(M. 62), a very fine and rare, early impression, Meder a-b, printing

with touches of burr on the monogram and elsewhere, many vertical

wiping lines in the sky, trimmed just inside the subject, the scratch

above the Virgin rubbed out, a tiny repaired pinhole in the rays, a few

tiny paper losses at the upper left edge, generally in good condition

S. 238 x 185 mm.

£30,000-50,000 $52,000-86,000 €38,000-63,000

*7

ALBRECHT DÜRER

The Virgin and Child on a grassy bench (B. 34; M., Holl. 31; S.M.S. 36)

engraving, 1503, on laid paper, watermark fragment High Crown

(M. 20), a very fine Meder a impression, with 2 mm. margins, in very

good condition

P. 115 x 70 mm., S. 119 x 75 mm.

£20,000-30,000 $35,000-51,000 €26,000-38,000


Private European collection; then by descent to the present owners.

11

8

ALBRECHT DÜRER

The cook and his wife (B. 84; M., Holl. 85; S.M.S. 13)

engraving, circa 1496, on laid paper, without watermark, a good Meder a impression, trimmed

inside the platemark on all sides, the tip of the lower right corner made-up, remains of old tape

and adhesive at the sheet edges verso, otherwise in good condition, framed

S. 110 x 78 mm.

£5,000-7,000 $8,600-12,000 €6,300-8,800


Earl Spencer (18th century), Althorp, Northampton (L. 1532); his posthumous sale, Christie’s, London,

25 June 1919, lot 56 (with one other; £6-16-16 to Barnard).

With Colnaghi’s, London (with their gallery label on the backboard).

PROPERTY FROM THE ESTATE OF NUALA O’DONNELL PELL

*9

ALBRECHT DÜRER

The Prodigal Son (B., M., Holl. 28; S.M.S. 9)

engraving, 1496, on laid paper, a good impression, probably Meder c/d, trimmed into the

image at the upper right, on the platemark elsewhere, pale scattered foxing, the sheet

tipped down at the corners, framed

S. 247 x 189 mm.

£5,000-7,000 $8,600-12,000 €6,300-8,800

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

*10

ALBRECHT DÜRER

The peasant and his wife at market (B. 89; M., Holl. 89; S.M.S. 88)

engraving, 1519, on laid paper, without watermark, a very good, clear Meder b impression, with

thread margins, trimmed to the platemark in places, with a veil of tone at the plate edges below

and at left, in very good condition

P. 116 x 74 mm., S. 117 x 75 mm.

£3,000-5,000 $5,200-8,600 €3,800-6,300


John William Bender (first half of the 20th century), Kansas City (L. 1555b).

12

VARIOUS PROPERTIES

*11

ALBRECHT DÜRER

The Four Horsemen of the Apocalypse, from: The Apocalypse (B. 64; M. Holl. 167; S.M.S. 115)

woodcut, circa 1497/98, on laid paper, without watermark, a good impression from the Latin text edition of

1511, printing somewhat unevenly (as usual), trimmed on or to the borderline on three sides, trimmed just

inside the borderline in places at right, a tiny paper split in the angels left wing, a short diagonal tear at centre

right sheet edge, backed

S. 393 x 276 mm.

£30,000-50,000 $52,000-86,000 €38,000-63,000

13

13

ALBRECHT DÜRER

The Adoration of the Lamb, from: The Apocalypse (B. 67; M., Holl. 176; S.M.S. 124)

woodcut, circa 1496-97, on laid paper, without watermark, a good impression

from the Latin text edition of 1511, printing slightly unevenly in places (as usual),

with small margins, a short repaired tear at the centre right sheet edge, generally

in good condition, framed

B. 385 x 281 mm., S. 405 x 286 mm.

£2,500-3,500 $4,300-6,000 €3,200-4,400

*∆12

ALBRECHT DÜRER

The Four Angels holding the Winds, from: The Apocalypse (B. 66; M., Holl. 169; S.M.S. 117)

woodcut, circa 1497-98, on laid paper, indistinct watermark, possibly Small Scales

in a Circle (M. 170 a), a very good proof impression before the German and Latin

text editions of 1498, printing slightly unevenly yet with great contrasts and

depth, trimmed to the borderline, a 15 mm. tear at the right sheet edge, the tips of

the upper sheet corners made up, otherwise in good condition

B., S. 388 x 281 mm.

£20,000-30,000 $35,000-51,000 €26,000-38,000


Vinzent Mayer (1831-1918), New York and Freiburg (L. 2525); his posthumous sale,

Cassirer, Helbing, Rosenthal, Berlin, 8 October 1919 (and following days), lot 126 (Mk 500).

Dr. Franz Winzinger (born 1910), Oettingen, Bavaria (L. 2600a).

14


*14

ALBRECHT DÜRER

Hercules at the Crossroads (B. 73, M., Holl. 63; S.M.S. 22)

engraving, 1498, on laid paper, watermark Small Jug (M. 158), a fine Meder b

impression of the second, final state, before the scratch on Hercules’s calf,

trimmed inside the platemark but retaining a fillet of blank paper outside the

borderline on three sides, trimmed on or just outside the borderline at left, in

very good condition

S. 324 x 223 mm.

£12,000-18,000 $21,000-31,000 €16,000-23,000

VARIOUS PROPERTIES

15

ALBRECHT DÜRER

The Dream of the Doctor (B. 76; M., Holl. 70; S.M.S 18)

engraving, circa 1498, on laid paper, partial Bull’s Head watermark (M. 62),

a very good Meder a impression, trimmed inside the platemark, the fillet

of blank paper outside the borderline made up, with touches of pen and

ink along the borderline, the lower corners skilfully made up, other skilfully

repaired paper splits and tears, some minor stains and surface dirt, the sheet

thinly backed

S. 188 x 120 mm.

£5,000-7,000 $8,600-12,000 €6,300-8,800


Franz Gawet (1762/65-1847), Vienna (L. 1005).

Johann Carl Dietrich Hebich (1818-1891), Hamburg (L. 1251); presumably his sale,

Amsler & Ruthardt, Berlin, 23 February 1885, lot 65 (260 M).

15

Nemesis, the Greek goddess of retribution, with wings and standing on a ball, glides majestically over an alpine landscape, which - depicted in tiny detail - lies far underneath. In her hands she holds a bridle and a cup, her instruments to punish and restrain the proud and reward the just. As Panofsky’s iconological studies have demonstrated, these attributes can only have been derived from the poem Manto by the Tuscan poet Angelo Poliziano (1454-1494), and it may have been through Willibald Pirckheimer that Dürer, who did not read Latin himself, knew this particular literary source. The mountain landscape has been identified as a view of the village of Klausen in the Eisack valley, one of the few unambiguously identifiable locations in Dürer’s printed oeuvre.

Impressions of the first state, before the accidental scratch on the bridge, such as the present one, are very rare. Schoch, Mende and Scherbaum record only five impressions in public collections.

16

ALBRECHT DÜRER

Nemesis (B. 77; M., Holl. 72; S.M.S 33)

engraving, circa 1501, on laid paper, watermark High Crown (M. 20), a fine,

silvery Meder b impression of the rare first state, before the scratch on the

bridge, printing very clearly and sharply, particularly in the harness and the cup,

trimmed to the platemark and just inside the platemark at lower right, a very

short tear at the lower left sheet edge, a few very skilful repairs at the sheet

edges and in the sky at centre, generally in good condition

S. 335 x 223 mm.

£30,000-50,000 $52,000-86,000 €38,000-63,000

16

17

ALBRECHT DÜRER

Saint Eustace (B. 57; M., Holl. 60; S.M.S. 32)

engraving, circa 1501, on laid paper, watermark High Crown (M. 20), a fine Meder b impression, trimmed just

inside the subject on three sides, to or just outside the borderline below, with the usual horizontal central fold,

partially broken through and repaired at left, a short tear at the lower sheet edge, pale scattered foxing, some

other, minor defects mainly at the sheet edges, framed

S. 349 x 259 mm.

£20,000-30,000 $35,000-51,000 €26,000-38,000


Unidentified collector’s mark (not in Lugt).

17

PROPERTY FROM THE ESTATE OF EDGAR M. BRONFMAN

*19

ALBRECHT DÜRER

Adam and Eve (B., M., Holl.; 1; S. M. S. 39)

engraving, 1504, on laid paper, without watermark, a Meder b-c impression

of the third, final state, trimmed on or just inside the platemark but retaining

a fillet of blank paper outside the subjects, with the usual horizontal central

crease partially broken through and repaired, a repaired paper split or hole on

Eve’s belly, the sheet toned, framed

S. 251 x 192 mm.

£5,000-7,000 $8,600-12,000 €6,300-8,800

PROPERTY FROM A PRIVATE AMERICAN COLLECTION

*18

ALBRECHT DÜRER

Coat of Arms with a Skull (B. 101; M., Holl. 98; S.M.S. 37)

engraving, 1503, on laid paper, without watermark, a fine, rich Meder a

impression, printing with good contrasts and touches of burr in the wild

man’s right arm and elsewhere, trimmed 3 mm. into the subject at left and

above, fractionally inside the platemark at right and below, re-margined on

all sides, a repaired paper split in the skull, two other repairs in the blank area

above, and other minor defects

S. 217 x 153 mm.

£15,000-20,000 $26,000-34,000 €19,000-25,000

18

By Dürer’s time the melancholic temperament was associated with genius and the pursuit of knowledge, particularly that of empirical, applied science. The ruler, the scale and the pair of compasses are all measuring devices, instruments for the examination of nature. The building tools and the melting pot on the other hand are symbols of human creativity. To Dürer, the observation and comprehension of the natural world was the basis of art. When we consider that the artists of the Renaissance, with Leonardo and Dürer as prime examples, saw themselves as artists as well as scientists, then Melencolia I might be described as a coded self-portrait.

VARIOUS PROPERTIES

20

ALBRECHT DÜRER

Melencolia I (B. 74; M., Holl. 75; S.M.S. 71)

engraving, 1514, on laid paper, without watermark, a very good impression of the

second, final state, probably Meder c, printing with good contrasts, the female

figure’s face quite dark, trimmed inside the platemark but retaining a fillet of

blank paper outside the borderline, an unobtrusive horizontal printer’s crease at

centre, two tiny repairs in the sea, time staining along the sheet edges, generally

in good condition

S. 239 x 186 mm.

£30,000-50,000 $52,000-86,000 €38,000-63,000

19

21

ALBRECHT DÜRER

Knight, Death and the Devil (B. 98; M., Holl. 74; S.M.S. 69)

engraving, 1513, on laid paper, without watermark, a very good impression,

probably Meder b, printing with good contrasts and bright highlights, with

thread margins, trimmed on or just inside the platemark in places, the upper

right corner re-attached, a made-up area to the left of the devil, a small

repaired hole on the horse’s belly, a short repaired tear at centre right, some

other smaller defects and minor staining

S. 244 x 188 mm.

£15,000-25,000 $26,000-43,000 €19,000-31,000


Blanche Adler (d. 1938), Baltimore (L. 343a).

Colnaghi’s, London (with their stocknumber C. 10359 in pencil verso).


*22

ALBRECHT DÜRER

Saint Jerome in his Study (B. 60; M. Holl. 59: S.M.S. 70)

engraving, 1514, on laid paper, without watermark, a Meder c/e impression,

trimmed inside the subject on all sides, with made-up areas at lower and

upper right corners, other made up areas at the sheet edges

S. 241 x 185 mm.

£8,000-12,000 $14,000-21,000 €11,000-15,000

20

*25

ALBRECHT DÜRER

The Ascension, from The Small Passion (B. 50; M., Holl. 159; S.M.S. 220)

woodcut, 1508-10, on laid paper, without watermark, a very good impression

before the Latin text edition of 1511, a few tiny paper losses at the lower and left

sheet edge outside the borderline, otherwise in very good condition

B. 125 x 97 mm., S. 127 x 100 mm.

£2,500-3,500 $4,300-6,000 €3,200-4,400


Dr. G. Güttler (b. 1956), Bavaria (L. 2807b).

*24

ALBRECHT DÜRER

Christ driving the Money Changers from the Temple, from: The Small Passion (B. 23; M., Holl. 131; S.M.S. 182)

woodcut, 1508-1510, on laid paper, without watermark, a very good impression

before the Latin text edition of 1511, with small margins, in very good condition

B. 125 x 97 mm., S. 129 x 101 mm.

£3,000-5,000 $5,200-8,600 €3,800-6,300



VARIOUS PROPERTIES

*23

ALBRECHT DÜRER

The Expulsion from Paradise, from: The Small Passion (B. 18; M., Holl. 127; S.M.S. 188)

woodcut, 1510, without watermark, a very good Meder b/c impression of the

second, final state, before the Latin text edition of 1511, trimmed to the borderline,

generally in good condition

B., S. 127 x 98 mm.

£3,500-5,000 $6,000-8,600 €4,400-6,300



21

*27

ALBRECHT DÜRER

King David doing penance (B. 119; M., Holl. 108; S.M.S. 151)

woodcut, 1510, on laid paper, watermark Narrow High Crown with City Gate,

a fine Meder a impression of this rare print, showing a few tiny gaps in the

borderline not described by Meder, trimmed to or on the borderline,

in excellent condition

S. 196 x 132 mm.

£5,000-7,000 $8,600-12,000 €6,300-8,800


Friedrich August II, King of Saxony (L. 971).

Albert W. Blum (1882-1952), Switzerland and Short Hills, New Jersey (L. 79 b).

*26

ALBRECHT DÜRER

Pentecost, from: The Small Passion (B. 51; M., Holl. 160; S.M.S. 221)

woodcut, 1508-1510, on laid paper, with partial High Crown watermark (M. 20),

a fine impression, before the Latin text edition of 1511, with small margins on three

sides and a thread margin above, generally in very good condition

B. 126 x 95 mm., S. 129 x 98 mm.

£2,500-3,500 $4,300-6,000 €3,200-4,400



22

*28

ALBRECHT DÜRER

The Rhinoceros (B. 136; M., Holl. 241; S.M.S. 241)

woodcut, 1515, on laid paper, watermark Small Shield with St. Andrew’s Cross (?), a very good, rich and clear impression

of the eighth, final state, published after 1620, some of the gaps in the block filled in with pen and ink (as usual), with

thread margins, pale foxing, a tiny rust spot on the right shoulder, generally in good condition

B. 212 x 297 mm., S. 213 x 298 mm.

£8,000-12,000 $14,000-21,000 €11,000-15,000


John St. Aubyn (1758-1839), Devonport and London (L. 1534).

Fountaine Walker (second half 19th century), Inverness, Scotland (L. 2545); Christie’s, London, 7 July 1884, lot 473 (£0-8).

23

29

ALBRECHT DÜRER

The Small Horse (B. 96; M., Holl. 93; S.M.S. 42)

engraving, 1505, on laid paper, watermark Bull’s Head (M. 62),

a fine, rich and black Meder a impression, with very good

contrasts and depth, the printing somewhat slipped towards

the lower part of the plate, trimmed on the platemark, an

unobtrusive horizontal soft crease, otherwise in very good

condition

S. 163 x 118 mm.

£8,000-12,000 $14,000-21,000 €11,000-15,000


Reverend J. Burleigh James (mid 19th century), Shropshire (L. 1425);

his posthumous sale, Sotheby’s, London, 19 March 1877

(and the following days), lot 1267 (£5-2-6, to Fawcett).

The San Francisco Museum of Modern Art, de-accessioned

in 2005.

PROPERTY FROM A DISTINGUISHED PRIVATE

COLLECTION

*30

ALBRECHT DÜRER

The landscape with the cannon (B. 99; M., Holl. 96; S.M.S. 85)

etching, 1518, on thin laid paper, watermark Doubled-

headed with letters SZ (M. 219), probably Meder d-e,

printing with many rustmarks, with thread margins

below, trimmed inside the platemark but just outside

the borderline elsewhere, a few rust spots, small thin

patches at the upper corners, generally in

good condition

S. 223 x 322 mm.

£3,000-5,000 $5,200-8,600 €3,800-6,300

24


*32

ALBRECHT DÜRER

Erasmus von Rotterdam (B. 107; M., Holl. 105; S.M.S. 102)

engraving, 1526, on laid paper, watermark Arms of Schrobenhausen

(similar to M. 195), a strong and clear Meder f impression, trimmed on the

platemark at left and right, within the platemark but outside the subject,

above and below, some staining and occasional pale foxmarks, otherwise in

good condition

S. 248 x 194 mm.

£5,000-7,000 $8,600-12,000 €6,300-8,800

PROPERTY FROM THE ESTATE OF NUALA O’DONNELL PELL

*31

ALBRECHT DÜRER

Virgin on a crescent with a crown of stars and a scepter (B. 32; M., Holl. 37; S.M.S. 81)

engraving, 1516, on laid paper, a very good, silvery impression, probably

Meder a, trimmed just within the platemark, fractionally into the subject at

right, laid down onto card, a 4 mm. tear at the left sheet edge, some ink stains,

probably an inscription on the reverse showing through recto, framed

S. 116 x 73 mm.

£3,000-5,000 $5,200-8,600 €3,800-6,300


Rev. J. Burleigh James (mid-19th century), Shropshire, England (L. 1425), according

to a label on the frame.

Fountaine Walker (second half 19th century), Inverness, Scotland (L. 2545),

according to a label on the frame.

With Frederick Keppel & Co., New York, according to a label on the frame.

Herbert C. Pell (1884-1961), New York; then by descent to the present owners.

25

34

MASTER MZ

The Martyrdom of Saint Catherine (B. 8; L. 9)

engraving, circa 1501, on laid paper, watermark Bull’s Head with Serpent

and Cross, a very good, early impression of this large and rare print,

remargined, with skilfully made-up paper losses along the sheet edges and

into the subject, with horizontal and vertical central folds, partially broken

through and skilfully repaired, other repairs and touches of pen and ink

in places

S. 313 x 260 mm.

£4,000-6,000 $6,900-10,000 €5,100-7,500


Dr. Julius Hofmann (1840-1913), Karlsbad and Vienna (L. 1264); his sale,

C. G. Boerner, Leipzig, 8-12 May 1922, lot 1225 (RM 2.500 to Hess).

VARIOUS PROPERTIES

*33

MASTER MZ (ACTIVE AROUND 1500)

Aristotle and Phyllis (B. 18; Lehrs 22)

engraving, circa 1500, on laid paper, without watermark, a good impression

of this rare print, printing with a wiped plate tone, with thread margins,

a few minor stains, generally in good condition

P. 183 x 129 mm., S. 184 x 131 mm.

£5,000-7,000 $8,600-12,000 €6,300-8,800


Albert W. Blum (1882-1952), Switzerland and Short Hills, New Jersey (L. 79 b).

26

35

TIZIANO VECELLIO, CALLED TITIAN (CIRCA 1485/90-1576)

Nine plates from: The Submersion of Pharaoh’s Army in the Red Sea (Passavant VI, p. 223, 4; Mauroner 27; Dreyer 4; Muraro and Rosand 8b; Chiari VIII)

nine woodcuts, circa 1515-49, on laid paper, eight sheets with watermark Pilgrim with a Staff in a Circle surmounted by a

Star (cf. Briquet 7578, circa 1573), one sheet with watermark Fleur de Lys in a Circle surmounted by a Crown

(cf. Briquet 7113, circa 1570), lacking three plates, printed after the edition of 1549 published by Domenico dalle Grache,

the blocks with some cracks, wormholes and gaps in the borderline, printing somewhat unevenly, dry in places, with

drying creases, some tears and minor paper losses, remains of a cardboard backing verso; with facsimiles of the three

missing plates (illustrated in grey above)

S. 410 x 560 mm. (and similar). (9)

£7,000-10,000 $12,000-17,000 €8,800-13,000

27

36

DOMENICO CAMPAGNOLA (CIRCA 1500-1564)

The Massacre of the Innocents (B. woodcuts 1)

woodcut printed from two blocks, 1517, on two sheets of laid paper, a later

impression of this rare, monumental woodcut, printed in the 19th Century (no

contemporary impressions are known), with various losses and worm-holes in

the block, trimmed into the image at the right and lower sheet edge on the right,

some small repaired tears and splits in places, small paper losses and binding

holes along the upper sheet edge

B. 535 x 810 mm., S. 540 x 812 mm.

£7,000-10,000 $12,000-17,000 €8,800-13,000

PROPERTY FROM A PRIVATE ENGLISH COLLECTION

37

NICCOLÒ VICENTINO (ACTIVE 1540-1550) AFTER PARMIGIANINO (1503-1540)

The Adoration of the Magi (B. 3; Le Blanc 2)

chiaroscuro woodcut printed from three blocks in black, green and yellow,

circa 1540-50, on laid paper, watermark Anchor in a Circle, a good impression

of this rare print, the yellow ink with a glittering (mica?) effect, trimmed on the

borderline above and below, just inside the borderline at left and right, with

Parmigianino’s printed initials at lower right rubbed out, the sheet toned, a

brown stain at lower left, remains of an old album sheet verso, generally in good

condition

S. 339 x 247 mm.

£4,000-6,000 $6,900-10,000 €5,100-7,500


Sotheby’s, London, 14 June 1984, lot 132.

Acquired at the above sale by the current owner.

28

39

GIOVANNI BATTISTA FRANCO, CALLED IL SEMOLEI (CIRCA 1510-1561) AFTER GIULIO ROMANO (CIRCA 1499-1546) AND G. F. PENNI (1490-1528)

Emperor Constantine presenting the City of Rome to Pope Sylvester (B. 55)

etching and engraving, circa 1530-50, on laid paper, with

an indistinct Circle watermark, a fine impression of this

rare print, trimmed to or just into the subject, laid down

onto an 18th century album sheet, an un-inked vertical

printer’s crease at upper centre, a few other, minor

printer’s creases, some foxing mainly at the sheet edges,

the subject generally in good condition

S. 411 x 570 mm.

£2,000-3,000 $3,500-5,100 €2,600-3,800


The Dukes of Devonshire, Chatsworth; Christie’s, London,

Old Master Prints from Chatsworth, 5 December 1985, lot 89

(£918) (on the original album sheet and with their numbers

in pencil below).

Bruce Davis’s remark that, as ‘one of the finest Italian printmaker of the mid sixteenth century, Franco deserves further study’, still holds true today. (Bruce Davis, Mannerist

Prints - International Style in the Sixteenth Century, Los Angeles, 1988, p. 328).

VARIOUS PROPERTIES

38

GIAN GIACOMO CARAGLIO (CIRCA 1500/05-1565) AFTER TITIAN (CIRCA 1485-90-1576)

The Annunciation (B. 3)

engraving, circa 1537, on laid paper, watermark Double-headed Eagle

under Crown, a fine, strong impression of this rare print, trimmed to the

subject, with a horizontal central fold, partially broken through, flattened

and reinforced, a soft diagonal crease at right lower sheet, generally in

good condition

P., S. 450 x 343 mm.

£2,000-3,000 $3,500-5,100 €2,600-3,800


Franz Rechberger (1771-1843), Vienna (L. 2133).

Unidentified collector’s mark (not in Lugt).

The print is based on a lost work by Titian painted in 1536 and acquired by Emperor Charles V as a gift to his wife Isabella in 1537. Charles’s motto, Plus ultra, appears on banderoles at the top of the engraving. It may have been Caraglio’s last prints since he left Italy in 1539 to work for Sigismund I of Poland as a medallist and architect (B. Davis, Mannerist Prints – International Style in the

Sixteenth Century, Los Angeles, 1988, p. 73).

29


40

GIORGIO GHISI (1520-1582) AFTER GIOVANNI BATTISTA BERTANI (1516-1576)

The Judgement of Paris (B. 60; Boorsch & Lewis 16)

engraving, 1555, on laid paper, watermark Double-headed Eagle under Crown (Briquet 304, B. & L. 15, dated 1552-85),

a very fine impression of this rare print, the finished third, final, state, printing with good contrasts and great clarity,

remarkably even for a plate of this size, trimmed inside the platemark but retaining a fillet of blank paper outside the

borderline, a printer’s crease through the tablet at lower left, another at upper left, a small made-up paper loss at the lower

sheet edge at centre, the upper left corner made-up, two very skillfully repaired tears at the left sheet edge, a few other,

minor defects at the sheet edges

S. 395 x 528 mm.

£2,000-3,000 $3,500-5,100 €2,600-3,800


With Colnaghi’s, London (their stocknumber C 34924 in pencil verso).

With Wynne Jeudwine, London.

Acquired from the above by the present owner in 1977.

Boorsch, Lewis and Lewis record only one impression of the unfinished first and second states, respectively, in the Fitzwilliam Museum, Cambridge, and the Albertina, Vienna.

30

VARIOUS PROPERTIES

41

GIORGIO GHISI (1520-1582) AFTER GIOVANNI BATTISTA SCULTORI (1503-1575)

The Fall of Troy and the Flight of Aeneas (B. 29; Boorsch & Lewis 8)

engraving, circa 1545, on laid paper, watermark Ladder in Circle with Star (B & L 31; cf. Briquet 5919-20, Italy,

first half 16th century), a very fine impression of the first state (of five), before Lafrery’s address, printing

with great contrasts and very evenly, with many wiping marks and inky plate edges, with thread margins or

trimmed on or just inside the platemark, a skilfully repaired tear at the right sheet edge, otherwise in

good condition

P., S. 387 x 502 mm.

£7,000-10,000 $12,000-17,000 €8,800-13,000

31

42

DIANA MANTUANA (SCULTORI) (CIRCA 1535-87) AFTER GIULIO ROMANO (1499-1546)

The Feast of the Gods (B. 40; Massari 149)

engraving printed from three plates, circa 1575, on three sheets of laid paper, watermarks Trimount in a Shield (similar

to Briquet 11939, dated 1598) and another indistinct Shield watermark, a very good impression of this rare, monumental

print, second, final state, printed by Antonio Carenzano, Rome, 1613, with his address, with thread margins or trimmed

to or just inside the platemark, the central sheet with margins at left and right, some minor stains, a small repair in the

right sheet below, otherwise generally in good condition

S. 374 x 1125 mm. (overall)

£15,000-25,000 $26,000-43,000 €19,000-31,000


Hans Freiherr von und zu Aufsess (1801-1872), Aufsess and Nuremberg (L. 2749).

Unidentified red stamp verso (not in Lugt).


Evelyn Lincoln, The Invention of the Italian Renaissance Printmaker, New Haven & London, 2000, p. 111-145., fig. 110 (another

impression illustrated).

Michael Bury, The Print in Italy 1550-1620, London, 2001, p. 107, no. 67 (another impression illustrated).

Based on Giulio Romano’s frescoes in the Sala di Psiche in the Palazzo del Tè in her native Mantua, this print is one of the five engravings for which Diana had - unusually for a printmaker and even more so for a woman - a papal privilege. The carefully worded dedication to Claudio Gonzaga, major domus to the pope, implies that his support may have been instrumental in obtaining it shortly after her settling in Rome.

Her talent and skill as an engraver was spotted early on while still living with her family in Mantua by Giorgio Vasari, who visited the city in 1566 in preparation of his second edition of his Lives of the Artists. He wrote: ‘...to Giovanni Battista Mantovano [...] there were born two sons who engrave copper plates divinely, and what is more marvelous, a daughter named Diana also engraves so well that it is a wonderful thing: and when I saw her, a very well-bred and charming young lady, and her works, which are most beautiful, I was stunned.’ (quoted in: Lincoln, p. 118).

32

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

*43

JEAN DUVET (1485-CIRCA 1570)

The King receiving a Present from a Huntsman, from: The Unicorn Series (Eisler 32; Bersier 67)

etching, circa 1545-60, on laid paper, watermark Letters BOV, a good, slightly later impression of this very rare print, with a small

margin below, trimmed outside the borderline at left and above and to or just inside the subject at right, in very good condition

S. 231 x 395 mm.

£50,000-70,000 $86,000-120,000 €63,000-88,000


Unidentified, inscribed V. Pael. no. 861 in black ink verso (not in Lugt).

Ducs d’Arenberg, Brussels and Nordkirchen (L. 567); presumably their sale, Christie’s, London, 14 July 1902 (and following days).

With William Schab, New York.

Albert W. Blum (1882-1952), Switzerland and Short Hills, New Jersey (L. 79b); purchased from the above in 1952.

The print belongs to a series of six engravings depicting the hunt of the unicorn, which according to legend could only be captured by a virgin maiden. The scene depicts the preliminaries of the hunt: the King, attended by the goddess of the hunt, Diana, and surrounded by his huntsmen and hounds, is presented with the quarry’s droppings. According to medieval custom the fumée de

cerf were collected and inspected before the hunt, as it was believed that the number of antlers of the stag could be assessed from its droppings.

The unicorn cycle has alternately been interpreted as a metaphor of the Passion of Christ and as an allegory of courtly love. Colin Eisler however suggested a more secular and specific interpretation of this scene by identifying the couple as Henri II, the King of France, and his celebrated mistress Diane de Poitiers.

Easily recognizable by his highly idiosyncratic, somewhat claustrophobic, tapestry-like style, Jean Duvet’s identity however long remained unknown and early cataloguers referred to this mysterious engraver simply as the ‘Master of the Unicorn’.

Bersier records a total of 12 impressions in public collections. To our knowledge no other example has been ofered at auction within the last thirty years.

33

VARIOUS PROPERTIES

44

JEAN DUVET

Christ on the Cross between two Thieves (E. 37; Be. 12)

engraving, circa 1546-1555, on laid paper, without watermark, second, final state, a good impression of this

extremely rare print, with wiped tone in the sky, on the face of the Cross and elsewhere, the plate beginning

to show wear in places, with narrow margins on three sides and square sheet corners above, several

extremely skilfully repaired tears and made-up paper losses in the subject

P. 300 x 214 mm., S. 304 x 218 mm.

£10,000-15,000 $18,000-26,000 €13,000-19,000

Bersier records seven impressions in public collections. To our knowledge no other impression has been ofered at auction within the last thirty years.

34

*45

AFTER PIETER BRUEGEL THE ELDER (CIRCA 1525-1569) BY PIETER VAN DER HEYDEN (CIRCA 1530 - AFTER 1569)

The Stone Operation or The Witch of Mallegem (Bast. 193; L. 157; Holl. 38)

engraving, 1559, on laid paper, without watermark, a fine, strong impression of Hollstein’s rare third state (of five),

with narrow margins on three sides, trimmed into the text border below, with a central vertical drying crease, a small,

skilfully made-up paper loss in the belly of the man seated at centre, otherwise in good condition

S. 370 x 480 mm.

£25,000-35,000 $43,000-60,000 €32,000-44,000

35

VARIOUS PROPERTIES

47

GIACOMO CAVEDONE (1577–1660)

The Baptism of Christ (B. 3)

etching, circa 1615, on laid paper, without watermark,

a good impression of this extremely rare etching,

printing with a light plate tone, small margins, two

tiny repaired paper splits in the upper left corner,


P. 153 x 231 mm., S. 164 x 241 mm.

£1,000-1,500 $1,800-2,600 €1,300-1,900


46

BERNARDINO POCCETTI (1548-1612)

The Crucifixion (Nagler 1999, Le Blanc 2; Bury 48; Reed & Wallace 106)

etching, circa 1589, on laid paper, indistinct Circle watermark,

a good impression of this extremely rare print, showing some

wear, trimmed to the platemark or fractionally into the subject,

with inky plate edges in places, the upper right corner made up,

a few other small paper losses and short tears at the sheet edges,

two short backed paper splits at lower right, the subject generally

in good condition

S. 332 x 198 mm.

£7,000-10,000 $12,000-17,000 €8,800-13,000


Sotheby’s, London, 16 May 1980, lot 90 (as Procaccini).

Acquired at the above sale by the present owner.


Sue Welsh Reed, Richard Wallace, Italian Etchers of the Renaissance

and Baroque, Boston, 1989, no. 106, p. 208-9 (another impression

illustrated).

Michael Bury, The Print in Italy 1550-1620, London, 2001, no. 48,

p. 85-6 (another impression illustrated).

Impressions of this print are extremely rare. We could only trace three other impressions: one impression in the British Museum, London (see Bury; from the Cracherode Collection); one in the Museum of Fine Arts, Boston (see Reed & Wallace; from the collections Brentano-Birckenstock and Oppermann, sold C.G. Boerner, Düsseldorf, 1967, Lagerliste 46, no. 156), and one from the Young Ottley Collection (sold Sotheby’s, London, 15 May 1837, lot 931, to Harzen, now presumably Hamburger Kunsthalle, Kupferstichkabinett).

36

48

PETER PAUL RUBENS (1577-1640)

Saint Catherine (Holl. 1)

etching with engraving, circa 1620-30, without

watermark, a fine, strong impression of this rare print,

third, final state, printing with very little wear, with narrow

margins, two tiny holes in the clouds below, with a

horizontal central fold, the sheet toned, with some foxing

and staining

P. 293 x 198 mm. , S. 298 x 203 mm.

£8,000-12,000 $14,000-21,000 €11,000-15,000


T. Lundh (not in Lugt).

49

HENDRICK GOUDT (1583-1648) AFTER ADAM ELSHEIMER (1575-1610)

Tobias and the Angel (‘The Large Tobias’) (Duthuit, B., Holl. 2)

etching and engraving, 1613, on laid paper, watermark

Lion in a Cartouche under Crown (similar to Haewood

3133, dated Leiden 1616-24), a good impression, trimmed

inside the platemark on three sides, with a thread margin

below, a printer’s crease in the text below, the tip of the

lower right corner made up, in generally good condition;

together with The Beheading of Saint John the Baptist

(D., B., Holl. 3), third, final state, with 2 mm. margins,

window-mounted, in good condition

P. 256 x 270 mm., S. 258 x 270 mm. (Holl. 2)

P. 65 x 52 mm., S. 69 x 57 mm. (Holl. 3) (2)

£4,000-6,000 $6,900-10,000 €5,100-7,500

37

50

JUSEPE DE RIBERA (1591-1652)

Equestrian portrait of Don Juan de Austria (B. 14; Brown 16)

etching, 1648, on laid paper, indistinct Circle watermark, Brown’s

first state (of three), a good impression of this very rare print (Brown

records three impressions in public collections: London, Rotterdam

and Vienna), trimmed fractionally inside the platemark at right and

above, into the subject below and at left (just touching the J of the

signature), the sheet thinly backed with Japan paper, a few thin

spots, a small paper loss affecting the signature

S. 352 x 262 mm.

£4,000-6,000 $6,900-10,000 €5,100-7,500

*51

ATRRIBUTED TO JUSEPE DE RIBERA OR PUPIL

The Lamentation (B. 1; Br. 17)

etching, before 1624, on laid paper, watermark Fleur-de-Lys in a

Circle, a very good impression of the second, final state, printing

with wiping marks and light tone, trimmed on or just within the

platemark, generally in very good condition

S. 194 x 255mm.

£1,500-2,000 $2,600-3,400 €1,900-2,500


Private European collection, then by descent to the present owners.

Brown considers the attribution of this etching, which has traditionally been associated with Ribera’s painting of the subject in the National Gallery, London, as the most problematic and states that ‘until very recently, it was almost universally accepted as an authentic work.’ Mainly on stylistic grounds, but also due to the compositional diferences between the London painting and the etching, Brown himself does not consider the print to be by the artist himself, but by one of his pupils. It could however be argued that, if a pupil had made the print after the painting, he certainly would have copied his master’s composition as closely as possible, rather than change it.

38

VARIOUS PROPERTIES

52

REMBRANDT HARMENSZ. VAN RIJN (1606-1669)

The Small Lion Hunt (with two Lions) (B., Holl. 115; H. 180; New Holl. 28)

etching with touches of drypoint, circa 1629, on laid paper, partial watermark Strasbourg Lily, a very good impression,

occasional touches of grey wash, with thread margins, in very good condition, framed

P. 154 x 123 mm., S. 157 x 127 mm.

£8,000-12,000 $14,000-21,000 €11,000-15,000

(actual size)

39

VARIOUS PROPERTIES

54

REMBRANDT HARMENSZ. VAN RIJN

A Peasant calling out: ‘tis vinnich kout’ (B., Holl. 177; H. 114; New Holl. 131)

etching, 1634, on laid paper, watermark Letter H (countermark?, not in Hinterding), a

fine, rich impression, with wide margins, two small repaired holes in the left margin,

pale light- and mount staining, some pinpoint foxing, otherwise in good condition

P. 113 x 43 mm., S. 164 x 87 mm.

£5,000-7,000 $8,600-12,000 €6,300-8,800


Christian David Ginsburg (1831-1914), Palmer’s Green, England (L. 1145); possibly his

sale, Sotheby’s, London, 20-24 July 1915, lot 419 (with the companion piece) (£14-10, to

Colnaghi’s).

PROPERTY FROM A PRIVATE COLLECTION, PALM BEACH

*53


Beggar leaning on a stick, facing left (B., Holl. 163; H. 9; New Holl. 46)

etching, circa 1630, on laid paper, without watermark, a fine impression of this rare

print, with narrow margins, pale scattered foxing recto and verso, otherwise in good

condition, framed

P. 85 x 46 mm., S. 89 x 51 mm.

£10,000-15,000 $18,000-26,000 €13,000-19,000


Ernst Theodor Rodenacker (circa 1840- before 1894), Danzig (L. 2438); presumably his

sale, C. G. Boerner, Leipzig, 15 June and the following days 1897.

Henry Study Theobald (b. 1847), London (L. 1375); possibly H. G. Gutekunst, Stuttgart,

12-14 May 1910.

F. A.. Seirberling (1859-1955), Akron, Ohio; then by descent to the present owner.

The present impression compares well with the impression in the British Museum.

(actual size)

40

55


The Rat Catcher (B., Holl. 121; H. 97; New Holl. 111)

etching, 1632, on laid paper, without watermark, a later impression of New

Hollstein’s third, final state, trimmed inside the platemark on all four sides, in

areas approximately 1mm. into the image, the lower left corner made-up,

window mounted

S. 139 x 124 mm.

£2,000-3,000 $3,500-5,100 €2,600-3,800


Jan Reinier Voûte (1908-1993), Amsterdam (L. 4450).

56


The Strolling Musicians (B., Holl. 119; H. 142; New Holl. 141)

etching, circa 1635, on laid paper, with partial watermark Arms of Amsterdam

(similar to Hinterding I-a-b), a good impression of New Hollstein’s first state (of

three), trimmed to or just outside the platemark, the upper left corner reattached,

remargined on all four sides with associated made-up areas, small tears at the

upper and lower right corners

P. 139 x 115 mm., S. 142 x 118 mm.

£4,000-6,000 $6,900-10,000 €5,100-7,500


H. Danby Seymour (1820-1877), London and Trent (L. 176); his sale, Christie’s London,

4 April 1878, lot 85 (£1-10).

Jan Reinier Voûte (1908-1993), Amsterdam (L. 4450).

*57


A woman at a door hatch talking to a man and children (The Schoolmaster) (B., Holl. 128; H. 192; New Holl. 191)

etching, 1641, on laid paper, with a small watermark fragment, probably Arms of

Amsterdam, a very good impression of New Hollstein’s first state (of four), with

good contrasts, before the re-work, with thread margins, in very good condition,

framed

P. 93 x 62 mm., S. 94 x 64 mm.

£2,000-3,000 $3,500-5,100 €2,600-3,800

41

58


The Star of the Kings: A Night Piece (B., Holl. 113; H. 254; New Holl. 263)

etching, circa 1651, on laid paper, with part of a Fool’s Cap watermark (probably

with five-pointed collar, Hinterding J.a.), a fine, dark and even impression of New

Hollstein’s first state (of four), with traces of burr in the star, trimmed on or just

outside the platemark, in good condition

P., S. 94 x 144 mm.

£4,000-6,000 $6,900-10,000 €5,100-7,500


Alexander Beugo (active 1801-1827), London (L. 82).

PROPERTY FROM THE HASCOE FAMILY COLLECTION

*59


The Ringball Player (The Golf Player) (B., Holl. 125; H. 272; New Holl. 282)

etching, 1654, without watermark, a later impression of New Hollstein’s second,

final state, with narrow margins, the occasional pale pinpoint foxmark, with pale

sheet toning, otherwise in good condition, framed

P. 95 x 143 mm., S. 121 x 160 mm.

£1,500-2,500 $2,600-4,300 €1,900-3,100

42

PROPERTY FROM THE COLLECTION OF NATHAN AND

JOAN LIPSON

*61


Medea, or: The Marriage of Jason and Creusa (B., Holl. 112; H. 235; New Holl. 241)

etching and drypoint, 1648, on laid paper, without

watermark, New Hollstein’s fifth, final state, with thread

margins, in very good condition, framed

P. 232 x 176 mm., S. 234 x 179 mm.

£2,000-3,000 $3,500-5,100 €2,600-3,800

PROPERTY FROM A DISTINGUISHED PRIVATE

COLLECTION

*60


The Flute Player (B., Holl. 188, New Holl. 211)

etching and drypoint, 1642, on laid paper, watermark

Cross of Lorraine (probably Hinterding B-a-b), New

Hollstein’s fourth, final state, with narrow margins,

a short repaired tear at upper right, pale staining at

the lower left and upper corners, a tiny plugged hole

at lower centre

P. 116 x 145 mm., S. 120 x 150 mm.

£7,000-10,000 $12,000-17,000 €8,800-13,000


With Colnaghi’s, London (with their stocknumber

C. 16974 in pencil verso).

43

63


A Woman reading (B., Holl. 345; H. 113; New Holl. 137 )

etching, 1634, on laid paper, without watermark, a very good impression of the

third, final state, remargined, with a tiny made-up area within the subject lower

left, some pale staining in the sheet corners

P. 123 x 102 mm., S. 130 x 108 mm.

£7,000-10,000 $12,000-17,000 €8,800-13,000

VARIOUS PROPERTIES

62


Woman bathing her feet at a brook (B., Holl. 200; H. 298)

etching, 1658, without watermark, a good but slightly later impression of New

Hollstein’s first state (of two), with the light diagonal scratch in the upper

centre, before Basan’s re-work, with narrow to thread margins, the sheet toned,

otherwise in good condition

P. 160 x 80 mm., S. 162 x 83 mm.

£3,000-5,000 $5,200-8,600 €3,800-6,300

44

*64


The Goldsmith (B., Holl. 123; H. 285; New Holl. 289)

etching and drypoint, 1655, on stiff golden Japan paper, a very fine impression of New Hollstein’s first state

(of three), with small margins, pale light-staining, otherwise in very good condition

P. 76 x 56 mm., S. 86 x 66 mm.

£12,000-18,000 $21,000-31,000 €16,000-23,000


J. K. Brönner (1738-1812), Frankfurt am Main (L. 307); gifted to the Städel’sches Kunstinstitut, Frankfurt am Main in

1810; with their duplicate stamp (L. 2396); their sale of duplicates, C. G. Boerner, Leipzig, 5 October 1874, lot 862

(RM 4; ‘Schöner Druck auf Japanisches Papier’).

J.E. de Wit (d. circa 1895), Portland (L. 1451).

(actual size)

45

The states of this print have been re-assessed in New Hollstein. As before, the niche, window, signature and the inscription identifying the sitter constitute the second state. According to New Hollstein however, the inscription in the lower right F. Lutma Ex., the address of Jan Lutma’s son François, has been added later, constituting a previously undescribed third state. The authors of New Hollstein themselves had some doubt as to this assessment, stating that ‘Craddock & Barnard,

Münz and Björklund assumed the inscription was by the same hand as the engraved

inscription in the previous state and was added at the same time. Whether this is

indeed correct, cannot be established with certainty’ (New Hollstein, p. 262). In conversation with Eric Hinterding, one of the authors, he expressed the view that probably all inscriptions were added at the same time and that the inscription F. Lutma Ex. only becomes visible as the densely worked area at the lower right begins to wear.

The existence of several early impressions already bearing François Lutma’s address, such as the Cracherode impression on oatmeal paper in the British Museum, the Rudge impression on Japanese paper in the Lugt collection and the fine impression on Fool’s Cap paper ofered in these rooms on 3 December 2013 (lot 78), leads us to believe that New Hollstein’s second and third states are in fact identical. The printing quality of these impressions confirms an early printing date, while the paper evidence - the use of unusual papers such as oatmeal and Japanese paper - suggests that they were printed in or in close collaboration with Rembrandt’s workshop and during his lifetime. This is in accordance with Nowell-Usticke’s observation that ‘early impressions exist on oatmeal paper’.

Would it be possible that François Lutma agreed with Rembrandt to publish his father’s portrait, whereupon Rembrandt completed the background and signed the plate while Lutma added the inscriptions identifying his father as the sitter and himself as the publisher? And did Rembrandt continue to pull the prints for François Lutma, who then distributed them? What we do know with certainty is that the address has been added while Rembrandt was alive, since he outlived François Lutma by five years.

*65


Jan Lutma, Goldsmith (B., Holl. 276; H. 290; New Holl. 293)

etching with drypoint and engraving, 1656, on oatmeal paper, a very good

impression of Hollstein’s second state (of three), trimmed on the platemark,

retaining a fillet of blank paper at the upper sheet edges, the lower left and upper

sheet corners skilfully made-up, another small repair at the upper sheet edge at

centre, otherwise in good condition

P. 197 x 149 mm., S. 198 x 150 mm.

£15,000-20,000 $26,000-34,000 €19,000-25,000


Marsden Jasael Perry (1850-1935), Providence, Rhode Island (cf. 1880, without

his mark), according to the label on the frame; possibly his sale, H. G. Gutekunst,

Stuttgart, 18-23 May 1908, lot 1328: ‘Hauptblatt in brilliantem Abzug des 2. Zustandes

vor dem Arbeiten in Bogen des Fensters. Sehr selten.’ (RM 940, to Delteil).

With M. Knoedler & Co., New York.

46

*67


Clement de Jonghe, Printseller (B., Holl. 272; H. 251; New Holl. 264)

etching and drypoint, 1651, on laid paper, without watermark, New Hollstein’s eighth

state (of ten), printing with a light, even platetone, narrow margins, a small rustmark

at right, a small repair and a few nicks at the upper right, otherwise in good condition,

framed

P. 206 x 160 mm., S. 210 x 165 mm.

£2,000-3,000 $3,500-5,100 €2,600-3,800

*66


Self-portrait etching at a window (B., Holl. 22; New Holl. 240; H. 229)

etching and drypoint, 1648, on laid paper, without watermark, a good impression

of New Hollstein’s eighth state (of nine), with 4-3 mm. margins, the upper left

corner made-up, a nick at the centre left sheet edge, time staining and scattered

foxing, an ink inscription ‘27’ at the lower right margin, framed

P. 160 x 129 mm., S. 168 x 133 mm.

£3,000-5,000 $5,200-8,600 €3,800-6,300


Rev. J. Burleigh James (mid-19th century), Shropshire, England (L. 1425); his sale,

Sotheby’s, London, 19 March 1877 and the following days, lot 4120 (£2-2).

Unidentified collector’s mark, possibly (L. 844 or L. 2937a).


*65A


Jan Uytenbogaert (the Goldweigher) (B., Holl. 281, H.167; New Holl. 172)

etching and drypoint, 1639, on laid paper, without watermark, New Hollstein’s third,

final state, a later impression, with the rework, trimmed on or to the platemark; with

The Strolling Magicians (B. Holl. 119; H. 142; New Holl. 141 ), etching, on laid paper,

without watermark, New Hollstein’s second state (of three), with small margins,

an indistinct ink inscription in the lower margin; with Albrecht Dürer, Willibald

Pirckheimer (B. 106; M., Holl. 103; S.M.S. 99), engraving, 1524, without watermark,

Meder e, trimmed on the platemark

S. 250 x 205 mm. (B. 281)

S. 145 x 120 mm. (B. 119)

S. 181 x 113 mm. (B. 106) (3)

£4,000-6,000 $6,900-10,000 €5,100-7,500


The Strolling Musicians with an unidentified stamp, letters in a rectangle in purple ink

(not in Lugt).

47


*68


Cornelis Claesz. Anslo, Preacher (B., Holl. 271; H. 187; New Holl. 197)

etching with drypoint, 1641, on Japan paper, an impression of New Hollstein’s third state (of five), with thread margins,

in very good condition, framed

P. 186 x 155 mm., S. 189 x 160 mm.

£7,000-10,000 $12,000-17,000 €8,800-13,000

48

VARIOUS PROPERTIES

69


The presentation in the temple in the dark manner (B., Holl. 50; H. 279; New Holl. 285)

etching with drypoint, circa 1654, on laid paper, without watermark, a superb impression of this extremely rare

print, printing with considerable burr and intense, cleanly wiped highlights, with sharp platemarks, showing

much relief verso, with 3-5 mm. margins, in very good condition

P. 209 x 161 mm., S. 218 x 171 mm.

£100,000-150,000 $180,000-260,000 €130,000-190,000


Marsden Jasael Perry (1850-1935), Providence, Rhode Island (L. 1880; this impression cited in Lugt);

sold H. G. Gutekunst, Stuttgart, 18-23 May 1908, lot 1150: ‘Hauptblatt in herrlichem Abdruck mit Rand. Von der

grössten Seltenheit.’ (RM 4.200 to Boerner).

With C.G. Boerner, Leipzig; acquired at the above sale.

Otto Gerstenberg (1848-1935), Berlin (L. 1840c); sold in 1922 to Colnaghi’s, London, and Harlow & Co., New York.

Richard H. Zinser (circa 1883-1983), Forest Hills, New York (not in Lugt).


Christopher White, Rembrandt as an Etcher – A Study of the Artist at Work, New Haven and London, 1999, p. 95-97, no. 117-120 (other impressions illustrated).Cliford S. Ackley, Rembrandt’s Journey – Painter, Draftsman, Etcher, Boston, 2004, p. 63-66, no. 3 (another impression illustrated).Roman Grigoryev, Rembrandt – Master of the Copper Plate – Prints from the Dmitri Rovinsky Collection at the State

Hermitage, Helsinki, 2012, p. 185-191 (another impression illustrated).

At various times in his life, Rembrandt returned again and again to the theme of The Presentation in the Temple and produced three etchings and two paintings (Hamburger Kunsthalle and National Museum, Stockholm) of the subject, all very diferent in style and focus. The subject is based on the Gospel of Luke (2:22-39) and usually combines two related episodes: the actual presentation of the Christ child to the priest – Mosaic law required parents to present their first-born son at the temple – and Simeon’s song of praise. Simeon was an old and pious man in Jerusalem to whom it was revealed ‘… by the Holy Ghost that he should not see death before he had seen

the Lord’s Christ’. When he saw Mary and Joseph with the Child at the temple, he recognized Him as the Messiah, and ofered a song of praise.

In the present etching, Rembrandt depicts the presentation in a very unconventional manner by focusing almost entirely on Simeon and the priest, while Mary kneels humbly at left with Joseph peeking over her shoulder, almost as an after-thought to the composition. The scene takes place in a small corner of the temple, the intimacy and sanctity of the ceremony further heightened by the intense darkness of the space. Even the Child’s head, surrounded only by a pale halo, lies in the dark - perhaps a foreshadowing of His death to come. ‘Darkness and

light’, as Cliford Ackley rightly pointed out, ‘are the principal actors here’ (Ackley, p. 66), and the few highlights seek out Simeon and the priest alone. Dominating the entire composition however and binding the two figures further together is the temple guardian or high priest who stands towering above the scene, with the little light there is flickering on his opulent garments, headgear and staf – one of the most grandiose and awe-inspiring figures in all of Rembrandt’s printed oeuvre.

Rembrandt experimented a lot with this plate by using diferent papers and printing it with selectively wiped plate tone. Some impressions, such as the one on Japanese paper at the Rijksmuseum, are so rich in tone that the entire background is almost drowning in black ink, with only a few intense highlights shining in the darkness. The present impression is rich and dark yet cleanly wiped, thus striking a balance between the atmospheric chiaroscuro of the composition and the telling of the story, which is literally obscured in the more experimental versions. It compares well with the Cracherode impression in the British Museum, which is equally fine and very similar in character.

49

(actual size)

50

VARIOUS PROPERTIES

*71


Christ driving the money changers from the temple (B., Holl. 69; H. 126; New Holl. 139)

etching with touches of drypoint, 1635, on laid paper,

watermark Strasbourg Lily (Hinterding E.c.), a very

good impression of New Hollstein’s first state (of four),

printing with touches of burr on the rays of Christ’s

halo and on the priest’s staff in the background,

trimmed to the platemark but retaining a fillet of blank

paper outside the borderline, in very good condition,

framed

S. 137 x 170 mm.

£7,000-10,000 $12,000-17,000 €8,800-13,000

PROPERTY FROM THE COLLECTION OF NATHAN AND

JOAN LIPSON

*70


Abraham entertaining the Angels (B., Holl. 29; H. 286; New Holl. 295)

etching and drypoint, 1656, on laid paper, without

watermark, a good impression, with touches of grey

wash, with narrow margins, a 3 mm. tear at the lower left

corner, in good condition, framed

P. 158 x 130 mm., S. 161 x 135 mm.

£5,000-7,000 $8,600-12,000 €6,300-8,800

51

*73


Stoning of Saint Stephen (B., Holl. 97; H. 125; New Holl. 140)

etching with touches of drypoint, 1635, on laid

paper, without watermark, a fine impression of New

Hollstein’s first state (of three), printing with touches of

burr, trimmed to the subject at left and right, with small

margins at the top and below, a small paper loss with

the signature at lower left made-up, the tip of the lower

right corner made-up, a tiny repair in the rocks at lower

right, framed

P. 95 x 85 mm., S. 98 x 85 mm.

£3,000-5,000 $5,200-8,600 €3,800-6,300

*72


The Descent from the Cross by torchlight (B., Holl. 83; H. 280; New Holl. 286)

etching and drypoint, 1654, with partial watermark

Fleur-de-Lys, a good but later impression of New

Hollstein’s third state (of four), still printing with good

contrasts, with narrow margins, a tiny plugged hole at

upper right, generally in good condition

P. 210 x 161 mm., S. 212 x 164 mm.

£4,000-6,000 $6,900-10,000 €5,100-7,500

52

PROPERTY FROM AN AMERICAN COLLECTION

*74


Saint Jerome beside a pollard willow (B., Holl. 103; H. 232; New Holl. 244)

etching with drypoint, 1648, on laid paper, with a Strasbourg Lily watermark (probably Hinterding D), a good

impression of New Hollstein’s fourth, final state, with touches of brush and ink in places, small to narrow

margins, the lower left corner re-attached, the tip of the upper right corner made-up, the Barnard and Esdaile

inscriptions verso showing through recto

S. 185 x 138 mm.

£40,000-60,000 $69,000-100,000 €51,000-75,000


John Barnard (d. 1784), London (L. 1420); his sale, Th. Philipe, London, 16 April 1798, lot 146 (£2-11 to Esdaile).

William Esdaile (1758-1837), London (L. 2617), his initials recto and twice verso and inscribed D102 N 52; his sale,

Christie’s, London, 11-16 June 1840, lot 713 (£1-15).

Charles Sackville (1791-1880), London (L. 640); his sale, Christie’s, London, 9-14 June 1881, lot 2607 (£2-0-6 to Danlos).

53

title-page indicates a publication date on or after 1807, when Henri-Louis followed in his father’s footsteps and began to publish the recueil under the same title. Osbert Barnard has pointed out that the quality of the prints in Henry-Louis’s albums is far from consistent, and postulates that he printed single impressions on demand, compiling his albums from the impressions he already had in stock. One possible hypothesis may be that some of the sheets in this album were printed much earlier than 1807. However, this is conjectural. Although the precise dating of the recueils is complex, this album was almost certainly published after 1809. This is suggested by the inclusion of the The Pancake Woman (B. 124) in the sixth, final state, with the added inscription made by Basan in that year, in the upper subject. However, this album also includes an impression of Faust (B. 270), before its drastic reworking, and the original plate of The Death of the Virgin (B. 99) which is replaced by a copy in later editions.

The album contains the following plates by Rembrandt:

B. 17, 19, 20, 22, 26, 33, 37, 39, 41, 43, 44, 45, 46, 47, 49, 53, 55, 57, 63, 64, 66, 68, 69, 70, 71, 72, 73, 80, 81, 83, 87, 91, 92, 94, 97, 98, 99, 102, 105, 113, 118, 119, 123, 124, 125, 126, 128, 130, 131, 136, 151, 152, 164, 168, 170, 176, 179, 192, 194, 195, 196, 200, 205, 237, 270, 272, 273, 275, 276, 277, 279, 283, 290, 295, 321, 344, 349, 365 and 368.

In 1786 the Parisian printer and publisher Pierre-Francois Basan (1723-97) acquired around eighty etching plates by Rembrandt from the estate of his fellow Parisian dealer C.-H. Watelet (1718-1786). The so-called Basan recueil was first published in 1789 and constituted a landmark not only in the history of Rembrandt scholarship, but also in the development of the academic study of art. For the first time a volume containing an overview of Rembrandt’s work printed from his own plates was available to the collecting public. It was, in many respects, the first illustrated catalogue of an artist’s work. Such was its success that the recueil continued to be issued until 1846, first by Basan’s sons Antoine-Simon-Ferdinand (1763/64-98) and Henry-Louis (d. before 1819), then by the Parisian publisher Auguste Jean (d. 1820), and finally, on his death, by his widow.

In his detailed study on the history of Rembrandt’s copperplates, Eric Hinterding highlights the dificulty in dating individual recueils, citing variations in presentation, contents and paper types. There is, however, a gradual, yet discernible deterioration in the quality of later editions, caused by the wear to the plates from intensive printing.

This particular album is unusual in that the plates have been printed directly onto the sheet, a characteristic of the early recueils published by Pierre-Francois, as opposed to each plate being printed separately and then pasted individually into the album, a feature of subsequent editions. However, the inclusion of Henri-Louis Basan’s

VARIOUS PROPERTIES

75


Recueil de Quatre-Vingt-Cinq Estampes originales, Têtes, Paysages et di�érents Sujet, dessinées et gravées par Rembrandt

the complete album containing 81 etchings by Rembrandt and 39 etchings after or in the manner of Rembrandt, on various types of laid paper, with Henri

Louis Basan’s list of contents and title page, published after 1809, the plates printed directly onto the album pages, at times several onto one sheet, most

sheets with pale moisture staining to the right sheet edge, scattered foxing, otherwise the etchings in good condition, bound in the original mottled blue

boards with green cloth spine (album)

495 x 320 mm. (overall)

£50,000-70,000 $86,000-120,000 €63,000-88,000

54

77

ADRIAEN JANSZ. VAN OSTADE (1610-1685)

The Anglers (B., Holl., Godefroy 26)

etching, circa 1653, on laid paper, without

watermark, a fine early impression of either the

rare third or fourth states (of seven), with margins,

trimmed inside the platemark but retaining a fillet

of blank paper outside the subject, in very good

condition

S. 113 x 163 mm.

£5,000-7,000 $8,600-12,000 €6,300-8,800


Friedrich Kalle (1804-1875), Cologne and Bonn (L. 1021);

his sale, F. A. C. Prestel, Frankfurt am Main, 22 November

1875 and the following days, lot 677 (RM 15, to

Bürgermeister Berg).

*76

FERDINAND BOL (1616-1680)

Portrait of an oficer (B. 11; Holl. 12)

etching with touches of drypoint, 1645, partial watermark

Fool’s Cap, a very fine, early impression of this rare print,

with touches of burr on the shirt cuff and elsewhere,

printing with great contrast and delicacy, with 6-8 mm.

margins, the tip of the upper left corner in the margins

made-up, otherwise in very good condition

P. 137 x 113 mm., S. 152 x 127 mm.

£7,000-10,000 $12,000-17,000 €8,800-13,000


Paul Davidsohn (1839-1931), Berlin (L. 654); his sale,

C. G. Boerner, Leipzig, 3-8 May 1920, lot 692: ‘Wundervoller

Abdruck eines unbeschriebenen ersten Zustandes, vor

neuen Schrafuren rechts und links am Kopf. Mit Rändchen.

Von größter Seltenheit’ (RM 1.600 to Gutekunst).

Richard Gutekunst (1870-?), Bern (cf. L. 2213a, without his mark).

Mary Lovejoy Kirkpatrick (1884-1976), Massachusetts and

Maine (not in Lugt).

With Goodman Walker Fine Arts, Boston (according to a

label on the mount).

In Boerner’s catalogue of the Davidsohn sale of 1920, the present impression was described as ‘a wonderful

impression of an undescribed first state, before additional

hatching to the right and left of the head’. Based on this description, it was subsequently recorded in Hollstein as the only known impression of the first state of two. A direct comparison with a fine impression of the so-called second state in the British Museum however revealed no diference. It seems that Boerner was mistaken and that there is in fact only one state of this etching.

55

80

CORNELIS PIETERSZ. BEGA (1631/1632 – 1664)

The Old Hostess (B. 32)

etching, circa 1642-64, on laid paper, watermark Arms of Amsterdam,

a fine impression of this rare print, second state (of four), before

the publisher’s address, printing with great contrasts and without

any wear, with small to thread margins, some pale scattered foxing,

otherwise in good condition; together with The Young Hostess (B. 33),

etching, circa 1642-64, on laid paper, partial watermark, probably Arms

of Amsterdam, a fine impression of this rare print, second state (of

five), still printing with many of the light scratches and impurities in the

plate, with 3 mm. margins all around, the tips of the left sheet corners

repaired, some very minor foxing, otherwise in good condition

P. 175 x 132 mm., S. 177 x 135 mm. (B. 32)

P. 175 x 156 mm., S. 181 x 162 mm. (B. 33)

(2)

£3,000-5,000 $5,200-8,600 €3,800-6,300

*79

ADRIAEN JANSZ. VAN OSTADE

The Breakfast (B., Holl., G. 50)

etching, circa 1664, on laid paper, watermark Phoenix in a Laurel Wreath (G. 33), a

fine impression of the extremely rare fourth state (of twelve), before the text below,

printing with a subtle plate tone, printing very clearly and with great contrasts,

with small margins, occasional pinpoint foxing mainly towards the sheet edges, an

unobtrusive vertical printer’s crease at centre, generally in very good condition

P. 219 x 261 mm., S. 225 x 267 mm.

£7,000-10,000 $12,000-17,000 €8,800-13,000


William Esdaile (1758-1837), London (L. 2617), his initials in brown ink recto, also verso and inscribed

‘Impr (?) proof very rare’; presumably his posthumous sale, Christie’s, London, June 1840.

Henry Brodhurst (after 1860), Mansfield (L. 1296).

With Colnaghi’s, London (with their stock number in pencil C 8436 verso, the number

C. 1342 crossed out).

The present watermark of the Phoenix in a Crown of Laurels is seldom seen and only on fine, early impressions. It is, as Godefroy points out, ‘one of the oldest that is found on Ostade’s prints.’ He dates it around 1650.

The present impression compares favourably to the Salting impression in the British Museum.

*78

ADRIAEN JANSZ. VAN OSTADE

The Dance in the Inn (B., Holl., G. 49)

etching, 1652, on laid paper, watermark Foolscap (G. 21), the paper with a golden

tint, as described by Godefroy, a fine impression of the rare sixth state (of nine),

trimmed to or just within the platemark but retaining a fillet of blank paper

outside the subject, a tiny paper loss at the left sheet edge outside the borderline,

some very minor pinpoint foxing, otherwise in good condition

S. 284 x 317 mm.

£4,000-6,000 $6,900-10,000 €5,100-7,500


With Colnaghi’s, London (with their stocknumber C 8435 in pencil verso).

56

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

*81

PRINCE RUPERT OF THE RHINE (1619-1682)

The Great Executioner with the head of Saint John the Baptist (Andresen 6; Chaloner Smith 2; Hind 3; Holl. 14)

mezzotint with engraving, 1658, watermark Basilisk with Basel Staff in a Shield and pendant three Circles, a fine impression

of this very rare and important print, third, final state, with thread margins, trimmed on the platemark in places, in very good

condition, framed

P. 633 x 442 mm., S. 635 x 443 mm.

£100,000-150,000 $180,000-260,000 €130,000-190,000


Pierre Mariette II (1634-1716), Paris (L. 1788), dated 1664.

Joseph Gulston (1745-1786), Ealing Grove, Middlesex, with his number N 20756, price £ 3”13”6 and presumably his inscription ‘Scraped

by Prince Rupert’ in brown ink verso.

Anonymous, probably 19th century (L. 352a).

Marquess of Bute, by repute.

With Colnaghi’s, London (with their stock number C. 28114 (?) verso).

Albert W. Blum (1882-1952), Switzerland and Short Hills, New Jersey (l. 79b); acquired in 1951.

Prince Rupert of the Rhine is one of the great oddities in the history of printmaking. Born in 1619 in Prague as Rupert Count Palatine, Duke of Bavaria, 1st Duke of Cumberland and 1st Earl of Holderness, he was the third son of the Elector Palatine, Frederick V and Elizabeth Stuart, the eldest daughter of James I of England. He grew up in the turmoil of the Thirty Years War, living between the courts of The Hague and London. At the tender age of 14 he was already fighting the Spanish in the Netherland. Following his move to England, he joined in the Royalist Army during the Civil War. Being exiled under Cromwell, he once more fought against Spain, this time on the side of French, then became a Royalist corsair in the Caribbean. After the restoration he returned to England where he became a high commander of the Navy and was finally appointed the first governor of the Hudson Bay Company in Canada.

A soldier all his life, he was a very unlikely artist and printmaker. During his early youth in The Hague however he enjoyed a careful education, had a quick and versatile mind, and was taught drawing and painting by Gerard van Honthorst. Rupert was long thought to have invented the mezzotint printing technique - a rumour he himself may have spread – but it was probably first developed by Ludwig von Siegen (1609-circa 1680), an amateur artist and tutor of a German cousin of his, whom Rupert appears to have met at Brussels in 1654. Rupert did however introduce the technique into England and created only a few, but undoubtedly the most impressive works in the medium.

The mezzotint technique, whereby the image is scraped into a roughened copper plate, thus burnishing lighter areas into an otherwise darkly printing surface, has one main advantage compared to engraving and etching: it allows the printing of very soft and gradual, tonal efects. It was therefore ideally suited for the recreation of paintings as prints and became a widely used and very popular reproductive method, in particular for portraits, in the 18th century.

The present print of an executioner holding the head of Saint John the Baptist is based on a painting once thought to be by Jusepe de Ribera (but probably by a follower; Staatsgemäldesammlung, Munich). It is a stunning image, rendered in an intense, nocturnal chiaroscuro: the executioner, almost in half life-size, dressed in rags in a very Ribera-like way, stands sideways towards the viewer. In his left hand he still holds the sword, while in his right he grips the severed head of the Baptist by the hair and holds it up to his face to look at it. On his left stands the saint’s staf with the words ECCE AGNUS DEI, ECCE QUI TOLLIT PECCATA MUNDI on the banderole tied to the top, thus referring to Christ, but also to the sacrificial nature of Saint John’s martyrdom – of being slaughtered like a lamb.

Although this was only his third attempt in the new technique, Prince Rupert at this point has completely understood the possibilities of mezzotint method and is making the most of the fine tonal efects and velvety black shadows and surfaces. At the same time, the traces of the rocker used to texture the plate are still clearly visible, as are the marks of burnisher and scraper. The print has a roughness and physicality to it, which make it much more expressive than the technically perfect mezzotints of the 18th century. The Great Executioner is Prince Rupert’s largest, most dramatic and celebrated print – and a great rarity: Hollstein records only three impressions of the first state (Bremen, London, Paris), one of the second state (Paris) and there are probably no more than a dozen of the third state. To our knowledge, no other impression has appeared on the market within the last thirty years.

58

*84

GIOVANNI BATTISTA TIEPOLO

Two Magicians and two Boys, from: Scherzi di Fantasia (de V. 26; R. 17)

etching, circa 1740, on heavy laid paper, without watermark, a very

good impression of the first state (of two), before the plate number,

printing with light wiping marks and small impurities in the plate,

trimmed to or just outside the platemark, in very good condition

S. 226 x 178 mm.

£2,000-3,000 $3,500-5,100 €2,600-3,800



VARIOUS PROPERTIES

*83


Satyr Family with Obelisk, from: Scherzi di Fantasia (de V. 23; R. 14)

etching, circa 1740, on heavy laid paper, without watermark, a

fine impression of the first state (of two), before the plate number,

trimmed to the platemark, in very good condition

S. 227 x 179 mm.

£2,000-3,000 $3,500-5,100 €2,600-3,800




82

GIOVANNI BATTISTA TIEPOLO (1696-1770)

Punchinello talking to two Magicians, from: Scherzi di Fantasia (de Vesme 21; Rizzi 12)

etching, circa 1735, on heavy laid paper, without watermark, a very

good impression of the first state (of two), before the plate number,

printing with fine vertical wiping marks and inky plate edges, with

small margins, in very good condition

P. 233 x 184 mm., S. 242 x 192 mm.

£3,000-5,000 $5,200-8,600 €3,800-6,300

59

86


Vari Capricci (de V. 3-12; R. 29-38)

the complete set of ten etchings, before 1750, on laid paper, with various

Triple Crescent watermarks, with the frontispiece and the engraved

portrait of the artist by Pietro Monaco (1710 - after 1775), good to very

good impressions, from the edition published by G. Manfrin, 1785, with

wide margins, the sheets joined in pairs at the left sheet edge for binding,

with stitching holes, some foxing to the frontispiece, otherwise in good

condition

S. 350 x 240 mm. (11)

£7,000-10,000 $12,000-17,000 €8,800-13,000

*85


Bacchante, Satyr and Fauness, from: Scherzi di Fantasia (de V. 35; R. 26)

etching, circa 1740, on heavy laid paper, without watermark, a fine, early impression of the first state (of two), before the plate number, printing strongly and clearly,

with many short scratches and impurities in the plate, with thread margins at right and below, trimmed to or on the platemark at left and above, in very good condition;

together with Two Magicians and a Child, from: Scherzi di Fantasia (de V. 34; R. 25), etching, circa 1740, on laid paper, without watermark, a fine, early impression of the

first state (of two), before the plate number, printing strongly and clearly, with thread margins on three sides, trimmed on the platemark at left, in very good condition

P. 132 x 199 mm., S. 135 x 200 mm. (de V. 35)

P. 140 x 188 mm., S. 143 x 189 mm. (de V. 34) (2)

£4,000-6,000 $6,900-10,000 €5,100-7,500


Jean Ehrmann (1902-1984), Paris (L. 3581).

A Private European collection; then by descent to the present owners.

60


87

GIOVANNI ANTONIO CANAL, IL CANALETTO (1697-1768)

Title page, from: Vedute – Altre prese da i luoghi altre ideate (De Vesme, Bromberg 1)

etching, circa 1744-45, on fine laid paper, watermark Initial R

(Br. 49), second, final state (the first, unfinished state without

the inscription is only known in a single example in the

Kupferstichkabinett Berlin), printing with very good contrasts and

clarity, without wear, with margins, generally in good condition

P. 296 x 425 mm., S. 390 x 518 mm.

£1,000-1,500 $1,800-2,600 €1,300-1,900

VARIOUS PROPERTIES

*88

GIOVANNI ANTONIO CANAL, IL CANALETTO

Le Porte del Dolo (de V., B. 6)

etching, circa 1740, on laid paper, watermark Triple Crescent

(Br. 6), a fine, bright impression of the second state (of three; the

first state exists only in a unique proof), with small margins, the tip

of the lower right corner made-up, short repaired tears at lower left

and upper right, a pale brown stain at right, with the usual vertical

drying crease mainly visible verso, otherwise in good condition

P. 300 x 427 mm., S. 312 x 441 mm.

£7,000-10,000 $12,000-17,000 €8,800-13,000


With Colnaghi’s, London (their stock number C. 28968 in pencil verso).

89

GIOVANNI ANTONIO CANAL, IL CANALETTO

View of a Town with a Bishop’s Tomb (de V., B. 16)

etching, before 1744, on laid paper, watermark fragment Three

Crescents, a very good impression of the second, final state, with

margins, in good condition; together with S. Giustina in Prà della

Valle (left half) (B. 7) and Al Dolo (B. 4), etchings, circa 1740, on

laid papers, B. 4 with watermark Letter R (B.10), good impressions

of the second and third, final states respectively, with margins,


P. 300 x 300 mm., S. 327 x 335 mm. (B. 16).

P. 302 x 430 mm., S. 334 x 465 mm. (B. 7).

P. 303 x 435 mm., S. 360 x 480 mm. (B. 4). (3)

£4,000-6,000 $6,900-10,000 €5,100-7,500


Prince Soutzo (19th century), Paris (L. 2341) (B. 4).

Jean Ehrmann (1902-1984), Paris (L. 3581) (B. 7).

Unidentified collector’s mark (not in Lugt) (B. 4, 7 & 16).

61

90

BERNARDO BELLOTTO (1721 – 1780)

Vue exterieure de la Porte d’Italie des Rempars de la ville de Dresden (de Vesme 16; Kozakiewicz 163)

etching, 1750, on laid paper, watermark indistinct, a

very good impression of this large, scarce print, de

Vesme’s third state (of four), Kozakiewicz’s second,

final state (with ‘Porte d’Italie’ changed to ‘Porte dte

Wilsche-Thor’ in the title), with narrow margins on

three sides, trimmed on or just inside the platemark

at left, a few short, backed tears at the sheet edges,


P. 841 x 545 mm., S. 843 x 551 mm.

£6,000-8,000 $11,000-14,000 €7,600-10,000


91

MICHELE MARIESCHI (1696 –1743)

Four plates from: Magnificentiores Selectioresque Urbis Venetiarum Prospectus (Succi 2, 3, 4, 22)

etchings, circa 1738-41, on laid paper, watermark Initials FC

(similar to Bromberg 32), fine, early impressions of the first

states (of four), before the plate numbers, from the first

and only lifetime edition, published 1741, printing with great

contrasts and clarity, the guidelines in the titles still printing

clearly, with margins, S. 3 with some pale foxmarks, generally in

good condition

P. 300 x 447 mm., S. 361 x 518 mm. (4)

£3,000-5,000 $5,200-8,600 €3,800-6,300

Including: Piazza San Marco verso la Basilica (S. 2); Cortile interno

del Palazzo Ducale (S. 3); La Piazetta di S. Basso (S. 4); Il Canal

Grande agli Scalzi (S. 22).

VARIOUS PROPERTIES

92

MICHELE MARIESCHI

Six plates from: Magnificentiores Selectioresque Urbis Venetiarum Prospectus (S. 5, 9, 12, 15, 16, 23)

etchings, circa 1738-41, on laid paper, watermarks Shield with

three Stars under Crown, very good impressions of the third

state (of four), printing with good contrasts and clarity, from the

third edition, published by Giuseppe Wagner, circa 1770, with

margins, some short tears and nicks at the sheet edges, pale

foxing, otherwise in good condition

P. 320 x 470 mm., S. 425 x 565 (and similar) (6)

£4,000-6,000 $6,900-10,000 €5,100-7,500

Including: La Piazzetta (S. 5); L’Arsenale (S. 9); Piazza S. Marco

dalla Torre dell’Orologio (S. 12); La Regata a Ca’ Foscari (S. 15); La

Salute (S. 16); Il Canal Grande a C’ Pesaro (S. 23).

62

95

GIOVANNI BATTISTA PIRANESI

Three plates from: Vedute di Roma (H. 3, 16, 17; W.-E. 136, 143, 144)

etchings, 1748-51, on laid paper, all watermark Fleur-de-Lys in

single Circle (Hind 1), including: Veduta della Basilica e Piazza

di S. Pietro in Vaticano (H. 3), a very fine, early impression of

the rare first state (of seven), before additional shading and

before the publisher’s address; Veduta di Piazza Navona

(H. 16), a very fine, early impression of the rare second state

(of six; Hind records only one impression of the first state

before all letters, at Chatsworth); and Veduta della Piazza

della Rotonda (H. 17), a very fine early impression of the rare

first state (of seven); all with wide margins, some staining and

surface dirt in the margins, generally in good condition

P. 410 x 545 mm., S. 497 x 722 mm. (and similar) (3)

£5,000-7,000 $8,600-12,000 €6,300-8,800

94


Five plates from: Vedute di Roma (H. 19, 35, 38, 40, 56; W.-E. 145-148, 152)


single Circle (Hind 1), very fine, early impressions of the rare

first states, before the publisher’s address, printing with great

contrasts and clarity, with guidelines and wiping marks in the

text borders below, with wide margins, some pale staining

and surface dirt, generally in good condition


£8,000-12,000 $14,000-21,000 €11,000-15,000

Including: Veduta della vasta Fontana di Trevi (H. 19), first state (of seven); Veduta del Sepolcro di Cajo Cestio (H. 35), first state (of six); Veduta del Romano Campigdoglio (H. 38), first state (of five); Veduta di Campo Vaccino (H. 40), first state (of six); and Veduta dell’Arco di Costantino (H. 56), first state (of six).


93

GIOVANNI BATTISTA PIRANESI (1720-1778)

Five plates from: Vedute di Roma (Hind 1, 8, 9, 14, 15; Wilton-Ely 134, 139-142)


single Circle (Hind 1), very fine, early impressions of the rare

first states, before the publisher’s address, printing with great

contrasts and clarity, with guidelines and wiping marks in the

text borders below, with wide margins, some pale staining

and surface dirt, generally in good condition


£7,000-10,000 $12,000-17,000 €8,800-13,000

Including: Title page (H. 1), first state (of five); Veduta della

Basilica di S. Giovanni Laterano (H. 8), first state (of six); Veduta

della Basilica di S. Maria Maggiore (H. 9), first state (of six); Veduta della Piazza del Popolo (H. 14), first state (of seven); and Veduta della Piazza di Monte Cavallo (H. 15), first state (of six).

63

98



etchings, 1754-67, on laid paper, including: Veduta del Ponte e

Castello Sant’Angelo (H. 29), watermark Fleur-de-Lys in single

Circle (H. 1), a very fine, early impression of the rare first state

(of six), the full sheet, with deckle edges, mount stain outside

the platemark; Veduta del Ponte Salario (H. 31), watermark

indiscernible, a very fine impression of the rare first state (of

five), with wide margins, scattered foxing mainly in the right

margin; and Veduta interna dell’antico Tempio di Bacco

(H. 81), watermark indiscernible, a fine, early impression of

the second state (of four), the full sheet, with deckle edges,



£5,000-7,000 $8,600-12,000 €6,300-8,800

97



echings, 1751-60, on laid paper, including: Veduta del Castello

dell’Acqua (H. 21), watermark Fleur-de-Lys in single Circle

(Hind 1), a very fine, rare and early impression, before Hind’s

first state (of five) and before the publisher’s address; Veduta

del Tempio di Bacco (H. 48), watermark indiscernible, a very

fine, rare and early impression, before Hind’s first state (of

five) and before the publisher’s address; and Veduta interna

dell’Atrio del Portico di Ottavia (H. 59), watermark Fleur-de-

Lys in single Circle (Hind 1), a very fine, early impression of

the rare first state (of six); all with wide margins, pale mount

and light-staining, a few small worm tracks in the margins,



£5,000-7,000 $8,600-12,000 €6,300-8,800

96



etchings, 1749-58, on laid paper, including: Spaccato interno

della Basilica di S. Paolo fuori delle Mura (H. 7), watermark

Fleur-de-Lys in single Circle (Hind 1), a fine, early impression

of the rare first state (of seven); Veduta del Porto di Ripetta

(H. 28), watermark indiscernible, a fine, early impression of the

second state (of eight), with the reflections of the boats in the

foreground but before the publisher’s address; and Veduta

del Tempio di Antonio e Faustina in Campo Vaccino (H. 49),

watermark Fleur-de-Lys in single Circle (Hind 1), a very fine,

early impression of the rare first state (of six); all with wide

margins, pale mount stains outside the platemark, generally

in good condition

P. 400 x 540 mm., 518 x 691 mm. (and similar) (3)

£4,000-6,000 $6,900-10,000 €5,100-7,500

64

99

JEAN JACQUES FLIPART (1719-1782) AFTER CHARLES-NICOLAS COCHIN LE JEUNE (1715-1790)

Concours pour le prix de l’etude des têtes et de l’expression (Le Blanc 93; Portalis & Beraldi 21; IFF 126)

etching with engraving, 1763, on laid paper, watermark AUVERGNE II742 (similar to

Haewood 3420), a good impression of this scarce print, second, final state (a presumably

impression of the unfinished first state, in pure etching and without letters, is in the British

Museum), with margins, pale mount staining, some very minor foxing, generally in good

condition

P. 232 x 281 mm., S. 289 x 333 mm.

£1,000-1,500 $1,800-2,600 €1,300-1,900


Christie’s, London, 1 July 1980, lot 204.

Acquired at the above sale by the present owner.


Elisabeth Launay, Les frères Goncourt collectionneurs de dessins, Paris, 1985, No. 60, p.265-6.

Edmond de Goncourt saw in the model a portrait of the famous actress Mlle Clairon (1723-1803), an assumption we find repeated in Portalis & Beraldi’s description of the print. This has been rejected since, while the three men seated on the right, overseeing the competition, have been identified as the academy members Claude Vassé, Jean Restout and the Conte de Caylus, who founded the Prix.

The drawing of the subject by Cochin, in the same direction, is in the Louvre.

100

DANIEL NIKOLAUS CHODOWIECKI (1726-1801)

Cabinet d’un peintre (Engelmann 75; Bauer 136)

etching, 1771, on laid paper, without watermark, a good impression, with wide margins, a

deckle edge at left, pale light-staining, two short tears at the lower sheet edge, generally in

good condition

P. 179 x 229 mm., S. 272 x 285 mm.

£1,500-2,500 $2,600-4,300 €1,900-3,100


A. Grifiths & F. Carey, German Printmaking in the Age of Goethe, London, 1994, no. 18, p. 52f.

VARIOUS PROPERTIES

101

JOHANN ELEAZAR ZEISSIG, CALLED SCHENAU (1737-1806)

Die Bilderverkäuferin (Andresen 7)

etching, 1765, on laid paper, partial watermark Letters, a delicate impression of this rare

print, second state (of three), with wide margins, two pinholes in the upper margin,

otherwise in good condition

P. 135 x 78 mm., S. 83 x 113 mm.

£1,000-1,500 $1,800-2,600 €1,300-1,900


Private European collection; then by descent to the current owners.


A. Grifiths & F. Carey, German Printmaking in the Age of Goethe, London, 1994, no. 9a, p. 43

(another impression illustrated).

P. Stein, Artists and Amateurs, Etching in Eighteenth Century France, New York, 2013, fig. 19,

p. 41 (another impression illustrated).

65

102

GILLES-ANTOINE DEMARTEAU LE JEUNE (1750-1802) AFTER FRANÇOIS BOUCHER (1703-1770)

Jeune fille à la rose (Leymarie 563; Ittmann & Carlson 74)

etching in the crayon-manner printed from three plates in black,

red and greenish-blue, 1777, on stiff laid paper, without watermark,

a very good, bright impression of this rare print, with the engraved

address and number, retaining all five borderline, trimmed just

outside the outer borderlines, in very good condition

S. 310 x 224 mm.

£3,000-5,000 $5,200-8,600 €3,800-6,300


Madame de V...; her sale, Galerie Georges Petit, Paris, 11-12 June 1928,

lot 61 (54,000 F).

A European collector; Christie’s, London, 1 December 1992, lot 265

(£5,280).

With C. G. Boerner, Düsseldorf; acquired at the above sale.

Private German collection; acquired from the above in 1993; then by

descent to the present owner.

To our knowledge, this is beautifully preserved impression is the only one to have been ofered at auction within the last thirty years. It was last sold in these rooms in 1992.

103

CHARLES FRANÇOIS GABRIEL LEVACHEZ, PÈRE ET FILS (ACTIVE CIRCA 1760-1820) AND JEAN DUPLESSIS-BERTAUX (1747-1819) AFTER LOUIS LÉOPOLD BOILLY (1761-1845)

Bonaparte Premier Consul de la République Française - Revue du Quintidi (Portalis & Beraldi II, no. 12, p. 686)

etching with aquatint printed in colours, 1801-02,

on wove paper, without watermark, with small

margins on three sides, wider margins below; with

Cambarcerès Second Consul de la République

Française (P. & B. II, p. 686 no. 13), after Louis

Benjamin Marie Devouge (1770-1842) by the same

hands, etching with aquatint printed in colours,

1801-02, on wove paper, with narrow margins;

fine impressions of these rare prints, in very good

condition (2)

P. 430 x 290 mm., S. 468 x 297 mm. (P. & B. 12)

P. 396 x 277 mm., S. 400 x 282 mm. (P. & B. 13) (2)

£2,000-3,000 $3,500-5,100 €2,600-3,800


With C. G. Boerner, Düsseldorf.

Private German collection; acquired from the above in

1993; then by descent to the present owner.

66

*∆105

FRANCISCO DE GOYA Y LUCIENTES, AFTER DIEGO VELÁZQUEZ

Isabel de Borbón (D. 9; H. 8)

etching and drypoint, 1778-9, on heavy laid paper watermark JOAN, a fine

impression from the first edition (of four), printed at the Calcografía, Madrid,

1778-9, with wide margins (slightly uneven), two creases across the lower left

corner (well outside the platemark), some pale scattered foxing in the margins

and minor time staining at the sheet edges, generally in good condition

P. 370 x 310 mm., S. 618 x 430 mm.

£1,200-1,800 $2,100-3,100 €1,600-2,300

104

FRANCISCO DE GOYA Y LUCIENTES (1746-1828) AFTER DIEGO VELÁZQUEZ (1599-1660)

Los Borrachos, after Velázquez (Delteil, Harris 4)

etching, 1778-9, on heavy laid paper, without watermark, a very good, strong

and clear impression from the First Edition (of three), printed at the Calcografía,

Madrid, 1778-9, with margins, some scattered pinpoint foxing in the margins, pale

mount staining, old mounting tape along the upper and lower sheet edges verso

P. 314 x 435 mm., S. 363 x 484 mm.

£10,000-15,000 $18,000-26,000 €13,000-19,000

Los Borrachos is one of a series of nineteen etchings Goya made after Velazquez’s paintings in the Spanish Royal Collection. They were printed, published and advertised for sale in the Gazeta de Madrid between 1778-9 . These etchings were not mere copies after Velazquez’s but creative interpretations of the paintings. Their autonomy is particularly evident in Los Borrachos, as Goya depicts Bacchus as a man of physical labour, not dissimilar to the peasants around him, and not as a god as in Velazquez’s painting.

The present fine impression is from the First Edition, the only life-time edition, made by Goya at the Calcografía around 1778-9. Tomás Harris states that this edition appears to have been very small and early impressions are hence extremely rare.

67

The eighty prints of Los Desastres de la Guerra are perhaps the most uncompromising artistic record of war ever made, rivalled perhaps only by Otto Dix’s series Krieg of 1924. Created over a period of ten years, Goya’s work on this series was prompted by General José de Palafox’s request to visit the town of Saragossa in order to witness and immortalise the defence of the city and struggle and heroism of its citizens. The etchings are the result of Goya’s ensuing journey through the ravaged landscape of his native country at the start of Napoleon’s Iberian campaign and the brutalities he saw along the way, of his experience of the famine in Madrid that followed war, and of the deeply repressive and reactionary Spanish regime after 1814.

Unlike oficial war artists, Goya was not interested in grand battle scenes. Instead he focussed on almost intimate, close-up scenes of people fighting, fleeing, killing, and dying. They show acts of bravery - usually on the part of women, of mechanical slaughter - on the part of the French army, and acts of grotesque cruelty - committed on both sides. While Goya depicts the perpetrators in hard, roughly etched lines, de-personalised by their uniforms, the naked bodies of the dead and mutilated, are described with great tenderness with the finest lines and stipples, their poses often reminiscent of famous works of classical sculpture. It is in the depiction of the bodies of the dead that Goya expresses his compassion and humanity, often in stark contrast to his laconic titles.

The tyranny of King Ferdinand VII’s rule following the war meant that the series remained unpublished in Goya’s lifetime.

Like all great art, however, Goya’s prints transcend the specific place and time in which they were created, and his terrible, unflinching depiction of the savagery of war continues to resonate profoundly in the modern era.

*∆106

FRANCISCO DE GOYA Y LUCIENTES

Los Desastres de la Guerra (D. 120-199; H. 121-200)

the complete set of eighty etchings with burnished aquatint, drypoint and

engraving, 1810-20, on heavy wove paper, watermarks J.G.O. or Palmette (Shell),

with title page and text, Harris’s edition 1a, before corrections to the titles of

plates 9, 32, 33, 34, 35, 36, 39 and 47 (the title of plate 36 amended in pen and ink

as described in Harris), fine impressions, printed in the workshop of Laurenciano

Potenciano, published by the Real Academia de Nobles Artes de San Fernando,

Madrid, 1863, with margins, in red cloth-covered boards, quarter-bound morocco,

with the artist’s name, title and the dates 1808-1863 in gilt on the spine, some

wear to the binding, otherwise in very good condition (album)

S. 235 x 330 mm.

£70,000-100,000 $120,000-170,000 €88,000-130,000

68

107


Los Desastres de la Guerra (D. 120-199; H. 121-200)

the complete set of eighty etchings with burnished aquatint, drypoint and

engraving, 1810-20, on wove paper, without watermark, with introductory text,

Harris’s third edition of one hundred copies, published by the Real Academia

de Bellas Artes de San Fernando, Madrid, 1903, the full sheets, time staining and

minor foxing, bound within the paper boards with leather spine, the boards and

spine worn

245 x 345 mm. (overall).

£10,000-15,000 $18,000-26,000 €13,000-19,000

*108


The four additional plates for: Los Proverbios (D. 220-3; H. 266-9)

four etchings with aquatint and drypoint, before 1824, on laid paper, without

watermark, fine impressions, from the First Edition of the additional plates

published in L’Art, Paris, 1877, probably the full sheets, some very pale,

unobtrusive discolouration at the sheet edges, generally in very good condition

P. 245 x 350 mm., S. 295 x 428 mm. (4)

£7,000-10,000 $12,000-17,000 €8,800-13,000

69

109


Three plates from: Los Caprichos (D. 40, 50, 111; H. 38, 48, 109)

three etchings with burnished aquatint and drypoint, 1799, on laid paper, without

watermarks, very good impressions printed in sepia, from the First Edition of

approximately three hundred copies, printed at the Calcografía, with margins,

slightly trimmed at left where previously bound, very minor time staining,



£3,000-5,000 $5,200-8,600 €3,800-6,300

110


Five plates from: Los Caprichos (D. 51, 76, 77, 79, 104; H. 49, 74, 75, 77, 102)

five etchings with burnished aquatint and drypoint, 1799, on laid paper, without

watermarks, very good impressions printed in sepia, from the First Edition of

approximately three hundred impressions, probably the full sheets, some foxing

and staining mainly at the sheet edges; together with Lola de Valence (Guérin

23; Harris 33) by Edouard Manet, etching and aquatint, 1863, on Van Gelder laid

paper, a very good impression of the fifth state (of eight), without the Delâtre and

Cadart addresses, from the deluxe edition, with wide margins, time and light-

staining, otherwise in good condition

P. 200 x 150 mm., S. 308 x 200 mm. (6)

£4,000-6,000 $6,900-10,000 €5,100-7,500

70

111


La Tauromaquia (D. 224-256; H. 204-236)

the complete set of 33 etchings with burnished aquatint, drypoint and engraving, 1815-16, on laid paper (two

with SERRA watermark), First Edition, fine, early impressions printed in dark sepia, with the explanatory text

and titles, published by the artist, Madrid, 1816, the full sheets with deckle edges, loose as issued, occasional

pale foxing and time staining, occasional nicks and short tears at the edges, some with small paper losses at

the lower left sheet corner, generally in very good, original condition


£250,000-350,000 $430,000-600,000 €320,000-440,000


Marcel Louis Guérin (1873-1948), Paris (L. 1872b; his stamp on the text page); his sale, Loys Delteil, Paris, 9 December

1921 (Fr. 4605; this lot cited in Lugt).

Tomás Harris (1908-1964), London (not in Lugt; his stamp on the reverse of each sheet); then by descent.

With Colnaghi’s, London, 1976, on behalf of the heirs of the above.

Goya had been an aficionado of bullfighting since his youth, but it was not before he was nearly seventy years of age that he turned to this grand and ancient rite as a subject of his art. In 1814-16 he created a series of etchings with aquatint depicting the evolution of the bullfight. Closely following Fernández de Moratín’s historical account of the bullfight, Carta Histórica sobre el origin y progresos de las Fiestas de Toros de España, the series traces the development from the rural hunt to a noble pastime to a professional performance, with the protagonists changing from peasants to the moors of Al-Andalus, to Carlos V on horseback, and finally to the famous toreros of Goya’s own time. In 1816 he published a selection of 33 of these prints under the title La Tauromaquia in a small edition of unknown size. The publication was met with little success - this First Edition remained the only one printed in the artist’s lifetime.

When Goya began to work on these etchings, the Peninsular War (1808-1814), which Goya had so unflinchingly depicted in Los Desastres de la Guerra, had just ended. To a certain degree, La Tauromaquia can be seen as a continuation of the Desastres: once more Goya’s subject is fighting, acts of cruelty, bravery and cowardice, and death. He is less interested in the colourful spectacle of the fiesta – the crowds in the stands are merely hinted at – than in the mortal encounter between man and bull, depicted in dark sepia ink and brilliant white highlights against a backdrop of varying tones of grey. It is these subtle gradations of the aquatint tone, depicting light and shade and evoking the heat and dust of the ring, which lend these dramatic, at times horrific scenes a haunting atmosphere and ethereal beauty. In La Tauromaquia, Goya brought the technique of etching and aquatint to a new height of perfection. It is only in fine impressions of the First Edition, such as the present one from the collection of the great Goya-scholar Tomás Harris, that his mastery can be fully appreciated.

It would be a challenge to find three more resonant names from the history of print connoisseurship in the 19th and early 20th centuries than those of Marcel Louis Guérin, Loys H. Delteil and Tomás Harris, who all three at diferent times owned or handled the present album. Marcel Guérin’s collection was foremost known for his superb holdings of proofs by Toulouse-Lautrec and Degas. He also published several catalogue raisonnés, including one devoted to Gauguin. The sale of his collection was conducted in two parts over two years by the emiment expert Loys Delteil, whose own two-volume catalogue raisonné on Goya was published as part of his extensive series Le Peintre Graveur Illustré (Paris 1906-30). Tomás Harris’s name finally is synonymous with the academic study of Goya and his monograph on the artist is the synthesis of a lifetime’s work in private and public collections throughout Europe and America. His own comprehensive collection of Goya’s prints formed the basis of the landmark exhibition held at the British Museum in January 1964.

112


The Bulls of Bordeaux (D. 286-289; H. 283-286)

the complete set of four lithographs, 1825, on wove paper, one sheet watermarked 83, the others without

watermarks, second, final states, H. 286 the only state, fine impressions printing in a rich, velvety black, with

great contrasts, from the edition of one hundred printed by Gaulon, Bordeaux, 1825, with wide margins, some

pale scattered foxing mainly in the margins, light-staining, H. 283 with two repaired tears in the right margin

and another in the lower left margin, H. 285 with a vertical central printer’s crease and with the upper left

sheet corner torn and re-attached, the subjects generally in good condition

L. 305 x 400 mm. (and similar)

S. 441 x 560 mm. (and similar) (4)

£300,000-500,000 $520,000-860,000 €380,000-630,000

Almost ten years after the Tauromaquia – Goya was now nearly eighty years old and living in exile in Bordeaux – he once more turned to the subject of the bullfight. In 1825 he created a set of four large-scale bullfight scenes, The Bulls of Bordeaux, this time in the medium of lithography. The technique had been invented in 1798 in Germany as a substitute for letter-press printing and used as a cheaper way of reproducing sheet music. In the following decades, a few lithographic presses had been established in England, France and Spain, mainly for commercial printing purposes (for a notable exception see lot 113). Up to this moment, very few artists had produced significant works in the medium, and no one before Goya had recognized the true potential of the technique. It was an enormous liberation: by drawing with a crayon onto the lithographic stone, composing the print and creating the printing matrix had become one single process. No longer was it necessary to use diferent techniques, such as etching and aquatint in the Tauromaquia, in order to print lines and surfaces. The much younger Spanish artist Antonio Brugada told Goya’s biographer Laurent Matheron how he had seen him working on the Bulls of Bordeaux:

‘The artist worked at his lithographs on his easel, the stone placed like a canvas. He handled his crayons like paint

brushes, and never sharpened them. He remained standing, walking backwards and forwards from moment to

moment to judge the efect. Usually he covered the whole stone with a uniform, grey tint, and then removed the

areas that were to be light with the scraper… The crayon was then brought back into play to reinforce the shadows

and accents, or to indicate the figures and give them a sense of movement…’ (quoted in: Mark P. McDonald, Renaissance to Goya – Prints and Drawings from Spain, London 2012, p. 268)

This was probably not quite the way Goya worked - much of the surface of the stone was left clear of tone, but there was plenty of scraping and re-touching, and the whole efect is much rougher and more emphatic, almost caricatural, than his etchings. Nowhere in Goya’s printed oeuvre is his virtuoso draughtsmanship so apparent – his ability to create scenes bursting with life, with movement and emotion, out of near-abstract marks of ink on blank paper. Although created while lithography was still in its infancy, The Bulls of Bordeaux, in their immediacy, spontaneity and understanding of the technique, not only surpassed anything that had been made in the medium before, but are often considered the greatest lithographs ever made.

112











£300,000-500,000 $520,000-860,000 €380,000-630,000








112











£300,000-500,000 $520,000-860,000 €380,000-630,000








113

PORTFOLIO

Specimens of Polyautography

the set of twelve lithographs, 1801-1803, on textured wove paper, the very

rare First Issue, published by Philip André, London, 1803, fine impressions,

mounted on the original wove paper support sheets, with watermarks

J. Whatman 1794, J. Whatman 1801 and Russell & Co. 1799, with the dark

grey and chocolate brown aquatint borders, with wide margins, each with

a deckle edge on one side, the other sheet edges slightly irregular, lacking

the covers, title-page and wrappers, with binding holes on one side of the

support sheets, generally in very good condition

S. 495 x 375 mm. (approx.)

£30,000-50,000 $52,000-86,000 €38,000-63,000


Felix H. Man, Lithography in England (1801-1810), in: Carl Zigrosser (ed.), Prints

– Studies in graphic styles and techniques from Dürer to Kokoschka, London,

1963, p. 99-130.

Pat Gilmour, Lasting Impressions - Lithography as Art, London, 1988, p. 11.

The set comprises: Benjamin West (1738-1806), The Angel of the Resurrection, 1801, second, final state; Robert Ker Porter (1777-1842), Charge, 1803; Thomas

Stothard (1755-1834), The Lost Apple, 1803; Henry Richard Greville, 3rd Earl of Warwick (1779-1853), Landscape with Old Trees by Water, 1803; Richard

Cooper (1740 - after 1814), Landscape with Large Trees, 1802; Richard

Courbauld (1757-1831), Old Trees with Old Man, a Girl and a Dog, 1802; Henry

Fuseli (1741-1825), Evening Thou Bringest All (Weinglass 171), 1802, first state (of two); Thomas Hearne (1744-1817), Old Tree, 1803; James Barry (1741-1806), Eastern Patriarch, 1803; Thomas Barker (1769-1847), Young Boy Seated, 1803; Johann Conrad Gessner (1764-1826), Cavalry Charging, 1801; and William

Alfred Delamotte (1775-1863), Resting, Men and Dogs under a Big Tree, 1802.

Invented by Alois Senefelder in 1798 as a cheaper substitute for letter-press printing, lithography was first patented in London under the name ‘polyautography’ in 1800. Senefelder soon sold the license to the music publisher Johan Anton André, based in Ofenbach am Main, in 1801. His younger brother, Philipp André, was running the London branch of the family firm and became the legal patentee. While his brother in Germany was mainly using the new method to print sheet music, Philipp in London directed his eforts toward the promotion of lithography as a fine art printing process by inviting many of the leading artists of the day to try the new technique, providing them with all the requisite materials and instructions, with a view to publishing a selection of the artists’ submissions. A first issue of twelve plates was published in 1803. It comprised some of the earliest artist’s lithographs to be published in any country, and Felix H. Man described it as the most important publication of early lithographs in England, ‘not only superior to anything done

on the continent during the first years of lithography, but even serving as a model

for similar publications in Germany a few years later’ (Felix H. Man, Lithography in

England (1801-1810), in: Zigrosser, p. 99). Many of the plates are drawn in a lively, fluid manner, facilitated by the ease of drawing with pen and tusche onto the stone. It seems however that none of the artists – nor the printer for that matter – had at this point quite realised the unique potential of lithography: the ability to create tone without having to resort to cross hatching. Accustomed as they were to etching and engraving, they still depended on the single drawn line to created their images. The public’s reception of the new technique was indiferent and the project a financial failure. In 1805, Philipp André resigned and the entreprise was taken over by Georg Jacob Vollweiler, who proceeded to publish a second issue in 1806-07, which comprised a total of 36 lithographs, including the twelve original plates. Some plates, most notably the ones by West and Fuseli (see lot 114), appear to have been reworked for the purpose of re-publishing, with minor additions and reinforcements unlikely to have been made by the artists themselves.

The present set of the first issue of The Specimens of Polyautography is the second complete example known today. The only other complete set, in a modern binding and with the title page reduced to the printed area, is kept at the Victoria & Albert Museum in London. The next largest holding, consisting of six of the twelve plates formerly from the Felix H. Man Collection, is at the The National Gallery of Australia, Canberra.

113

PORTFOLIO










S. 495 x 375 mm. (approx.)

£30,000-50,000 $52,000-86,000 €38,000-63,000




1963, p. 99-130.













113

PORTFOLIO










S. 495 x 375 mm. (approx.)

£30,000-50,000 $52,000-86,000 €38,000-63,000




1963, p. 99-130.













76

114

HENRY FUSELI (1741-1825)

Evenings Thou Bringest All, from: Specimens of Polyautography (Weinglass 171)

lithograph printed in brown, 1802, on cream wove

paper, second, final state, from the Second Issue

published by G. J. Vollweiler, London, 1806-07,

slightly slipped at the right edge, without the

support sheet, trimmed 5 mm. into the blank area

below the subject, otherwise on or just within the

edge of the stone, generally in good condition

S. 215 x 318 mm.

£3,000-5,000 $5,200-8,600 €3,800-6,300

115

JOHN CONSTABLE (1776-1837)

Netley Abbey (Reynolds 33.10)

etching, circa 1826, on chine collé, a fine impression of this

rare print, second, final state, after the addition of the artist’s

initials, with wide margins, scattered foxing, time-staining at

the sheet edges

P. 132 x 184 mm., S. 246 x 304 mm.

£1,500-2,500 $2,600-4,300 €1,900-3,100

The composition is based on a drawing (Victoria & Albert Museum, London, R. 148) which Constable made during his honeymoon in October 1816, whilst travelling to visit his patron and friend, Reverend John Fisher, in Osmington, Dorset. It is one of only four etchings by the artist, impressions are extremely rare as no proper edition was ever published.

77

116

JAMES WARD (1769-1859)

Adonis, from: Celebrated Horses (Frankau 1; Grundy 17; Beckett L5)

lithograph, 1824, on chine appliqué, a fine, rare proof impression from the First Edition, signed and annotated

Select Proof. retouched by J. W./ T. Clay Ludgate Hill & Dickinson Bond St / The favourite Charger of his late

Most Gracious Majesty King George the Third in pencil, with the printed script title and publication line James

Ward R.A. Pinxit et Delt / London Pubd. May 1st 1824 / R Ackermann Strand, printed by C. Hullmandel, London,

with wide margins, two small stains in the left margin, otherwise in very good condition

L. 337 x 448 mm., S. 415 x 530 mm.

£4,000-6,000 $6,900-10,000 €5,100-7,500


Paul Prouté (1887-?), Paris (L. 2103c).

James Ward was one of the most prominent British artists of the early 19th century. In 1794 he was appointed ‘Painter and Engraver in Mezzotint’ to the Prince of Wales, the future King George IV. In the 1820’s he commissioned a series of fourteen lithographs of celebrated horses, including Adonis, his late father’s favourite charger. The present lithograph is closely related to a painting (sold at Christie’s in New York on 6 December 1996, lot 24), which lead Becket to remark: ‘This magnificent image of a strong type of Hanoverian horse was a favourite

motif of Ward’s and features in several pictures. The highly romantic treatment of the mane and tail blown forward

by the wind, and the wild terrain, are a long way from the ordered precision of the parade-ground’.

78

117

WILLIAM BLAKE (1757-1827)

Illustrations of the Book of Job (Keynes 55; Binyon 105-126; Bentley 421A; Bindman 625-46)

the complete set of 21 engravings, the title and the publication announcement,

1823-5, on India appliqué, very fine, sparkling impressions, with very good

contrasts, from the First Edition edition of about 150, with the word ‘proof’ (there

was also a slightly later edition with the word ‘proof’ removed), published by the

artist and J. Linnell, London, 1825, with wide margins, probably the full sheets,

some pale foxing in the margins, all mounted, within a modern beige, cloth-

covered box, with a blue cloth-covered portfolio with name of the artist, tile and

date on front and spine

P. 219 x 171 mm. (and similar), S. 430 x 330 mm. (and similar)

£30,000-50,000 $52,000-86,000 €38,000-63,000


Heinrich Neuerburg (1883-1956), Cologne (L. 1344a).

The Book of Job is an ancient Hebrew text, included in both Jewish and Christian scriptures, which tells the story of Job, a wealthy and righteous man who was ‘blameless and upright, fearing God and shunning evil’ (Job 1:1). Job’s piety is challenged by Satan, who claims that Job’s righteousness is dependent on God’s blessing, and that, should God withdraw it, Job would curse Him. God grants Satan permission to test Job, and Job is aflicted with grievous trials, losing his children, wealth and health. The narrative centres on Job’s complaint to God, in which he protests his innocence and the unjustness of his fate. The Book of Job is a meditation on the mystery of human sufering and challenges the conventional notion that God rewards virtue and punishes sin. When God finally speaks in the famous concluding chapters he neither explains his reasons for Job’s sufering nor defends his justice, but instead expounds his divine wisdom and authority which both established and maintains creation.

In 1821 the artist John Linnell asked William Blake to make him a copy of a set of watercolours of the story of Job, which Blake had first created in 1805-06 for his patron Thomas Butts (The original is today at the Pierpont Morgan Library, New York, Linnell’s copy set is at the Fogg Art Museum, Harvard.) The commission was intended to relieve Blake’s precarious finances, and in 1823 Linnell had another idea to help his protégé: to create an engraved series of the subject. A contract was issued in March 1823, and Blake began to revisit his original designs. He reduced the scale of the images and sketched additional pencil studies and ideas for border designs. Although the engravings carry a publication date of 8 March 1825, they did not in fact appear until the following year.

Formally and technically, the ‘Illustrations for The Book of Job’ are undoubtedly his most coherent and sophisticated works in the print medium. They are perhaps the most elegant expression of his very idiosyncratic style and understanding of the world. His treatment of the story of Job is characteristically unconventional and interwoven with his own personal mythology of Jerusalem and the figure of Albion: ‘Instead of the exemplary figure whose faith is sorely tested…Job is seen like Albion

as we first encounter him, as a Fallen man, cut of from his spiritual life. Like Albion

he [Job] achieves redemption through sufering’. (Robin Hamlyn & Michael Phillips, William Blake, London, 2000, p. 170-71).

79END OF SALE

80

INDEX

BBega, C., 80

Bellotto, B., 90

Blake, W., 117

Boilly, L. L. (after), 103

Bol, F., 76

Boucher, F. (after), 102

Bruegel the Elder, P. (after), 45

CCampagnola, D., 36

Canaletto, A., 87, 88, 89

Caraglio, G., 38

Cavedone, G., 47

Chodowiecki, D. N., 100

Cochin, C.-N. (after), 99

Constable, J., 115

DDemarteau, G.- A., 102

Duplesssis-Bertaux, J., 103

Dürer, A., 6, 7, 8, 9, 10, 11, 12,

13, 14, 15, 16, 17, 18, 19, 20, 21,

22, 23, 24, 25, 26, 27, 28, 29, 30,

31, 32, 65A

Duvet, J., 43, 44

E

Elsheimer, A. (after), 49

FFlipart, J. J., 99

Franco, G. B., 39

Fuseli, H., 114

GGhisi, G., 40, 41

Goudt, H., 49

Goya, F. de, 104, 105, 106, 107,

108, 109, 110, 111, 112

HHeyden, P. van der., 45

LLevachez, C. F. G., 103

MMantegna, A., 4

Mantegna, A. (after), 5

Mantuana, D. (Scultori), 42

Marieschi, M., 91, 92

Master MZ, 33, 34

OOstade, A. van, 77, 78, 79

PPiranesi, G. B., 93, 94, 95, 96, 97, 98

Poccetti, B., 46

Portfolio, 113

RRembrandt, 52, 53, 54, 55, 56, 57,

58, 59, 60, 61, 62, 63, 64, 65, 65A,

66, 67, 68, 69, 70, 71, 72, 73, 74, 75

Ribera, J. de, 50, 51

Romano, G. (after), 42

Rubens, P.P., 48

Rupert of the Rhine, 81

SSchongauer, M., 2, 3

TTiepolo, G. B., 82, 83, 84, 85, 86

Titian, 35

VVicentino, N., 37

WWard, J., 116

ZZeissig, J. E., 101

81

IMPORTANT NOTICES AND EXPLANATION OF

CATALOGUING PRACTICE

11/03/10

EXPLANATION OF CATALOGUING PRACTICEThe following expressions with their accompany-ing explanations are used by Christie’s as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration.

Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request.

Name(s) or Recognised Designation of an

Artist without any Qualification

In Christie’s opinion a work by the artist.

*“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 his supervision.

*“Circle of …”

In Christie’s qualified opinion a work of the period of the artist and showing his 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.

Prints

The date given for Prints is the date (or approximate date when prefixed with ‘ca’) on which the matrix was worked and not necessarily the date when the impression was printed or published. Measurements are taken where possible, from the platemark (‘P’), otherwise they record the size of the sheet (‘S’) or the borderline of the subject (‘L’).

CHRISTIE’S INTEREST IN PROPERTY

CONSIGNED FOR AUCTIONFrom time to time, Christie’s may offer a lot which it owns in whole or in part. Such property is identified in the catalogue with the symbol ∆ next to its lot number. On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Where Christie’s holds such financial interest on its own we identify such lots with the symbol º next to the lot number.Where Christie’s has financed all or part of such interest through a third party the lots are identified in the catalogue with the symbol ºu. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk based on a fixed fee if the third party is the successful bidder or on the final hammer price in the event that the third party is not the successful bidder. The third party may also bid for the lot. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may incur a loss. Please see http://www.christies.com/financial-interest/ for a more detailed explanation of minimum price guarantees and third party financing arrangements.Where 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.

ALL DIMENSIONS ARE APPROXIMATE

CONDITIONChristie’s catalogues include references to condition only in descriptions of multiple works (such as prints, books and wine). For all other property, only alterations or replacement components are listed. Please contact the Specialist Department for a condition report on a particular lot. The nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.

PROPERTY INCORPORATING MATERIALS FROM ENDANGERED AND OTHER PROTECTED SPECIESProperty made of or incorporating (irrespective of percentage) endangered and other protected species of wildlife are marked with the symbol ~in the catalogue. Such material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whale bone and certain species of coral, together with Brazilian rosewood. Prospective purchasers are advised that several countries prohibit altogether the importation of property containing such materials, and that other countries require a permit (e.g., a CITES permit) from the relevant regulatory agencies in the countries of exportation as well as importation. Accordingly, clients should familiarise themselves with the relevant customs laws and regulations prior to bidding on any property with wildlife material if they intend to import the property into another country. Please note that it is the client’s responsibility to determine and satisfy the requirements of any applicable laws or regulations applying to the export or import of property containing endangered and other protected wildlife material. The inability of a client to export or import property containing endangered and other protected wildlife material is not a basis for cancellation or rescission of the sale. Please note also that lots containing potentially regulated wildlife material are marked as a convenience to our clients, but Christie’s does not accept liability for errors or for failing to mark lots containing protected or regulated species.

RECENT CHANGES TO IMPORTS OF ELEPHANT IVORY AND OTHER WILDLIFE MATERIAL INTO THE USAThe USA has recently changed its policy on the import of property made of or containing elephant ivory. Only Asian Elephant ivory may be imported into the USA, and imports must be accompanied by DNA analysis and confirmation the object is more than 100 years old. We have not obtained a DNA analysis on any lot prior to sale and cannot indicate whether the elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any DNA analysis or other report required in connection with their proposed import of such property into the USA.

The USA is also currently requiring all imports of property made of or containing wildlife material to be accompanied by a scientific confirmation of spe-cies and in some cases an additional confirmation of age. We have not obtained such confirmations prior to sale (unless specifically indicated) and buyers will be responsible for the costs of any such additional confirmations or opinions required for their pro-posed import into the USA.

A buyer’s inability to export or import any lot containing elephant ivory or other wildlife material is not a basis for cancelling the purchase.

POST 1950 FURNITUREAll items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or now offered solely as works of art. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993, the “Regulations” ). Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

82

BUYING AT CHRISTIE’S

20/11/13

CONDITIONS OF SALEChristie’s Conditions of Sale and Limited Warranty are set out later in this catalogue. Bidders are strongly encouraged to read these as they set out the terms on which property is bought at auction.

ESTIMATES Estimates are based upon prices recently paid at auction for comparable property, condition, rarity, quality and provenance. Estimates are subject to revision. Buyers should not rely upon estimates as a representation or prediction of actual selling prices. Estimates do not include the buyer’s premium or VAT. Where “Estimate on Request” appears, please contact the Specialist Department for further information.

RESERVESThe reserve is the confidential minimum price the consignor will accept and will not exceed the low pre-sale estimate. Lots that are not subject to a reserve are identified by the symbol j next to the lot number.

BUYER’S PREMIUMChristie’s charges a premium to the buyer on the final bid price of each lot sold at the following rates: 25% of the final bid price of each lot up to and including /50,000, 20% of the excess of the hammer price above /50,000 and up to and including /1,000,000 and 12% of the excess of the hammer price above /1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot. VAT is payable on the premium at the applicable rate.

PRE-AUCTION VIEWINGPre-auction viewings are open to the public free of charge. Christie’s specialists are available to give advice and condition reports at viewings or by appointment.

BIDDER REGISTRATIONProspective buyers who have not previously bid or consigned with Christie’s should bring:j Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement.j Corporate clients: a certificate of incorporation.j For other business structures such as trusts, offshore companies or partnerships, please contact Christie’s Credit Department at + 44 (0)20 7839 2825 for advice on the information you should supply.j A financial reference in the form of a recent bank statement or a reference from your bank in line with your expected purchase level. Christie’s can supply a form of wording for the bank reference if necessary.j Persons registering to bid on behalf of someone who has not previously bid or consigned with Christie’s should bring identification documents not only for themselves but also for the party on whose behalf they are bidding, together with a signed letter of authorisation from that party. To allow sufficient time to process the information, new clients are encouraged to register at least 48 hours in advance of a sale.Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction. Clients who have not made a purchase from any Christie’s office within the last one year, and those wishing to spend more than on previous occasions, will be asked to supply a new bank reference. For assistance with references, please contact Christie’s Credit Department at +44 (0)20 7389 2862 (London, King Street) or at +44 (0)20 7752 3137 (London, South Kensington). We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid.

REGISTERING TO BID ON SOMEONE ELSE’S BEHALFPersons bidding on behalf of an existing client should bring a signed letter from the client authorising the bidder to act on the client’s behalf. Please note that Christie’s does not accept payments from third parties. Christie’s can only accept payment from the client, and not from the person bidding on their behalf.

BIDDINGThe auctioneer accepts bids from those present in the sale-room, from telephone bidders, or by absentee written bids left with Christie’s in advance of the auction. The auctioneer may also execute bids on behalf of the seller up to the amount of the reserve. The auctioneer will not specifically identify bids placed on behalf of the seller. Under no circumstances will the auctioneer place any bid on behalf of the seller at or above the reserve. Bid steps are shown on the Absentee Bid Form at the back of this catalogue.

ABSENTEE BIDSAbsentee bids are written instructions from prospective buyers directing Christie’s to bid on their behalf up to a maximum amount specified for each lot. Christie’s staff will attempt to execute an absentee bid at the lowest possible price, taking into account the reserve price. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. The auctioneer may execute absentee bids directly from the rostrum, clearly identifying these as “absentee bids”, “book bids”, “order bids” or “commission bids”. Absentee Bids Forms are available in this catalogue, at any Christie’s location, or online at christies.com.

TELEPHONE BIDSTelephone bids cannot be accepted for lots estimated below /2,000. Arrangements must be confirmed with the Bid Department at least 24 hours prior to the auction at +44 (0)20 7389 2658 (London, King Street) or +44 (0)20 7752 3225 (London, South Kensington). Arrangements to bid in languages other than English must be made well in advance of the sale date. Telephone bids may be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversation.

SUCCESSFUL BIDSWhile Invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges. Successful bidders will pay the price of the final bid plus premium plus any applicable VAT.

PAYMENTBuyers are expected to make payment for purchases immediately after the auction. To avoid delivery delays, prospective buyers are encouraged to supply bank or other suitable references before the auction. Please note that Christie’s will not accept payments for purchased Lots from any party other than the registered buyer. Lots purchased in London may be paid for in the following ways: wire transfer, credit card: Visa and MasterCard & American Express only (up to /25,000), and cash (up to /5,000 (subject to conditions)), bankers draft (subject to conditions) or cheque (must be drawn in GBP on a UK bank; clearance will take 5 to 10 business days). Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217 72 Lombard Street, London EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for international transfers, SWIFT LOYDGB2LCTY. For banks asking for an IBAN: GB81 LOYD 3000 0200 1727 10. Credit Card: Visa and MasterCard & American Express only A limit of /25,000 for credit card payments will apply. This limit is inclusive of the buyer’s premium and any applicable taxes. Credit card payments at London sale sites will only be accepted for London sales. Christie’s will not accept credit card payments for purchases made in any other sale site. The fax number to send completed CNP (Card Member not Present) authorisation forms to is +44 (0) 20 7389 2821. The number to call to make a CNP payment over the phone is +44 (0) 20 7752 3388. Alternatively, clients can mail the authorisation form to the address below. Cash is limited to /5,000 (subject to conditions). Bankers Draft should be made payable to Christie’s (subject to conditions). Cheques should be made payable to Christie’s (must be drawn in GBP on a UK bank, clearance will take 5 to 10 business days).In order to process your payment efficiently, please quote sale number, invoice number and client number with all transactions.All mailed payments should be sent to:Christie’s, Cashiers’ Department, 8 King Street, St James’s, London, SW1Y 6QTPlease direct all inquiries to King Street Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863 or South Kensington Tel: +44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143

VAT†VAT payable at 20% on hammer price and buyer’s premium* These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction.Ω

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 20%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. Where applicable Customs duty will be charged (per rate specified by HMRC guidance) on the Hammer price and VAT will be payable at 20% on duty. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction.α Buyers from within the EU:

VAT payable at 20% on just the buyer’s premium (NOT the hammer price). Buyers from outside the EU: VAT payable at 20% on hammer price and buyer’s premium. If a buyer, having registered under a non-EU address, decides that the item is not to be exported from the EU, then he should advise Christie’s to this effect immediately

q Zero rated No VAT charged.

(no symbol) Auctioneers’ Margin Scheme In all other circumstances no VAT will be charged on the

hammer price, but VAT payable at 20% will be added to the buyer’s premium which is invoiced on a VAT inclusive basis.

Wine Auctions‡ Stock offered duty-paid, but available in bond.

VAT at 20% on hammer price and buyer’s premium (wine only).

VAT RefundsRefunds cannot be made where lots have been purchased with an inside EU address. Christie’s can only refund Import VAT (Lots with * or Ωsymbol) if lots are exported within 30 days of collection. Valid export documents must be returned within the stipulated time frame. No refund will be paid out where the total amount is less than /100. UK & EU private buyers cannot reclaim VAT. Christie’s will charge /35 for each refund processed. For detailed information please see the leaflets available, or email [email protected] non-EU buyers have failed to export their lots outside of the EU within the required time, HM Revenue & Customs will not allow a VAT refund to be made. This is a requirement of UK legislation and Christie’s do not have discretion to make exceptions to the rule. UK and EU private buyers cannot reclaim any VAT charged.

ARTIST’S RESALE RIGHT (“DROIT DE SUITE”)If a lot is affected by this right it will be identified with the symbol λ next to the lot number. The buyer agrees to pay to Christie’s an amount equal to the resale royalty. Resale royalty applies where the Hammer Price is 1,000 Euro or more and the amount cannot be more than 12,500 Euro per lot. The amount is calculated as follows:

Royalty For the portion of the Hammer Price (in Euro) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 0.25% in excess of 500,000

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale.

SHIPPINGIt is the buyer’s responsibility to pick up purchases or make all shipping arrangements. After payment has been made in full, Christie’s can arrange property packing and shipping at the buyer’s request and expense. Buyers should request an estimate for any large items or property of high value that require professional packing. A shipping form is enclosed with each invoice, alternatively buyers can visit www.christies.com/shipping to request a shipping estimate. For more information please contact the Shipping Department at + 44 (0)20 7389 2712 or via [email protected] for both London, King Street and London, South Kensington sales.

EXPORT OF GOODS FROM THE EUIf you are proposing to take purchased items outside the EU the following applies:Christie’s Art Transport: If you use Christie’s Art Transport you will not be required to pay the VAT at the time of settlement.Own Shipper:VAT will be charged on the invoice, refundable by the VAT Department upon receipt of the appropriate official documents sent to us by your shipper.Hand-Carried:VAT will be charged on the invoice.This will be refunded by the VAT Department upon receipt of the appropriate official document.*, Ω or †Starred, Omega or Daggered lots – A C88 can be obtained from Christie’s Shipping Department .This document must be stamped by UK Customs on leaving the UK.(no symbol)Margin Scheme – Please obtain a GB Tax Free form from the Cashiers. This document must be stamped by UK Customs on leaving the UK.Starred or Omega lots must be exported within 30 days of the date of collection. All other lots not subject to import VAT must be exported within three months of collection, and proof of export provided in the appropriate form.

EXPORT/IMPORT PERMITSBuyers should always check whether an export licence is required before exporting. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the rescission of any sale nor any delay in making full payment for the lot.Christie’s can advise buyers on the detailed provisions of the export licensing regulations and will submit any necessary export licence applications on request. However, Christie’s cannot ensure that a licence will be obtained. Local laws may prohibit the import of some property and/or may prohibit the resale of some property in the country of importation. For more information, please contact Christie’s Shipping Department at +44 (0)20 7389 2828 or the the Museums, Libraries and Archives Council: Acquisitions, Export and Loans Unit at +44 (0)20 7273 8269/8267.

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STORAGE AND COLLECTION

28/10/14

CADOGAN TATE LTD’S WAREHOUSE

241 Acton Lane,

Park Royal,

London NW10 7NP

Telephone: +44 (0)800 988 6100

Email: [email protected]

POST-WAR & CONTEMPORARY ARTTo avoid waiting times on collection, we kindly advise you to contact our Post-War & Contemporary Art dept 24 hours in advance on +44 (0)20 7389 2958

BOOKSPlease note that all lots from book department sales will be stored at Christie’s King Street for collection and not transferred to Cadogan Tate.

TRANSFER, STORAGE & RELATED CHARGES

CHARGES PER LOT FURNITURE / LARGE OBJECTS PICTURES / SMALL OBJECTS

1-28 days after the auction Free of Charge Free of Charge

29th day onwards:

Transfer /70.00 /35.00

Storage per day /5.25 /2.65

Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the auction. Thereafter the charges set out above will be payable. These charges do not include: a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges b) VAT which will be applied at the current rate

EXTENDED LIABILITY CHARGEFrom the day of transfer of sold items to Cadogan Tate Ltd, all such lots are automatically insured by Cadogan Tate Ltd at the sum of the hammer price plus buyer’s premium. The Extended Liability Charge in this respect by Cadogan Tate Ltd is 0.6% of the sum of the hammer price plus buyer’s premium or 100% of the handling and storage charges, whichever is smaller.

Christie’s Fine Art Storage Services

(CFASS) also offers storage solutions for fine art, antiques and collectibles in New York and Singapore FreePort. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com for charges and other details.

STORAGE AND COLLECTIONAll furniture and carpet lots (sold and unsold)

not collected from Christie’s by 9.00 am

on the day following the auction will be

removed by Cadogan Tate Ltd to their warehouse at: 241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected] at King Street lots are available for collection on any working day, 9.00 am to 4.30 pm. Once transferred to Cadogan Tate lots will be available for collection from the first working day following the day of their removal from King Street, 9.00 am to 5.00 pm Monday to Friday.To avoid waiting times on collection at Cadogan Tate, we advise that you contact Cadogan Tate directly, 24 hours in advance, prior to collection on +44 (0)800 988 6100.

PAYMENTCadogan Tate Ltd’s storage charges may be paid in advance or at the time of collection. Lots may only be released from Cadogan Tate Ltd’s warehouse on production of the ‘Collection Order’ from Christie’s, 8 King Street, London SW1Y 6QT. The removal and/or storage by Cadogan Tate of any lots will be subject to their standard Conditions of Business, copies of which are available from Christie’s, 8 King Street, London SW1Y 6QT. Lots will not be released until all outstanding charges due to Christie’s and Cadogan Tate Ltd are settled.

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CONDITIONS OF SALE

These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms governing the legal relationship of Christie’s and the seller with the buyer. You should read them carefully before bidding.

1. CHRISTIE’S AS AGENTExcept as otherwise stated Christie’s acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

2. CATALOGUE DESCRIPTIONS AND CONDITION

Lots are sold as described and otherwise in the condition they are in at the time of the sale, on the following basis.(a) ConditionThe nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.(b) Cataloguing PracticeOur cataloguing practice is explained in the Important Notices and Explanation of Cataloguing Practice, which appear after the catalogue entries.(c) Attribution, etcAny statements made by Christie’s about any lot, whether orally or in writing, concerning attribution to, for example, an artist, school, or country of origin, or history or provenance, or any date or period, are expressions of our opinion or belief. Our opinions and beliefs have been formed honestly and in accordance with the standard of care reasonably to be expected of an auction house of Christie’s standing, due regard having been had to the estimated value of the item and the nature of the auction in which it is included. It must be clearly understood, however, that, due to the nature of the auction process, we are unable to carry out exhaustive research of the kind undertaken by professional historians and scholars, and also that, as research develops and scholarship and expertise evolve, opinions on these matters may change. We therefore recommend that, particularly in the case of any item of significant value, you seek advice on such matters from your own professional advisers.(d) EstimatesEstimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose.

(e) Fitness for PurposeLots sold are enormously varied in terms of age, category and condition, and may be purchased for a variety of purposes. Unless otherwise specifically agreed, no promise is made that a lot is fit for any particular purpose.

3. AT THE SALE(a) Refusal of admissionChristie’s has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid.(b) Registration before biddingProspective buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom on the day of the sale approximately 30 minutes before the start of the sale to register in person. Prospective buyers must complete and sign a registration form with his or her name and permanent address, and provide identification before bidding. We may require the production of bank details from which payment will be made or other financial references.(c) Bidding as principalWhen making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Christie’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Christie’s, and that Christie’s will only look to the principal for payment.(d) Absentee bidsWe will use reasonable efforts to carry out written bids delivered to us prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in the currency of the place of the sale. Please refer to the catalogue for the Absentee Bids Form. If we receive written bids on a particular lot for identical amounts, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and provided that we have exercised reasonable care in the handling of written bids, the volume of goods is such that we cannot accept liability in any individual instance for failing to execute a written bid or for errors and omissions in connection with it arising from circumstances beyond our reasonable control.(e) Telephone bidsIf a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone but we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding arising from circumstances beyond our reasonable control.(f) Currency converterAt some auctions a currency converter may be operated. Errors may occur in the operation of the currency converter. Where these arise from circumstances beyond our reasonable control we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom.

(g) Video or digital imagesAt some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image. We do not accept liability for such errors where they arise for reasons beyond our reasonable control.

(h) ReservesUnless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. If any lots are not subject to a reserve, they will be identified with the symbol j next to the lot number. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

(i) Auctioneer’s discretionThe auctioneer has the right to exercise reasonable discretion in refusing any bid, advancing the bidding in such a manner as he may decide, withdrawing or dividing any lot, combining any two or more lots and, in the case of error or dispute, and whether during or after the sale, determining the successful bidder, continuing the bidding, cancelling the sale or reoffering and reselling the item in dispute. If any dispute arises after the sale, then, in the absence of any evidence to the contrary the sale record maintained by the auctioneer will be conclusive.

(j) Successful bid and passing of riskSubject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes to the buyer at the expiration of seven calendar days from the date of the sale or on collection by the buyer if earlier.

4. AFTER THE SALE(a) Buyer’s premiumIn addition to the hammer price, the buyer agrees to pay to us the buyer’s premium together with any applicable value added tax. The buyer’s premium is 25% of the final bid price of each lot up to and including /50,000, 20% of the excess of the hammer price above /50,000 and up to and including /1,000,000 and 12% of the excess of the hammer price above /1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot, VAT is payable at the applicable rate.(b) Artist’s Resale Right (“Droit de Suite”)If the Artist’s Resale Right Regulations 2006 apply to the lot the buyer also agrees to pay to us an amount equal to the resale royalty provided for in those Regulations. Lots affected are identified with the symbol λ next to the lot number.(c) Payment and ownershipThe buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes or resale royalty) immediately after the sale. This applies even if the buyer wishes to export the lot and an export licence is, or may be, required. The buyer will not acquire title to the lot until all amounts due to us from the buyer have been received by us in good cleared funds even in circumstances where we have released the lot to the buyer.

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

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

(f) Export licenceUnless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make payment immediately after the sale nor our right to charge interest or storage charges on late payment. If the buyer requests us to apply for an export licence on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the buyer where payment is made by the buyer in circumstances where an export licence is required.

(g) Remedies for non paymentIf the buyer fails to make payment in full in good cleared funds within 7 days after the sale, we shall have the right to exercise a number of legal rights and remedies. These include, but are not limited to, the following: (i) to charge interest at an annual rate equal to 5%

above the base rate of Lloyds TSB Bank Plc;(ii) to hold the defaulting buyer liable for the

total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law;

(iii) to cancel the sale;(iv) to resell the property publicly or privately on

such terms as we shall think fit;(v) to pay the seller an amount up to the net

proceeds payable in respect of the amount bid by the defaulting buyer;

(vi) to set off against any amounts which we, or Christie’s International plc, or any of its affiliates, subsidiaries or parent companies worldwide, may owe the buyer in any other transactions, the outstanding amount remaining unpaid by the buyer;

(vii) where several amounts are owed by the buyer to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs;

(viii) to reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;

(ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The buyer will be deemed to have granted such security to us and we may retain such property as collateral security for such buyer’s obligations to us;

(x) to take such other action as we deem necessary or appropriate.

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

(h) Failure to collect purchasesWhere purchases are not collected within two calendar days from the date of the sale, whether or not payment has been made, we shall be permitted to remove the property to a third party warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage, handling, and any other costs reasonably incurred, together with payment of all other amounts due to us.

(i) Selling Property at Christie’sIn addition to expenses such as transport, all consignors pay a commission according to a fixed scale of charges based upon the value of the property sold by the consignor at Christie’s in a calendar year. Commissions are charged on a sale by sale basis.

5. LIMITED WARRANTYIn addition to Christie’s liability to buyers set out in clause 2 of these Conditions, but subject to the terms and conditions of this paragraph, Christie’s warrants for a period of five years from the date of the sale that any property described in headings printed in UPPER CASE TYPE (i.e. headings having all capital-letter type) in this catalogue (as such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship, is authentic and not a forgery. The term “author” or “authorship” refers to the creator of the property or to the period, culture, source or origin, as the case may be, with which the creation of such property is identified in the UPPER CASE description of the property in this catalogue. Only UPPER CASE TYPE headings of lots in this catalogue indicate what is being warranted by Christie’s. Christie’s warranty does not apply to supplemental material which appears below the UPPER CASE TYPE headings of each lot and Christie’s is not responsible for any errors or omissions in such material. The terms used in the headings are further explained in Important Notices and Explanation of Cataloguing Practice. The warranty does not apply to any heading which is stated to represent a qualified opinion. The warranty is subject to the following:

(i) It does not apply where (a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts at the date of the sale or fairly indicated that there was a conflict of opinions; or (b) correct identification of a lot can be demonstrated only by means of either a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.

(ii) The benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Christie’s when the lot was sold at auction.

(iii) The original buyer must have remained the owner of the lot without disposing of any interest in it to any third party.

(iv) The buyer’s sole and exclusive remedy against Christie’s and the seller, in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot. Neither Christie’s nor the seller will be liable for any special, incidental or consequential damages including, without limitation, loss of profits nor for interest.

(v) The buyer must give written notice of claim to us within five years from the date of the auction. It is Christie’s general policy, and Christie’s shall have the right, to require the buyer to obtain the written opinions of two recognised experts in the field, mutually acceptable to Christie’s and the buyer, before Christie’s decides whether or not to cancel the sale under the warranty.

(vi) The buyer must return the lot to the Christie’s saleroom at which it was purchased in the same condition as at the time of the sale.

6. COPYRIGHTThe copyright in all images, illustrations and written material produced by or for Christie’s relating to a lot including the contents of this catalogue, is and shall remain at all times the property of Christie’s and shall not be used by the buyer, nor by anyone else, without our prior written consent. Christie’s and the seller make no representation or warranty that the buyer of a property will acquire any copyright or other reproduction rights in it.

7. SEVERABILITYIf any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

8. LAW AND JURISDICTIONThe rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of England. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer shall be deemed to have submitted, for the benefit of Christie’s, to the exclusive jurisdiction of the courts of the United Kingdom.

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ARGENTINA

BUENOS AIRES

+54 11 43 93 42 22

Cristina Carlisle

AUSTRALIA

SYDNEY

+61 (0)2 9326 1422

Ronan Sulich

AUSTRIA

VIENNA

+43 (0)1 533 8812

Angela Baillou

BELGIUM

BRUSSELS

+32 (0)2 512 88 30

Roland de Lathuy

BERMUDA

BERMUDA

+1 401 849 9222

Betsy Ray

BRAZIL

RIO DE JANEIRO

+5521 2225 6553

Candida Sodre

SÃO PAULO

+5511 3061 2576

Nathalie Lenci

CANADA

TORONTO

+1 416 960 2063

Brett Sherlock

CHILE

SANTIAGO

+56 2 2 2631642

Denise Ratinoff

de Lira

COLOMBIA

BOGOTA

+571 635 54 00

Juanita Madrinan

DENMARK

COPENHAGEN

+45 3962 2377

Birgitta Hillingso

(Consultant)

+ 45 2612 0092

Rikke Juel Brandt

(Consultant)

FINLAND AND THE BALTIC STATES

HELSINKI

+358 (0)9 608 212

Barbro Schauman

(Consultant)

FRANCE

BRITTANY AND THE LOIRE VALLEY

+33 (0)6 09 44 90 78

Virginie Greggory

(Consultant)

GREATER EASTERN FRANCE

+33 (0)6 07 16 34 25

Jean-Louis Janin

Daviet (Consultant)

NORD-PAS DE CALAIS

+33 (0)6 09 63 21 02

Jean-Louis Brémilts

(Consultant)

•PARIS

+33 (0)1 40 76 85 85

POITOU-CHARENTE AQUITAINE

+33 (0)5 56 81 65 47

Marie-Cécile

Moueix

PROVENCE - ALPES CÔTE D’AZUR

+33 (0)6 71 99 97 67

Fabienne Albertini-

Cohen

RHÔNE ALPES

+33 (0)6 61 81 82 53

Dominique Pierron

(Consultant)

GERMANY

DÜSSELDORF

+49 (0)21 14 91 59 30

Arno Verkade

FRANKFURT

+49 (0)61 74 20 94 85

Anja Schaller

HAMBURG

+49 (0)40 27 94 073

Christiane Gräfin

zu Rantzau

MUNICH

+49 (0)89 24 20 96 80

Marie Christine

Gräfin Huyn

STUTTGART

+49 (0)71 12 26 96 99

Eva Susanne

Schweizer

INDIA

•MUMBAI

+91 (22) 2280 7905

Sonal Singh

DELHI

+91 (98) 1032 2399

Sanjay Sharma

INDONESIA

JAKARTA

+62 (0)21 7278 6268

Charmie Hamami

Priscilla Tiara

Masagung

ISRAEL

TEL AVIV

+972 (0)3 695 0695

Roni Gilat-Baharaff

ITALY

•MILAN

+39 02 303 2831

ROME

+39 06 686 3333

Marina Cicogna

Business Development

Director

JAPAN

TOKYO

+81 (0)3 6267 1766

Ryutaro Katayama

MALAYSIA

KUALA LUMPUR

+60 3 6207 9230

Lim Meng Hong

MEXICO

MEXICO CITY

+52 55 5281 5503

Gabriela Lobo

MONACO

+377 97 97 11 00

Nancy Dotta

THE NETHERLANDS

•AMSTERDAM

+31 (0)20 57 55 255

PEOPLES REPUBLIC OF CHINA

BEIJING

+86 (0)10 8572 7900

•HONG KONG

+852 2760 1766

•SHANGHAI

+86 (0)21 6355 1766

Jinqing Cai

PORTUGAL

LISBON

+351 919 317 233

Mafalda Pereira

Coutinho

(Independent

Consultant)

04/09/14

WORLDWIDE SALEROOMS AND OFFICES

ENQUIRIES?— Call the Saleroom or Office EMAIL— [email protected]

•DENOTES SALEROOM

87

08/08/14

RUSSIA

MOSCOW

+7 495 937 6364

+44 20 7389 2318

Katya Vinokurova

SINGAPORE

SINGAPORE

+65 6235 3828

Wen Li Tang

SOUTH AFRICA

CAPE TOWN

+27 (21) 761 2676

Juliet Lomberg

(Independent

Consultant)

DURBAN & JOHANNESBURG

+27 (31) 207 8247

Gillian Scott-Berning

(Independent

Consultant)

WESTERN CAPE

+27 (44) 533 5178

Annabelle

Conyngham

(Independent

Consultant)

SOUTH KOREA

SEOUL

+82 2 720 5266

Hye-Kyung Bae

SPAIN

BARCELONA

+34 (0)93 487 8259

Carmen Schjaer

MADRID

+34 (0)91 532 6626

Juan Varez

Dalia Padilla

SWEDEN

STOCKHOLM

+46 (0)70 5368 166

Marie Boettiger

Kleman (Consultant)

+46 (0)70 9369 201

Louise Dyhlén

(Consultant)

SWITZERLAND

•GENEVA

+41 (0)22 319 1766

Eveline de Proyart

•ZURICH

+41 (0)44 268 1010

Dr. Bertold Mueller

TAIWAN

TAIPEI

+886 2 2736 3356

Ada Ong

THAILAND

BANGKOK

+66 (0)2 652 1097

Yaovanee Nirandara

Punchalee Phenjati

TURKEY

ISTANBUL

+90 (532) 558 7514

Eda Kehale Argün

(Consultant)

UNITED ARAB EMIRATES

•DUBAI

+971 (0)4 425 5647

UNITED KINGDOM

•LONDON, KING STREET

+44 (0)20 7839 9060

•LONDON, SOUTH KENSINGTON

+44 (0)20 7930 6074

NORTH

+44 (0)20 7752 3004

Thomas Scott

SOUTH

+44 (0)1730 814 300

Mark Wrey

EAST

+44 (0)20 7752 3004

Thomas Scott

NORTHWEST AND WALES

+44 (0)20 7752 3004

Jane Blood

SCOTLAND

+44 (0)131 225 4756

Bernard Williams

Robert Lagneau

David Bowes-Lyon

(Consultant)

ISLE OF MAN

+44 (0)20 7389 2032

CHANNEL ISLANDS

+44 (0)1534 485 988

Melissa Bonn

IRELAND

+353 (0)59 86 24996

Christine Ryall

UNITED STATES

BOSTON

+1 617 536 6000

Elizabeth M. Chapin

CHICAGO

+1 312 787 2765

Lisa Cavanaugh

DALLAS

+1 214 599 0735

Capera Ryan

HOUSTON

+1 713 802 0191

Jessica Phifer

LOS ANGELES

+1 310 385 2600

MIAMI

+1 305 445 1487

Jessica Katz

NEWPORT

+1 401 849 9222

Betsy D. Ray

•NEW YORK

+1 212 636 2000

PALM BEACH

+1 561 833 6952

Maura Smith

PHILADELPHIA

+1 610 520 1590

Christie Lebano

SAN FRANCISCO

+1 415 982 0982

Ellanor Notides

For a complete salerooms & offices listing go to christies.com

88

CHRISTIE’S SPECIALIST DEPARTMENTS AND SERVICES

KEY TO ABBREVIATIONS

KS:

London, King Street

NY:

New York, Rockefeller Plaza

PAR:

Paris

SK:

London, South Kensington

DEPARTMENTS

AMERICAN FURNITURENY: +1 212 636 2230

AMERICAN INDIAN ARTNY: +1 212 606 0536

AMERICAN PICTURESNY: +1 212 636 2140

ANGLO-INDIAN ARTKS: +44 (0)20 7389 2570

ANTIQUITIESSK: +44 (0)20 7752 3219

ARMS AND ARMOURSK: +44 (0)20 7752 3119

ASIAN 20TH CENTURY AND CONTEMPORARY ARTNY: +1 212 468 7133

AUSTRALIAN PICTURESKS: +44 (0)20 7389 2040

BOOKS AND MANUSCRIPTSKS: +44 (0)20 7389 2674SK: +44 (0)20 7752 3203

BRITISH & IRISH ARTKS: +44 (0)20 7389 2682NY: +1 212 636 2084SK: +44 (0)20 7752 3257

BRITISH ART ON PAPERKS: +44 (0)20 7389 2278SK: +44 (0)20 7752 3293NY: +1 212 636 2085

BRITISH PICTURES 1500-1850KS: +44 (0)20 7389 2945

CARPETSKS: +44 (0)20 7389 2370SK: +44 (0)20 7389 2776

CHINESE WORKS OF ARTKS: +44 (0)20 7389 2577SK: +44 (0)20 7752 3239

CLOCKSKS: +44 (0)20 7389 2357

CONTEMPORARY ARTKS: +44 (0)20 7389 2446SK: +44 (0)20 7389 2502

COSTUME, TEXTILES AND FANSSK: +44 (0)20 7752 3215

EUROPEAN CERAMICS AND GLASSSK: +44 (0)20 7752 3026

FURNITUREKS: +44 (0)20 7389 2482SK: +44 (0)20 7389 2791

IMPRESSIONIST PICTURESKS: +44 (0)20 7389 2638SK: +44 (0)20 7752 3218

INDIAN CONTEMPORARY ARTKS: +44 (0)20 7389 2700NY: +1 212 636 2189

INTERIORSSK: +44 (0)20 7389 2236NY: +1 212 636 2032

ISLAMIC WORKS OF ARTKS: +44 (0)20 7389 2700SK: +44 (0)20 7752 3239

JAPANESE WORKS OF ARTKS: +44 (0)20 7389 2591SK: +44 (0)20 7752 3239

JEWELLERYKS: +44 (0)20 7389 2383SK: +44 (0)20 7752 3265

LATIN AMERICAN ARTNY: +1 212 636 2150

MARITIME PICTURESSK: +44 (0)20 7752 3284NY: +1 212 707 5949

MINIATURES KS: +44 (0)20 7389 2650

MODERN DESIGNSK: +44 (0)20 7389 2142

MUSICAL INSTRUMENTSSK: +44 (0)20 7752 3365

NINETEENTH CENTURY FURNITURE AND SCULPTUREKS: +44 (0)20 7389 2699

NINETEENTH CENTURY EUROPEAN PICTURESKS: +44 (0)20 7389 2443SK: +44 (0)20 7752 3309

OBJECTS OF VERTUKS: +44 (0)20 7389 2347SK: +44 (0)20 7752 3001

OLD MASTER DRAWINGSKS: +44 (0)20 7389 2251

OLD MASTER PICTURESKS: +44 (0)20 7389 2531SK: +44 (0)20 7752 3250

ORIENTAL CERAMICS AND WORKS OF ARTSK: +44 (0)20 7752 3235

PHOTOGRAPHSKS: +44 (0)20 7389 2292

POPULAR CULTURE AND ENTERTAINMENTSK: +44 (0)20 7752 3275

POST-WAR ARTKS: +44 (0)20 7389 2446SK: +44 (0)20 7389 2502

POSTERSSK: +44 (0)20 7752 3208

PRINTSKS: +44 (0)20 7389 2328SK: +44 (0)20 7752 3109

PRIVATE COLLECTIONS AND COUNTRY HOUSE SALESKS: +44 (0)20 7389 2343

RUSSIAN WORKS OF ARTKS: +44 (0)20 7389 2057

TRAVEL, SCIENCE AND NATURAL HISTORYSK: +44 (0)20 7752 3291

SCULPTURE KS: +44 (0)20 7389 2331SK: +44 (0)20 7389 2794

SILVERKS: +44 (0)20 7389 2666SK: +44 (0)20 7752 3262

SWISS ARTZUR: +41 (0) 44 268 1012

TOPOGRAPHICAL PICTURESKS: +44 (0)20 7389 2040SK: +44 (0)20 7752 3291

TRIBAL AND PRE-COLUMBIAN ARTPAR: +33 (0)140 768 386

TWENTIETH CENTURY BRITISH ARTKS: +44 (0)20 7389 2684SK: +44 (0)20 7752 3311

TWENTIETH CENTURY DECORATIVE ART & DESIGNKS: +44 (0)20 7389 2140SK: +44 (0)20 7752 3236

TWENTIETH CENTURY PICTURESSK: +44 (0)20 7752 3218

VICTORIAN PICTURESKS: +44 (0)20 7389 2468SK: +44 (0)20 7752 3257

WATERCOLOURS AND DRAWINGSKS: +44 (0)20 7389 2257SK: +44 (0)20 7752 3293

WINEKS: +44 (0)20 7752 3366

AUCTION SERVICES

CORPORATE COLLECTIONSTel: +44 (0)20 7389 2548 Email: [email protected]

FINANCIAL SERVICESTel: +44 (0)20 7389 2624Fax: +44 (0)20 7389 2204

HERITAGE AND TAXATIONTel: +44 (0)20 7389 2101Fax: +44 (0)20 7389 2300 EmIL:[email protected]

PRIVATE COLLECTIONS AND COUNTRY HOUSE SALESTel: +44 (0)20 7389 2343Fax: +44 (0)20 7389 2225 Email: [email protected]

MUSEUM SERVICES, UKTel: +44 (0)20 7389 2570 Email: [email protected]

PRIVATE SALESUS: +1 212 636 2034Fax: +1 212 636 2035

VALUATIONSTel: +44 (0)20 7389 2464Fax: +44 (0)20 7389 2038Email: [email protected]

OTHER SERVICES

CHRISTIE’S EDUCATIONLondonTel: +44 (0)20 7665 4350Fax: +44 (0)20 7665 4351Email: [email protected]

New YorkTel: +1 212 355 1501Fax: +1 212 355 7370Email: [email protected]

Hong Kong Tel: +852 2978 6747 Fax: +852 2525 3856 Email: [email protected]

CHRISTIE’S FINE ART STORAGE SERVICESLondon +44 (0)20 7622 0609 [email protected]

New York +1 212 974 4570 [email protected]

Singapore Tel: +65 6543 5252 Email: [email protected]

CHRISTIE’S INTERNATIONAL REAL ESTATENew YorkTel +1 212 468 7182Fax +1 212 468 [email protected]

LondonTel +44 20 7389 2551Fax +44 20 7389 [email protected]

Hong KongTel +852 2978 6788Fax +852 2845 [email protected]

27/05/14

christies.comContactFreddie De Rougemont

[email protected]

+44 (0)20 7389 2415

Viewing28 November – 2 December 2014

8 King Street

London SW1Y 6QT

Old Master & British Pictures Day Sale

London, King Street • 3 December 2014

CORNELIS DECKER (? 1610/20–1678 Haarlem) A wooded landscape with a man approaching a village, carrying two pails on a yoke

oil on panel · 21¡ x 27¡ in. (54.3 x 69.5 cm.)

£50,000–70,000

christies.comContactBenjamin Peronnet

[email protected]

+44 (0)20 7389 2272

Viewing29 November–1 December

85 Old Brompton Road

London SW7 3LD

Old Master and British Drawings and Watercolours

London, South Kensington • 2 December 2014

JEAN-BAPTISTE OUDRY (Paris 1686–1755 Beauvais) Illustration of one of the Fables of Jean de La Fontaine, The Crow, the gazelle, the tortoise and the rat

signed and dated ‘JB. Oudry / 1733’ · pen and grey ink, grey and black wash, heightened with white, on blue paper, with fctive mount

12º x 10¿ in. (31.1 x 25.8 cm.)

£6,000–8,000

christies.comContactAlexandra Gill

[email protected]

+44 (0)20 7752 3109

Viewing29 November – 3 December

85 Old Brompton Road

London SW7 3LD

Prints and Multiples

London, South Kensington • 4 December 2014

CHRISTOPHER RICHARD WYNNE NEVINSON (1889–1946) The Road from Arras to Bapaume

lithograph, 1918, on watermarked Antique de luxe laid paper, signed and dated in pencil

Lithograph: 480 x 388 mm., Sheet: 580 x 445 mm.

Estimate: £35,000–50,000

93

Absentee bids must be received at least 24 hours before the auction begins.

Christie’s will confirm all bids received by fax by return fax. If you have not received

confirmation within one business day, please contact the Bid Department.

Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870 on-line www.christies.com

Client Number (if applicable) Sale Number

Billing Name (please print)

Address

Post Code

Daytime Telephone Evening Telephone

Fax (Important) Email

Please tick if you prefer not to receive information about our upcoming sales by e-mail

Signature

If you have not previously bid or consigned with Christie’s, please attach copies of the following documents. Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore companies or partnerships: please contact the Credit Department at + 44 (0)20 7839 2825 for advice on the information you should supply. If you are registering to bid on behalf of someone who has not previously bid or consigned with Christie’s, please attach identification documents for yourself as well as the party on whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients, clients who have not made a purchase from any Christie’s office within the last one year, and those wishing to spend more than on previous occasions will be asked to supply a bank reference. We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid. We also request that you complete the section below with your bank details:

Name of Bank(s)

Address of Banks(s)

Account Number(s)

Name of Account Officer(s)

Bank Telephone Number

Please also refer to the information contained in Buying at Christie’s. I request Christie’s to bid on the following lots up to the maximum price I have indicated for each lot. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus a buyer’s premium of 25% of the final bid price of each lot up to and including /50,000, 20% of the excess of the hammer price above /50,000 and up to and including /1,000,000 and 12% of the excess of the hammer price above /1,000,000, together with any VAT chargeable on the final bid and the buyer’s premium. VAT is chargeable on the purchase price of daggered (†) lots, and for buyers outside the EU on (α)lots, at the standard rate. VAT is chargeable on the purchase price of starred (*) lots at the reduced rate.I understand that Christie’s provides the service of executing absentee bids for the convenience of clients and that Christie’s is not responsible for failing to execute bids or for errors relating to execution of bids. On my behalf, Christie’s will try to purchase these lots for the lowest possible price, taking into account the reserve and other bids. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate.If identical absentee bids are received for the same lot, the written bid received first by Christie’s will take precedence.Please contact the Bid Department at least 24 hours in advance of the sale to make arrangements for telephone bidding.All bids are subject to the terms of the Conditions of Sale and Limited Warranty printed in each Christie’s catalogue.

BIDDING INCREMENTSBidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding interval.

UK£50 to UK£1,000 by UK£50s

UK£1,000 to UK£2,000 by UK£100s

UK£2,000 to UK£3,000 by UK£200s

UK£3,000 to UK£5,000 by UK£200, 500, 800

(ie: UK£4,200, 4,500, 4,800)

UK£5,000 to UK£10,000 by UK£500s

UK£10,000 to UK£20,000 by UK£1,000s

UK£20,000 to UK£30,000 by UK£2,000s

UK£30,000 to UK£50,000 by UK£2,000, 5,000, 8,000

(ie: UK£32,000, 35,000,

38,000)

UK£50,000 to UK£100,000 by UK£5,000s

UK£100,000 to UK£200,000 by UK£10,000s

above UK£200,000 at auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

Auction Results: +44 (0)20 7839 9060

ABSENTEE BIDS FORM Christie’s London

PLEASE PRINT CLEARLY

If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS

Please quote number below:

Lot number Maximum Bid UK£ Lot number Maximum Bid UK£ (in numerical order) (excluding buyer’s premium) (in numerical order) (excluding buyer’s premium)

Old Master Prints

WEDNESDAY 3 DECEMBER 2014 AT 2.00 PM

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

CODE NAME: ROMA

SALE NUMBER: 1540

(Dealers billing name and address must agree with tax exemption certificate. Invoices cannot be changed after they have been printed.)

BID ONLINE FOR THIS SALE AT CHRISTIES.COM

1540

09/08/13

expert knowledge beautifully presented

www.christies.com/shop

Code Subscription Title Location Issues UK£Price US$Price EURPrice

Photographs, Posters & PrintsL11 Old Master, 19th Century, King Street 3 57 91 86

Modern & Contemporary PrintsN61 Photographs New York 5 119 190 181N11 Prints New York 3 71 114 108P61 Photographs Paris 2 38 61 57K13 Old Master, 19th Century, South Kensington 4 68 114 103

Modern & Contemporary PrintsK72 Vintage Posters South Kensington 3 43 71 66

PHOTOGRAPHS, POSTERS & PRINTSVintage works from the 19th and early 20th centuries, modern and contemporary photographs and photographically illustrated books. Original works from the great masters of all periods of western printmaking from Dürer through Rembrandt and Goya to Toulouse-Lautrec, Picasso and Contemporary artists.

Photographs, Posters and Prints · Impressionist and Modern Art Jewellery, Watches and Wine · Antiquities and Tribal Art Asian and Islamic Art · Russian Art Furniture, Decorative Arts and Collectables · American Art and Furniture Books, Travel and Science · Design, Costume and Memorabilia Post-War and Contemporary Art Old Master Paintings and 19th Century Paintings

95

CHRISTIE’S

CHRIST IE ’S INTERNATIONAL PLCPatricia Barbizet, ChairmanSteven P. Murphy, Chief Executive OfficerStephen Brooks, Chief Operating OfficerLoïc Brivezac, Gilles Erulin, Gilles Pagniez, François-Henri Pinault

Sophie Carter, Company Secretary

CHRIST IE ’S EXECUTIVESteven P. Murphy, Stephen Brooks, Kerry Chandler, François Curiel, Marc Porter, Jussi Pylkkänen, Doug Woodham

Charles Cator, Deputy Chairman, Christie’s International

CHRIST IE ’S EUROPE CHAIRMAN’S OFF ICEJussi Pylkkänen, PresidentOrlando Rock, Deputy Chairman

SENIOR DIRECTORSMariolina Bassetti, Giovanna Bertazzoni, Olivier Camu, Philippe Garner, Richard Knight, Francis Outred, Andreas Rumbler, François de Ricqles

DIRECTORSProf. Dr. Dirk Boll, Roland de Lathuy, Eveline de Proyart, Roni Gilat-Baharaff, Paul Hewitt, Clarice Pecori Giraldi, Christiane Rantzau, Jop Ubbens, Juan Varez

CHRIST IE ’S EUROPEAN ADVISORY BOARDPedro Girao, Chairman, Christopher Balfour, Patricia Barbizet, Arpad Busson, Loula Chandris, Kemal Has Cingillioglu, Ginevra Elkann, I. D. Fürstin zu Fürstenberg, H.R.H. Prince Pavlos of Greece, Alicia Koplowitz, Viscount Linley, Robert Manoukian, Rosita, Duchess of Marlborough, Dimitri Mavrommatis, Countess Daniela Memmo d’Amelio, Usha Mittal, Leopoldo Rodés, Çigdem Simavi

16/10/14

CHRIST IE ’S UK

CHAIRMAN’S OFF ICEViscount Linley, Chairman Noël Annesley, Honorary Chairman; Richard Roundell, Vice Chairman; Robert Copley, Deputy Chairman; The Earl of Halifax, Deputy Chairman; Francis Russell, Deputy Chairman; Julia Delves Broughton, James Hervey-Bathurst, Amin Jaffer, Orlando Rock, Nicholas White, Mark Wrey

SENIOR DIRECTORSDina Amin, Daniel Baade, Philip Belcher, Jeremy Bentley, Ellen Berkeley, Jill Berry, Giovanna Bertazzoni, Prof. Dr. Dirk Boll, Peter Brown, James Bruce-Gardyne, Olivier Camu, Sophie Carter, Benjamin Clark, Christopher Clayton-Jones, Karen Cole, Isabelle de La Bruyere, Leila de Vos, Nicole Dembinska, Paul Dickinson, Harriet Drummond, Julie Edelson, Hugh Edmeades, David Elswood, David Findlay, Margaret Ford, Daniel Gallen, Philippe Garner, Jane Griffiths, Karen Harkness, Philip Harley, James Hastie, Paul Hewitt, Rachel Hidderley, Mark Hinton, Nick Hough, Michael Jeha, Hugues Joffre, Donald Johnston, Erem Kassim-Lakha, William Lorimer, Catherine Manson, John McDonald, Nic McElhatton (Chairman, South Kensington), Alexandra McMorrow, Jeremy Morrison, Nicholas Orchard, Francis Outred, Clarice Pecori-Giraldi, Benjamin Peronnet, Henry Pettifer, Steve Phipps, Will Porter, Paul Raison, Tara Rastrick, William Robinson, John Stainton, Alexis de Tiesenhausen, Lynne Turner, Jay Vincze, Andrew Ward, David Warren, Andrew Waters, Harry Williams-Bulkeley, Martin Wilson, André Zlattinger

DIRECTORSRichard Addington, Zoe Ainscough, Georgiana Aitken, Marco Almeida, Maddie Amos, Simon Andrews, Helen Baker, Karl Barry, Rachel Beattie, Sven Becker, Jane Blood, Piers Boothman, David Bowes-Lyon, Anthony Brown, Lucy Brown, Robert Brown, Grace Campbell, Lucy Campbell, Jason Carey, Romilly Collins, Ruth Cornett, Sigrun Danielsson, Armelle de Laubier-Rhally, Adrian Denton, Sophie DuCret, Anna Evans, Arne Everwijn, Adele Falconer, Nick Finch, Peter Flory, Elizabeth Floyd, Christopher Forrest, Giles Forster, Patricia Frost, Sarah Ghinn, Zita Gibson, Alexandra Gill, Sebastian Goetz, John Green, Simon Green, David Gregory, Mathilde Heaton, Annabel Hesketh, Sydney Hornsby, Peter Horwood, Simon James, Robert Jenrick, Sabine Kegel, Hans-Peter Keller, Jeffrey Kerr, Tjabel Klok, Quincy Kresler, Robert Lagneau, Nicholas Lambourn, Joanna Langston, Tina Law, Darren Leak, Adriana Leese, Brandon Lindberg, Laura Lindsay, David Llewellyn, Murray Macaulay,

Sarah Mansfield, Nicolas Martineau, Roger Massey, Joy McCall, Neil McCutcheon, Daniel McPherson, Neil Millen, Edward Monagle, Jeremy Morgan, Leonie Moschner, Giles Mountain, Chris Munro, Rupert Neelands, Mark Newstead, Liberte Nuti, Beatriz Ordovás, Rosalind Patient, Keith Penton, Romain Pingannaud, Sara Plumbly, Caroline Porter, Michael Prevezer, Anne Qaimmaqami, Marcus Rädecke, Pedram Rasti, Amjad Rauf, Sandra Romito, Tom Rooth, Alice de Roquemaurel, Francois Rothlisberger, Tim Schmelcher, Rosemary Scott, Tom Scott, Nigel Shorthouse, Dominic Simpson, Nick Sims, Katie Siveyer, Nicola Steel, Robin Stephenson, Kay Sutton, Rakhi Talwar, Nicolette Tomkinson, Jane Turner, Thomas Venning, Sophie Wiles, Mark Wilkinson, Bernard Williams, Georgina Wilsenach, Toby Woolley, Geoff Young

ASSOCIATE DIRECTORSGuy Agazarian, Cristian Albu, Jennie Amos, Ksenia Apukhtina, Katharine Arnold, Alexis Ashot, Alexandra Baker, Fiona Baker, Virginie Barocas-Hagelauer, Carin Baur, Sarah Boswell, Mark Bowis, Clare Bramwell, John Caudle, Dana Chahine, Marie-Louise Chaldecott, Sophie Churcher, Marion Clermont, Helen Culver Smith, Laetitia Delaloye, Charlotte Delaney, Cristiano De Lorenzo, Freddie De Rougemont, Grant Deudney, Claudia Dilley, Eva-Maria Dimitriadis, Howard Dixon, Virginie Dulucq, Joe Dunning, Antonia Essex, Kate Flitcroft, Nina Foote, Eva French, Pat Galligan, Keith Gill, Andrew Grainger, Leonie Grainger, Julia Grant, Pippa Green, Angus Granlund, Ciaran Grealish, Christine Haines, Coral Hall, Charlotte Hart, Evelyn Heathcoat Amory, Anke Held, Valerie Hess, Carolyn Holmes, Amy Huitson, Adrian Hume-Sayer, James Hyslop, Helena Ingham, Pippa Jacomb, Mark Jordan, Guady Kelly, Clementine Kerr, Hala Khayat, Alexandra Kindermann, Mark Henry Lampé, Tom Legh, Timothy Lloyd, Scott Macdonald, Graeme Maddison, Stephanie Manstein, Astrid Mascher, Michelle McMullan, Kateryna Merkalenko, Susanne Meyer-Abich, Toby Monk, Sarah O’Brien, William Paton, Samuel Pedder-Smith, Suzanne Pennings, Louise Phelps, Sarah Rancans, Lisa Redpath, David Rees, Alexandra Reid, Simon Reynolds, Sumiko Roberts, Sangeeta Sachidanantham, Pat Savage, Catherine Scantlebury, Julie Schutz, Hannah Schweiger, Mark Silver, James Smith, Graham Smithson, David Stead, Mark Stephen, Annelies Stevens, Charlotte Stewart, Dean Stimpson, Gemma Sudlow, Dominique Suiveng, Cornelia Svedman, Nicola Swain, Iain Tarling, Sarah Tennant, Timothy Triptree, Flora Turnbull, Lisa Varsani, Julie Vial, Anastasia von Seibold, Amelia Walker, Tony Walshe, Chris White, Rosanna Widen, Ben Wiggins, Annette Wilson, Julian Wilson, Elissa Wood, Neal Young

© Christie, Manson & Woods Ltd. (2014)

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