Prints and Multiples

PR

INT

S &

MU

LT

IPL

ES

18 MARCH 2015 LONDON

2

10-19 MARCH

PAULA REGO: THIRTY YEARS OF PRINT

ONLINE ONLY

LONDON, KING STREET

18 MARCH

20/21 PRINTS & MULTIPLES

LONDON, KING STREET

17 APRIL - 1 MAY

PICASSO CERAMICS ONLINE ONLY

NEW YORK

22 APRIL


LONDON, SOUTH KENSINGTON

23-24 APRIL


NEW YORK

25 JUNE

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8 JULY

OLD MASTER PRINTS

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14-15 JULY

20/21 PRINTS & MULTIPLES: FIRST

IMPRESSION

NEW YORK

16 SEPTEMBER


LONDON, KING STREET

17 SEPTEMBER



21-22 OCTOBER


NEW YORK

10 DECEMBER



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3

PRINTS AND MULTIPLESWednesday 18 March 2015

A U C T I O N

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A U C T I O N C O D E A N D N U M B E R

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C O N D I T I O N S O F S A L E

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P R O P E R T I E S F R O MThe Peter Bendixen Collection

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COPYRIGHT NOTICENo part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Christies. COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2015)

5

2 Specialists and Services for this Auction

2 Christies International Print Department

2 Calendar of Auctions

3 Auction Information

6 Property for Sale

103 Index

108 ConditionsofSaleBuyingatChristies

111 Vat Symbols and Explanation

112 Important Notices and Explanation of Cataloguing Practice

113 Storage and Collection

114 Salerooms and Offices Worldwide

116 Christies Specialist Departments and Services

121 Absentee Bids Form

122 Catalogue Subscriptions

f r o n t c o v e r :

Lot 66 Successi Mir / ADAGP, Paris and DACS London 2015.

b a c k c o v e r :

Lot 117 Estate of Roy Lichtenstein/DACS 2015.

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

Lot 102

o p p o s i t e : Lot 115

o p p o s i t e p a g e 1 2 1 : Lot 123

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

Lot 35

christies.com

CONTENTS

6

2

ALBRECHT DRER

Saint Eustace

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, framedS. 349 x 259 mm.

15,000-25,000 $23,000-38,000 21,000-34,000

P R O V E N A N C E :

Unidentified collectors mark (not in Lugt).

L I T E R A T U R E :

Bartsch 57; Meder, Hollstein 60; Schoch, Mende & Scherbaum 32

1

ALBRECHT DRER (1471-1528)

The Prodigal Son

engraving, 1496, on laid paper, watermark Bishops Crest (M. 39, circa 1540-50), a good, strong Meder f impression, still printing with good contrast, a paper loss in the roof at upper left, skilfully made up with pen and ink, another smaller made up paper loss at the left sheet edge above the piglet, the upper and lower left and lower right sheet corners made up, a horizontal central fold, partially broken through and skilfully repaired, mostly visible versoP., S. 246 x 190 mm.

5,000-7,000 $7,700-11,000 6,800-9,400


Bartsch, Meder, Hollstein 28; Schoch, Mende & Scherbaum 9

OLD MASTER & 19TH CENTURY PRINTS

7

*3

ALBRECHT DRER

Nemesis

engraving, circa 1501, on laid paper, watermark High Crown (M. 20), a fine Meder IIa impression, with burr in the wings and subtle platetone in the clouds at left, the landscape printing very clearly and with good contrasts, with small margins, a short tear in the left margin, generally in very good conditionP. 329 x 229 mm., S. 336 x 238 mm.

70,000-100,000 $110,000-150,000 95,000-130,000


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


Bartsch 77; Meder, Hollstein 72; Schoch, Mende & Scherbaum 33

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 Panofskys 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 Drer, who did not read Latin himself, knew this particular literary source.

The engraving of Nemesis has been described as a humanist, secular version of the Apocalypse. Indeed, in true Renaissance spirit, Drer found similar images for two seemingly opposing concepts, for Christian revelation and Greek mythology. In both instances, in the Apocalypse as well as in the present engraving, the image is divided into two spheres: an earthly realm, and a celestial one, where angels and demons fight and goddesses rule.

That to Drer the goddess of fate was not just a literary figure can be seen from his own writings. In the journal he kept in the Netherlands in 1520-21, Drer referred to unforeseeable events as the workings of Fortuna. It is a remarkably secular, modern notion to think of the course of events being determined not by God, but by such an unaccountable agent.

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 Drers printed oeuvre.

8

4

GIOVANNI BATTISTA DE CAVALIERI (1525-1601)

The Massacre of the Innocents

engraving, 1561, printed on two joined sheets, without watermark, a fine impression of this large print, the extremely rare first state (of three), with wide margins at left and right and small margins above and below, a few flattened folds mostly visible verso, some pale staining, generally in good conditionP. 470 x 590 mm., S. 490 x 670 mm.

7,000-10,000 $11,000-15,000 9,500-13,000


Le Blanc 7

This depiction of the Massacre of the Innocents has traditionally also been associated with Baccio Bandinelli. In 1999, after the emergence of an impression of the present, very rare first state in the Bibliothque National, Suzanne Boorsch interpreted the inscription Jo Baptista de Cavalle / ris Lagerinus incideb. / in AEdibus Salvianis. / .M.D.LXI. / ROMAE. as referring to the Florentine painter Francesco Salviati (Print Quarterly, 1999, vol. XVI, no. 3, p. 266f.). In the discussion following the discovery of this previously undescribed state however Michael Bury argued that the inscription related to the printer and publisher Ippolito Salviani, in whose workshop the engraving was presumably printed; a view then also shared by Boorsch (Print Quarterly, 2000, vol. XVII, no. 2, p.190). The question of the attribution of the composition hence remains uncertain.

5

PETER PAUL RUBENS (1577-1640)

Saint Catherine

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

5,000-7,000 $7,700-11,000 6,800-9,400


Dr. Ture Lundh, 20th century, Bergen, Norway (not in Lugt).


Hollstein 1

9

6

REMBRANDT HARMENSZ. VAN RIJN (1606-1669)

Self-Portrait in a Cap and Scarf with Face dark: Bust

etching, 1633, on laid paper, a fine impression of New Hollsteins second state (of five), laid down onto a support sheet, with thread margins, partially remargined, a short tear with an associated tiny paper loss at upper right, a short tear at the lower left sheet corner, a few other small, very skilfully repaired defects, the subject in very good conditionP., S. 142 x 111 mm.

4,000-6,000 $6,100-9,100 5,400-8,100


Bartsch, Hollstein 17; Hind 108, New Hollstein 120

*7

REMBRANDT HARMENSZ. VAN RIJN

The Flight into Egypt: A Night Piece

etching with drypoint and engraving, 1651, apparently without watermark, a very good impression of New Hollsteins sixth state (of ten), before the extensive rework by another hand, printing clearly and with good contrasts, with small margins, in very good condition, framedP. 126 x 110 mm., S. 131 x 114 mm.

5,000-7,000 $7,700-11,000 6,800-9,400


K. E. von Liphart (1808-1891), Dorpat, Bonn and Florence (L. 1687); his sale, C. G. Boerner, Leipzig, 5 December 1876 (and following days), lot 1353 (30 M to Wigand).M. Wigand (1846-1891), Leipzig (L. 2623); acquired at the above sale; sold C. G. Boerner, Leipzig, 12 November 1891, lot 397 (32 M). With Colnaghis, London (their stocknumber C. 22565 in pencil verso).


Bartsch, Hollstein 53; Hind 253; New Hollstein 262

8


Christ at Emmaus: The smaller Plate

etching with drypoint, 1634, without watermark, a good impression of this scarce print, New Hollsteins only state, beginning to show some wear in places, trimmed to or on the platemark, generally in very good conditionP., S. 104 x 75 mm.

3,000-5,000 $4,600-7,600 4,100-6,700



10

11


Reclining female Nude (La Negresse couch)

etching and drypoint, 1658, countermark DG (Hinterding a), a good impression of New Hollsteins fourth state (of six), with margins, in very good conditionP. 81 x 160 mm., S. 87 x 166 mm.

4,000-6,000 $6,100-9,100 5,400-8,100



*10


The Return of the Prodigal Son

etching, 1636, with an indistinct watermark, a good impression of New Hollsteins first state (of three), with Christs left eye just beginning to wear, the landscape still quite distinct, with small margins, in very good condition, framedP. 155 x 136 mm., S. 158 x 140 mm.

7,000-10,000 $11,000-15,000 9,500-13,000


With Colnaghis, London (with their stocknumber C.17820 in pencil verso).



*9


Peter and John healing the Cripple at the Gate of the Temple

etching with drypoint and engraving, 1659, on laid paper, without watermark, a good impression of New Hollsteins fifth state (of six), still printing with depth and very clearly in the background, with small margins, in very good condition, framedP. 177 x 211 mm., S. 183 x 216 mm.

4,000-6,000 $6,100-9,100 5,400-8,100


The Art Institute of Chicago, their stamp on the reverse (L. 32b)An unidentified collectors mark verso.



11

*12


Cottage with a white Paling

etching with drypoint, 1648, watermark Foolscap with five-pointed Collar (Hinterding K-b-a; not in Laurentius), a good impression of the third, final state, still printing with touches of burr on the ducks head and in the foreground, printing with a light plate tone, with small margins, a short, thinly backed tear at upper sheet edge, otherwise in very good condition, framedP. 130 x 160 mm., S. 136 x 166 mm.

20,000-30,000 $31,000-46,000 27,000-40,000


With Colnaghis, London (their stocknumber C-25594 in pencil verso).



(actual size)

12

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

*13


Jan Lutma, Goldsmith

etching with drypoint and engraving, 1656, watermark Foolscap with five-pointed Collar (Hinterding N.a.b,; not in Laurentius), a fine, early impression of Hollsteins second state (of three), with considerable burr throughout, with rich inky plate edges and a thin vale of tone in the darker areas, on warm-toned paper, with narrow margins, some pale scattered foxing, two tiny paper losses at the left sheet edge, otherwise in very good conditionP. 197 x 149 mm., S. 201 x 151 mm.

50,000-70,000 $77,000-110,000 68,000-94,000



The etched portraits of the late 1650s are arguably Rembrandts greatest and most elaborate. During this period he depicted a number of fellow artists, collectors, publishers and craftsmen men whom he respected and was friendly with. While his family portraits are mostly quick, spontaneous sketches, these more formal portraits are complex investigations into the character of his sitters. The present portrait of the goldsmith Jan Lutma is perhaps one of the most captivating portraits of all.

Jan Lutma (c.1584-1669) was one of the leading goldsmiths and jewellers in Amsterdam at the time, and a great collector of prints his son Jan Lutma the Younger was an etcher. There is a gentle pride in the way the aging craftsman presents himself, seated in a large armchair, surrounded by the accoutrements and products of his profession: a hammer and punches are placed on the table next to him; there is a chased silver bowl; and in his right hand he holds a figurine or candlestick.

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 Lutmas son Franois, 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, Mnz and Bjrklund 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.

13

(actual size)

14

VARIOUS PROPERTIES

14

ANTONIO VISENTINI (1688-1782) AFTER ANTONIO CANAL, CALLED IL CANALETTO (1697-1768)

Prospectus Magni Canalis Venetiarum

the complete set of 38 engravings with etching, 1735, on smooth wove paper, watermarked MA, with the frontispiece with portraits of Canaletto and Visentini and title page, lacking the three letter-press title pages for each series, good impressions, the first series second state (of four), the two other series first state (of two), presumably the fifth edition, published circa 1800-1820 by Teodoro Viero, Venice, probably the full sheets, some foxing, generally in good condition, bound in marbled paper-covered boards (album) 343 x 485 mm. (overall)

8,000-12,000 $13,000-18,000 11,000-16,000


Principe di Soragna (with his bookplate).


Succi 3-42

Visentinis set of engravings Prospectus Magni Canalis Venetiarum was commissioned by Canalettos great patron and agent, the English Consul Joseph Smith, to reproduce 38 paintings of views of Venice by Canaletto from his own collection. Visentini began the work in 1728 and in 1735 he published a first edition comprising 14 views only. It was not until 1742 that Visentini published the first complete edition with all 38 engravings. The commercial success of these views of Venice was such that the album continued to be published until the late 19th century.

15

16

FRANCISCO DE GOYA Y LUCIENTES

Los Desastres de La Guerra

the complete set of eighty etchings with burnished aquatint, drypoint and engraving, 1810-20, on laid paper without watermark, with title page and text, the Fourth Edition, one of 275 sets of this edition, very good impressions, published by the Real Academia de Nobles Artes de San Fernando, Madrid, 1906, the full sheets, generally in very good condition, mounted on guards, in 19th century marbled boards with red leather spine, some wear to the binding, otherwise in very good condition (album)270 x 360 mm. (overall)

10,000-15,000 $16,000-23,000 14,000-20,000

*15

FRANCISCO DE GOYA Y LUCIENTES (1746-1828)

The four additional Plates for: Los Proverbios

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 LArt, Paris, 1877, probably the full sheets, some very pale, unobtrusive discolouration at the sheet edges, generally in very good conditionP. 245 x 350 mm., S. 295 x 428 mm. (4)

5,000-7,000 $7,700-11,000 6,800-9,400


Delteil 220-3; Harris 266-9


Delteil 120-199; Harris 121-200

Harris describes the Fourth Edition as excellently printed and superior in quality to the Third Edition.

16

17

JAMES ABBOTT MCNEILL WHISTLER (1834-1903)

Wapping - The Pool

etching and drypoint, 1879, on cream laid paper, watermark Arms of Amsterdam, signed with the butterfly and inscribed imp in pencil in the lower margin, Glasgows fourth or fifth state (of eight), a good impression printing with a rich plate tone, the full sheet, a deckle edge below, generally in very good conditionP. 188 x 276 mm., S. 250 x 379 mm.

8,000-12,000 $13,000-18,000 11,000-16,000


Kennedy 174; Glasgow 180

18

JAMES ABBOTT MCNEILL WHISTLER

Fish Shop, Chelsea

etching and drypoint, 1886, on laid paper without watermark, signed in pencil with the butterfly and inscribed imp on the tab, a very good impression of Glasgows first state (of two), printing with plate tone and wiping marks, especially at lower left, trimmed to or on the platemark (as issued), an unobtrusive paper split at the lower sheet edge at centre, generally in very good conditionP., S. 140 x 217 mm.

7,000-10,000 $11,000-15,000 9,500-13,000


With Colnaghis, London (their stocknumber C17882 in pencil verso).


Kennedy 264; Glasgow 267

17

19

PAUL CESAR HELLEU (1859-1927)

Le Chapeau Vert

drypoint in colours, on heavy wove paper, signed in pencil, a good impression of this rare print, with wide margins, a repaired tear in the lower margin, repaired tears at the sheet edges, a paper loss at the lower left sheet corner, other defects, framedP. 548 x 340 mm., S. 720 x 545 mm.

3,000-5,000 $4,600-7,600 4,100-6,700

E X H I B I T E D :

Forgotten Printmakers of the 19th Century, Kovler Gallery, Chicago, December 1967 - January 1968, No. 491 (according to a pencil inscription on the reverse).

20

JAMES JACQUES JOSEPH TISSOT (1836-1906)

Promenade dans la Neige

etching and drypoint, 1880, on Van Gelder laid paper, a good impression of the second state (of three), with the artists red monogram stamp (Lugt 1545), from the edition of about one hundred (presumably of the first and second states), with margins, time staining, the sheet slightly toned, otherwise in good conditionP. 565 x 265 mm., S. 613 x 360 mm.

3,000-5,000 $4,600-7,600 4,100-6,700


Wentworth 48

21

JAMES JACQUES JOSEPH TISSOT

Le Journal

etching with drypoint, 1883, on laid paper, a good impression, with the artists red monogram stamp (L. 1545), from the edition of unknown size, inscribed in pencil at lower left D... tat dfinitif, with wide margins, presumably the full sheet, pale time staining at the sheet edges, a couple of minor nicks and tears at the left sheet edge, otherwise in good condition P. 380 x 295 mm., S. 560 x 375 mm.

3,000-5,000 $4,600-7,600 4,100-6,700


Wentworth 73

18

*23

PAUL SIGNAC (1863-1935)

Le Dimanche Parisien

lithograph, 1887, on wove paper, a very good impression from the deluxe edition of circa 75 (there were also a few trial proofs before the edition), made for the Revue Indpendante , published by Edition des Fondateurs-Patrons, Paris, printed to the edges of the sheet on three sides, a small margin at left (as issued), generally in very good condition, framedL., S. 173 x 127 mm.

6,000-8,000 $9,200-12,000 8,100-11,000


Kornfeld & Wick 2b

*22

PIERRE-AUGUSTE RENOIR (1841-1919)

La Danse la Campagne, 2eme Planche

etching, circa 1880, on wove paper, with the artists stamp signature (Lugt 2137a), from the edition of unknown size, the full sheet, pale light-staining, backboard staining, otherwise in good condition, framedP. 220 x 136 mm., S. 327 x 254 mm.

5,000-8,000 $7,700-12,000 6,800-11,000


Delteil 2

19

24

ODILON REDON (1840-1916)

Tentation de Saint Antoine Texte de Gustave Flaubert

the complete set of ten lithographs, 1888, on chine appliqu paper, fine, rich impressions, from the edition of sixty, printed by Becquet, published by Deman, Brussels, the full sheets, within the original paper folder with the lithographic frontispiece and title (some repaired tears and creases, the back of folder replaced), generally in good conditionL. 291 x 208 mm. (and smaller), S. 450 x 310 mm. (and similar), 451 x 317 mm. (overall) (10)

20,000-30,000 $31,000-46,000 27,000-40,000


Mellerio 83-93

20

*25

HENRI DE TOULOUSE-LAUTREC (1864-1901)

La Clownesse assise (Mademoiselle CHA-U-KA-O)

lithograph in colours, 1896, on wove paper, watermark G. PELLET/ T. LAUTREC, a good, rich impression, presumably from the edition published by Gustave Pellet, Paris, 1896, in the Elles series, indistinctly inscribed with a paraphe or number and with Pellets stamp (L. 1190) at lower right, the colours very fresh and bright, printed to the edges of the full sheet (as published), with deckle edges at right and above, in very good condition, framedS. 552 x 400 mm.

180,000-200,000 $280,000-300,000 250,000-270,000


Delteil 180; Adhmar 201; Wittrock 156; Adriani 172

Toulouse-Lautrecs portfolio Elles is one of the most celebrated and sought-after series in the history of printmaking. As a regular visitor and at times long-term guest of the maisons closes or brothels of Paris, Toulouse-Lautrec was well-acquainted with the women who lived and worked there. He was particularly interested in depicting them in their daily routines, at the wash table or dozing in bed. Unlike the other lithographs in the series, the most famous of them however shows a woman in a public place rather than a private environment: La Clownesse assise is shown in her costume in a cabaret. It is a private moment nonetheless, as she sits resting on a bench at a corner, visibly tired and a bit despondent.

A dancer at the Nouveau Cirque and the Moulin Rouge, Mademoiselle CHA-U-KA-O claimed to be Japanese, yet her name is in fact a phonetic transcription of the French words chahut (an acrobatic dance derived from the cancan) and the chaos she caused whenever she came on stage. CHA-U-KA-O began her performing life as a lithe and supple gymnast, as evident in a photograph taken by Toulouse-Lautrecs close companion Maurice Guibert, for whom she would pose. By 1895 however, the agile, slender dancer had metamorphosed into that of the ageing, slightly overweight clownesse. The arc of CHA-U-KA-O s life, ending in physical ruin, was bound to attract Lautrec. His interest in human decrepitude was no doubt reinforced by his reading of Oscar Wildes The Picture of Dorian Gray, first published in 1891 and subsequently translated into French. Lautrec became acquainted with the author, and painted portraits of both Wilde and CHA-U-KA-O in the same year. Fascinated as he was by decadence and decline, it is his ability to empathise with his subjects and his willingness to show them in all their human frailty and vulnerability - of-stage rather than in the spotlight - that sets him apart from most of his contemporaries.

22

26

HENRI DE TOULOUSE-LAUTREC

Partie de Campagne

lithograph in colours, 1897, on wove paper, with the artists red signature stamp, numbered in pencil no.34, from the edition of one hundred impressions, published by A. Vollard in the second LAlbum des estampes originales de la Galerie Vollard, Paris, the full sheet, the colours fresh and bright, pale mount and time staining towards the sheet edges, otherwise in good condition, framedS. 395 x 515 mm.

40,000-60,000 $61,000-91,000 54,000-81,000


With Colnaghis, London.Acquired from the above by the present owner.


Delteil 219; Adhmar 322; Wittrock 228; Adriani 228

23

28

PAUL GAUGUIN (1848-1903) AND ARMAND SEGUIN (1869-1903)

La Femme aux Figues

etching printed in greenish-grey, 1894, on simili Japan paper, a rich, tonal impression of the first state (of three), inscribed 56 (?) in pencil at lower right, from the edition of one hundred published for the portfolio Germinal by J. Meier-Graefe, Paris, with wide margins, the sheet previously folded in the margins on three sides, tape stains along the upper sheet edge, pale mount staining, the subject in good condition, framedP. 270 x 445 mm., S. 428 x 580 mm.

6,000-8,000 $9,200-12,000 8,100-11,000


Mongan, Kornfeld & Joachim 25

27

ALFRED SISLEY (1839-1899)

Bords de Rivire - Les Oies

lithograph in colours, 1897, on chine appliqu paper, signed in pencil, from the edition of one hundred, published by A. Vollard, Paris, in LAlbum destampes originales de la Galerie Vollard, with wide margins, generally in very good conditionL. 212 x 315 mm., S. 373 x 490 mm.

3,000-5,000 $4,600-7,600 4,100-6,700


Delteil 6

24

l29

MAX BECKMANN (1884-1950)

Apokalypse

the complete book including 27 lithographs with handcolouring, 1943, on laid paper, 16 hors-text and 11 en-texte, with title, text and justification, copy number 19, numbered and dedicated Fr Erich Madsack in black ink (not by the artists hand), from the edition of 24 (a further 17 unnumbered copies are known, of which seven are handcoloured), published by Bauersche Gieerei, Frankfurt am Main, 1943, the colours very fresh, the full sheets, in very good condition, bound (as issued), within the original textured buff paper-covered boards, with the title on the cover, in a black cloth-covered protective box with a red morocco title piece on the front (book)400 x 310 mm.

25,000-35,000 $39,000-53,000 34,000-47,000


Dr. Erich Madsack (1889-1969), Hannover; according to dedication. Neuerburg Collection, presumably acquired by Dr Walter Neuerburg (1912-1989), Cologne; with their blindstamp on the front fly-leaf (L. 1344a); sold Christies, New York, Modern Prints from the Neuerburg Collection, 1 November 1988, lot 11 (US$ 19.800). Acquired at the above sale by the present owner.


Hofmaier 330-356Max Beckmann - Apokalypse der wiederaufgefundene handkolorierte Zyklus, exh. cat., Museum Wiesbaden et al. (eds.), Wiesbaden, 2004.

In April 1933 Max Beckmann was dismissed from his post as a teacher at the Stdel art academy in Frankfurt am Main. Bereft of a permanent income and increasingly unable to exhibit and sell his work, now considered degenerate, he decided to emigrate to Amsterdam in 1937 and left Germany on 19 July of that year, a day after the opening of the exhibition Entartete Kunst in Munich.

Some of his friends and patrons in Germany however remained faithful to him and in 1941 Amsterdam is by then occupied by German troops and the artist lives and works in hiding - he received a secret commission from Frankfurt. It is the initiative

of Ernst Holzinger, former director of the Stdel Museum, and of Georg Hartmann, owner of the type-casting company Bauersche Giesserei, to publish a small edition of the Apocalypse of Saint John with illustrations by Beckmann, in order to support the artist living in exile. Hartmann was naturally, through his company, involved in book production and had in the past published some illustrated books for bibliophiles. He was also a collector, in particular of late medieval sculpture and painting, an interest he shared with Beckmann. The choice of a biblical subject was hence sympathetic to both the artist and the patron, and the Apocalypse certainly seemed a suitable text for a book created in the midst of war. As the colophon of the book states: In the fourth year of the second world war, as the visions of the apocalyptic seer became gruesome reality, this print was made.

In the correspondence leading up to the creation and publication, Beckmann is never named. The whole project was pursued in secret. The proofs and later some handcoloured copies were clandestinely sent back and forth between Frankfurt and Amsterdam. The numbered edition was limited to 24 copies in order to avoid censorship; private publications in editions of 25 copies or more had to be submitted to the ministry of propaganda for approval.

Nearly all of the 24 copies were intended and presumably given to patrons and friends of the artist and of Georg Hartmann, including the present copy for Erich Madsack, the publisher of the daily newspaper Hannoversche Anzeiger, undoubtedly a client of Hartmanns type-casting company. According to the publishers list of copies (preserved in facsimile in the Staatsbibliothek, Munich), this copy was handcoloured on 2 March 1943. The publication of Madsacks newspaper was discontinued by the Nazi regime in 1943.

The hand-colouring of the Apokalypse has been subject to much debate. Apart from a few copies clearly inscribed as being coloured by Beckmann himself (including copy numbers 1, 7 9 and 15 and a set of coloured working proofs) ,the majority were probably hand-coloured by an anonymous artist in Frankfurt, presumably because the shipping of copies from Germany to Amsterdam and back proved too dificult and dangerous.

Created while the allied bombers flew over Amsterdam and any kind of cultural engagement could be seen as un-German activity and treason, the Apokalyse by Max Beckmann is an extraordinary document of defiance, both on the part of the artist and of the publisher, in the face of war and state terror.

According to the publishers list of copies preserved in the Staatsbibliothek, Munich, the present copy was handcoloured on 2 March 1943.

MODERN PRINTS

25

PROPERTY FROM THE PETER BENDIXEN COLLECTION

l30

MAX BECKMANN

Die Familie, from: Hlle

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

10,000-15,000 $16,000-23,000 14,000-20,000


Hofmaier 149

VARIOUS PROPERTIES

l31

OTTO DIX (1891-1969)

Der Selbstmrder (Erhngter)

etching and drypoint, 1922, on wove paper, signed and inscribed Probedruck in pencil, a trial proof of the third, final state ( the first and second states exist in unique trial proofs only), aside from the edition of fifty, a very good, rich and tonal impression, printing with much burr, probably the full sheet, light-staining and some foxing in the margins, otherwise in good condition, framedP. 350 x 275 mm., S. 499 x 434 mm.

7,000-10,000 $11,000-15,000 9,500-13,000


Karsch 43

26

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

l32

ERICH HECKEL (1883-1970)

Weisse Pferde

woodcut printed from two blocks in black and green, pale lilac and dark blue, 1912, on soft, absorbent laid paper, signed and dated 12 in pencil, titled and inscribed Aquarell Handdruck, a fine, early impression printed by the artist, with loosely and transparently applied colours, Dubes second state (of four), before the unnumbered edition of approximately eighty impressions (of the fourth, final state), the full sheet, with deckle edges, pale light-staining and some foxing mainly in the margins, generally in good condition, framedB. 305 x 385 mm., S. 337 x 580 mm.

25,000-35,000 $39,000-53,000 34,000-47,000


Dube H 242

The present early impression of Dubes second state reveals that the block - before it was cut down in the third state - was in fact much wider than recorded by Dube. It shows a faint black tone and the right edge of the block well outside the second borderline. The loose, monotype-like printing of the colours is characteristic for Heckels early, experimental proof impressions. As indicated by Heckels inscription Aquarell Handdruck, he printed the present impression by hand and the colours are watercolours, applied quite thinly - presumably with a brush - to the second block.

Depictions of animals are rare in Heckels printed oeuvre and unlike most depictions of landscapes and nature by the Brcke artists, there is an sense of impending drama in this highly concentrated composition. This feeling of unease is further heightened by the uneven shape of the block. This image of figures leading two white horses in a sudden gale is one of the most memorable woodcuts of German Expressionist printmaking and a classic work of the period.

27

l34

KARL SCHMIDT-ROTTLUFF (1884-1976)

Christus

woodcut, 1918, on Van Gelder laid paper, signed in pencil, a good impression, presumably from the edition of 75 published in the portfolio 9 Holzschnitte by Kurt Wolff Verlag, Munich, 1918, with margins, some minor staining and a few tiny foxmarks, generally in good conditionB. 502 x 391 mm., S. 588 x 460 mm.

2,000-3,000 $3,100-4,600 2,700-4,000


Schapire H 208

VARIOUS PROPERTIES

l33

ERICH HECKEL

Der Mann

woodcut, 1913, on oatmeal wove paper, signed and dated in pencil, titled (possibly by another hand), a very good impression of this rare print, with wide margins, possibly the full sheet, some scattered foxing at the sheet edges, otherwise in good condition, framedB. 431 x 216 mm., S. 637 x 481 mm.

8,000-12,000 $13,000-18,000 11,000-16,000


Dube H 262

28

35

PORTFOLIO

Bauhaus-Drucke. Neue Europische Graphik. Erste Mappe

the complete portfolio of 14 prints, 1920-21, in various techniques and on various papers, some in colours, with title page and table of contents, with the justification on the inside back of the folder, numbered on the justification in black ink, copy number 53 from the total edition of 110 (the first ten were on Japan paper), all signed in pencil, some dated, the full sheets, each within the original paper mounts, the colours exceptionally fresh and bright, all in excellent condition; within the original half-parchment folder, the boards with a woodcut design in black by Lyonel Feininger, with the title in black on the spine, the folder in very good condition

(portfolio)575 x 460 mm. (overall)

150,000-250,000 $230,000-380,000 210,000-340,000


Shn 101; Weber 1.1-14

When in October 1921, two years after the founding of the Bauhaus in Weimar as a modern academy for applied arts, its director Walter Gropius wrote to a number of leading European artists to donate a previously unpublished graphic work to the school, it was the beginning of one of the most ambitious print publishing endeavours of the 20thcentury. The idea was for the school to print, produce and distribute a series of five portfolios, each dedicated to diferent nationalities, thereby giving an overview of the graphic production of the European avant-garde. The motivation for the project was three-fold: 1) to raise additional funding for Bauhaus - the portfolios were to be sold either individually or in subscription for the whole series; 2) to raise public awareness of the Bauhaus and promote its principles; 3) to represent the school in unison with a wider and not just German! modern art movement. The title Neue Europische Graphik was programmatic and reflected the scope and aim of the project.

In the event, only four of the portfolios were produced - the second one, intended for French artists, remained a fragment of four prints and was never issued; the four others included prints by German, Italian and Russian artists. The present first portfolio was dedicated to works by the so-called Meister of the Bauhaus, who were teaching various subjects in a very practical, hands-on way in the workshops of the school. These were: Feininger, Head of the printing workshop; Itten, who taught the introductory course; Klee, Head of the bookbinding workshop; Marcks, in charge of the ceramics studio; Muche, who taught textile design and weaving; Schlemmer, general teacher and Head of the wall-painting course; and Schreyer, who taught stage design. The portfolio is thus a reflection of the artistic personalities working and teaching at the Bauhaus during the first years of its existence, and of the all-encompassing spirit and structure of the school, based on the idea of the Bauhtte, the building workshops of the medieval cathedrals of Europe.

The present example is the finest we have seen on the market, with the prints, papers and colours perfectly preserved.

The portfolio includes:

Lyonel Feininger, Villa am Strand (Prasse W 226), woodcut, 1920, on Japan paper, signed in pencil.

Lyonel Feininger, Spaziergnger (Prasse W 113), woodcut, 1918, on Japan paper, signed in pencil.

Johannes Itten, Spruch (Rotzler Itten 223), lithograph in colours, 1921, on thin white-layered card, signed in pencil.

Johannes Itten, Haus des weissen Mannes (Rotzler Itten 222), lithograph, 1921, on cream wove paper, signed in pencil.

Paul Klee, Die Heilige vom innern Licht (Kornfeld 81), lithograph in colours, 1921, on thin cream card, signed in pencil, dated and inscribed with his work number 122.

Paul Klee, Hofmanneske Scene (Kornfeld 82), lithograph in colours, 1921, on thin cream card, signed in pencil, dated and inscribed with his work number 123.

Gerhard Marcks, Die Katzen (Lammek H 27), woodcut, 1921, on oatmeal wove paper, signed and dated in pencil.

Gerhard Marcks, Die Eule (Lammek H 28), woodcut, 1921, on oatmeal wove paper, signed and dated in pencil.

Georg Muche, Tierkopf (Schiller 12), etching, 1921, on thin cream card, signed in pencil.

Georg Muche, Radierung (Hand-Herz) (Schiller 13), etching, 1921, on thin cream card, signed in pencil.

Oskar Schlemmer, Figur H 2 (Grohmann GL 7), lithograph, on pink wove paper, signed in pencil, dated 1922.

Oskar Schlemmer, Figurenplan K 1 (Grohmann GL 8), lithograph, on yellow wove paper, signed in pencil, dated 1922.

Lothar Schreyer, Farbform 6 (Mutter aus Bhnenwerk Kindersterben), lithograph with hand-colouring, 1921, on thin cream Japan paper, signed in pencil, dated 1922, with the Bauhaus blindstamp.

Lothar Schreyer, Farbform 2 (Nacht aus Bhnenwerk Kindersterben), lithograph with hand-colouring, 1921, on thin cream Japan paper, signed in pencil, dated 1922, with the Bauhaus blindstamp.

37

LYONEL FEININGER (1871-1956)

Vollersroda

woodcut, 1919, on thin laid Japan paper, signed in pencil, a good

impression, with wide margins, possibly the full sheet, some

scattered foxmarks, some offsetting of coloured crayon (?) verso,

faintly visible recto, otherwise in good condition

B. 254 x 301 mm., S. 374 x 518 mm.

7,000-12,000 $11,000-18,000

9,500-16,000


Prasse W 188

l36

WASSILY KANDINSKY (1866-1944)

Kleine Welten VIII

woodcut, 1922, on wove paper, signed in pencil, from the edition of

two hundred (there was also an edition of thirty on Japan paper),

published by Propylen Verlag, Berlin, the full sheet, with light,

mount and backboard staining, framed

B. 273 x 233 mm., S. 365 x 305 mm.

3,000-5,000 $4,600-7,600

4,100-6,700


Roethel 171; Friedel & Hoberg 130

31

l38

MARC CHAGALL (1887-1985)

Nicolai Gogol: Les Ames Mortes

the complete set of 96 etchings and 11 etched vignettes, 1948, on Arches wove paper watermarked Les Ames mortes, the etchings hors-texte, with title page, text in French and justification, signed in black ink and numbered H.C. XXIX on the justification, one of 33 hors commerce copies, aside from the edition of 335, published by Triade, Paris, the full sheets, the etchings with some mount and backboard staining, otherwise in good condition, loose (as issued), within paper wrappers with title printed in black on front, two volumes, within the original cream paper-covered boards and slipcase, with title on spine, the paper wrappers with foxing, the slipcase showing some wear, stains and foxing (portfolio) 400 x 300 mm. (overall)

15,000-20,000 $23,000-30,000 21,000-27,000


Cramer Books 17

32

l39

MARC CHAGALL

The Bible

the complete set of 105 etchings, 1956, hors-texte, on Montval paper, with text in French, title page and justification, with an original crayon drawing on the title page of the first volume, signed and dated 1966 in black ink and dedicated Pour Charles et Pierrette Sorlier en souvenir, also signed on the justification, copy number 24, from the edition of 275 (there were also twenty hors commerce copies numbered in Roman numerals), the full sheets, pale mount-staining at the sheet edges, otherwise in good condition, loose (as issued), within the original paper cover printed with lithographic text, grey paper-covered boards with title in gilt on the spine and matching slipcase, some minor skinning to the grey paper boards, otherwise in good condition (portfolio) 480 x 360 x 140 (overall)

40,000-60,000 $61,000-91,000 54,000-81,000


Charles Sorlier (1921-1990), Paris, according to the dedication.


Cramer Books 29

Charles Sorlier was Marc Chagalls printer at Mourlots printing workshop in Paris.

33

l40

MARC CHAGALL

The Flute Player

lithograph in colours, 1957, on Arches wove paper, signed in pencil and inscribed HC, an hors commerce impression aside from the edition of ninety, published by Maeght, Paris, the full sheet, with deckle edges at left and right, the colours still strong, with time and light-staining, pale pinpoint foxingL. 365 x 435 mm., S. 385 x 570 mm.

3,000-5,000 $4,600-7,600 4,100-6,700


Mourlot 197

l41

MARC CHAGALL

Self-Portrait

lithograph in colours, 1960, on Arches wove paper, signed in pencil, numbered 35/40, published by Andr Seurat, Paris, the full sheet, the colours fresh, some pale light-staining, generally in good condition L. 315 x 250 mm., S. 475 x 320 mm.

3,000-5,000 $4,600-7,600 4,100-6,700


Mourlot 282

34

VARIOUS PROPERTIES

l43

MARC CHAGALL

Paravent

lithograph in colours, 1963, on two sheets of smooth wove paper, a proof before the signed and numbered edition of one hundred (issued as a four-panel screen), published by G. Cramer, Geneva, with wide margins, with registration marks, the colours fresh, time staining, occasional soft creasing, short tears at the upper sheet edges, otherwise in good conditionS. 1595 x 1187 mm. (left sheet)S. 1595 x 1189 mm. (right sheet)

12,000-18,000 $19,000-27,000 17,000-24,000


cf. Mourlot 390


l42

MARC CHAGALL

La Grand Bouquet

lithograph in colours, 1963, on BFK Rives wove paper, signed in pencil, numbered 38/50 (there were also a few artists proofs), the full sheet, a deckle edge below, time and mount staining, the colours still strong, framedL. 670 x 505 mm., S. 817 x 590 mm.

7,000-10,000 $11,000-15,000 9,500-13,000


Mourlot 384

35

l45

AFTER MARC CHAGALL BY CHARLES SORLIER (1921-1990)

La Flte Enchante

lithograph in colours, 1967, on Arches wove paper, signed in pencil, numbered 15/200, the full sheet, a deckle edge below, the colours bright and fresh, generally in very good condition, framed L. 1004 x 654 mm., S. 1015 x 670 mm.

12,000-18,000 $19,000-27,000 17,000-24,000


Charles Sorlier 38

l*44

MARC CHAGALL

Paysan au Violon

lithograph in colours, 1968, on Arches wove paper, signed in pencil, inscribed preuve dartiste III/XXV, an artists proof aside from the edition of fifty, the full sheet, a deckle edge below, pale light-staining, otherwise in good conditionL. 295 x 225 mm., S. 574 x 420 mm.

4,000-6,000 $6,100-9,100 5,400-8,100


Mourlot 551

36


l48

GEORGES BRAQUE

Au Couchant (Oiseau XVI)

lithograph in colours, 1958, on Arches wove paper, signed in pencil, inscribed H.C., an hors commerce impression aside from the edition of 75, published by Maeght, Paris, the full sheet, a deckle edge at right, the colours fresh and bright, a short tear at the centre left sheet edge, generally in good condition, framed L., S. 485 x 655 mm.

3,000-5,000 $4,600-7,600 4,100-6,700


Vallier 126

l47

GEORGES BRAQUE

Les deux Oiseaux (Oiseaux X)

etching and aquatint in colours, 1956, on BFK Rives wove paper, signed in pencil, numbered 12/50, published by Maeght, Paris, the full sheet, a deckle edge below, generally in good conditionP. 165 x 276 mm., S. 325 x 432 mm.

2,500-3,500 $3,900-5,300 3,400-4,700


Vallier 107

l46

GEORGES BRAQUE (1882-1963)

Oiseau noir sur fond bleu (Oiseau VIII)

etching in colours, 1955, on wove paper, signed in pencil, numbered 46/75, published by Maeght, Paris, the full sheet, a deckle edge at right, pale adhesive staining at the upper and lower sheet edges, otherwise in good conditionP. 147 x 221 mm., S. 280 x 380 mm.

2,500-3,500 $3,900-5,300 3,400-4,700


Vallier 100

37

VARIOUS PROPERTIES

l51

SALVADOR DAL (1904-1989)

Dix Recettes dImmortalit

the complete set of 11 etchings with drypoint and heliogravure and multiples, 1973, the prints on Auvergne Richard de Bas wove paper, some in colour or gilt, the multiples in card, metal and plastic, with title, text in French (with English translation) and justification, signed by the artist, the publisher and the editor in pencil on the justification, with the notarys stamp and signature, copy number 85 from the edition of 210, published by Audouin-Descharnes, Paris, the prints all signed in pencil and numbered 85/210, also with the notarys stamp, signature and numbering verso, the full sheets, generally in very good condition, all contained in nine individual paper folders with text, within the original paper wrapper with title in gilt, the original perspex case with cast metal phone handle, locks and keys, brown cloth-covered slipcase, generally in very good condition (portfolio)655 x 490 x 130 mm. (overall)

6,000-8,000 $9,200-12,000 8,100-11,000


Michler & Lpsinger 567-577; Field 73-20

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

l50

AFTER SONIA DELAUNAY (1885-1979)

Jacques Damase: Rythmes-Couleurs

the complete set of 11 pochoirs in colours, 1966, on handmade Moulin Richard de Bas paper, with title, text and justification, signed in ballpoint pen by the artist and author on the justification, copy numbered 26 from the edition of ninety (there was also an edition of twenty with each print signed and numbered, and ten numbered hors commerce copies), published by ditions de la Galerie Motte, Paris, the full sheets, loose (as issued), in the original blue linen-covered portfolio, with title on spine, generally in very good condition (portfolio)535x385 mm. (overall)

4,000-6,000 $6,100-9,100 5,400-8,100

VARIOUS PROPERTIES

l49

KEES VAN DONGEN (1877-1968)

Anatole France: La Rvolte des Anges

the set of 58 lithographs in colours, 1951, en-texte, on Lana wove paper, with an additional suite printed in colours and another in black only, hors-texte, with title, text by Anatole France in French, and justification, copy number XV, one of 15 deluxe copies numbered in Roman numerals reserved for the founding members of the publisher (the standard edition was 210), published by Scripta et Picta, Paris, the full sheets, some time staining, otherwise in good condition, loose (as issued), in paper wrappers with the title in gold, within the original green cloth-covered folder and matching slipcase, some wear to the slipcase (portfolio)380 x 290 mm. (overall)

7,000-10,000 $11,000-15,000 9,500-13,000


Jufermans Books 16

38

l52

FERNAND LGER (1881-1955)

Cirque

the complete portfolio comprising 34 lithographs in colours and 29 in black, 1950, on Arches paper, with title, text in French and justification, signed in blue ink on the justification, copy number 89 of 280 (there were also twenty hors commerce copies), published by Les ditions Verve, Paris, the full sheets, the colours very fresh and bright, some pale time staining and occasional foxing, generally in very good condition, loose (as issued), in the original paper wrappers with a lithograph printed in black and yellow on the front and in black on the reverse, within the original boards and slipcase (portfolio)445 x 350 mm. (overall)

12,000-18,000 $19,000-27,000 17,000-24,000


Saphire 44-106

39

l53

HENRI MATISSE (1869-1954)

La Robe jaune au Ruban noir

lithograph, 1922, on China paper, signed in black ink, numbered 48/50 (there were also ten artists proofs), with wide margins, the sheet slightly reduced above, a deckle edge at right, two tiny paper flaws at lower right, generally in good conditionL. 395 x 288 mm., S. 530 x 358 mm.

6,000-8,000 $9,200-12,000 8,100-11,000


Duthuit-Matisse 424

l54

HENRI MATISSE

Jeune Fille la Chaise-longue dans un Sous-Bois

lithograph, 1922, on China paper, signed in black ink, numbered 46/50 (there were also ten artists proofs), with margins, the sheet slightly reduced at left and right, a couple of short printers creases with an associated short tear at the upper right corner, some pale staining at the left sheet edgeL. 410 x 515 mm., S. 460 x 585 mm.

4,000-6,000 $6,100-9,100 5,400-8,100


Paul Prout, Paris (L. 2103c).


Duthuit-Matisse 425

40

l*55

HENRI MATISSE

Petite Aurore

lithograph, 1923, on China paper, signed in pencil, inscribed and numbered epr. dartiste 7/10, an artists proof aside from the edition of fifty, the full sheet, a deckle edge at left, generally in very good condition, framedL. 130 x 201 mm., S. 287 x 377 mm.

8,000-12,000 $13,000-18,000 11,000-16,000


Duthuit-Matisse 436

l56

HENRI MATISSE

Danseuse debout, acoude, from: Dix Danseuses

lithograph, 1925-26, on Arches wove paper, signed in pencil, numbered 83/130 (there were also 15 impressions on Japan paper and five on China paper), published by the Galerie dArt Contemporain, Paris, 1927, the full sheet, a deckle edge at right, generally in very good condition, framedL. 460 x 280 mm., S. 505 x 330 mm.

3,000-5,000 $4,600-7,600 4,100-6,700


Duthuit-Matisse 482

41

l57

HENRI MATISSE

Danseuse au Divan plie en deux, from: Dix Danseuses

lithograph, 1925-26, on Arches wove paper, signed in pencil, numbered 78/130 (there were also 15 impressions on Japan paper and five on China paper), published by the Galerie dArt Contemporain, Paris, the full sheet, a deckle edge below, in very good conditionL. 280 x 460 mm., S. 325 x 504 mm.

7,000-10,000 $11,000-15,000 9,500-13,000


Duthuit-Matisse 489

l58

HENRI MATISSE

Danseuse assise, from: Dix Danseuses

lithograph, 1927, on Arches wove paper, signed in pencil, numbered 81/130 (there were also 15 impressions on Japan paper and five on China paper), published by the Galerie dArt Contemporain, Paris, the full sheet, a deckle edge at right, in very good conditionL. 440 x 280 mm., S. 502 x 326 mm.

7,000-10,000 $11,000-15,000 9,500-13,000


Duthuit-Matisse 480

42

l60

HENRI MATISSE

Haitienne

lithograph, 1945, on BFK Rives wove paper, signed in pencil and numbered 187/200, the full sheet, a deckle edge below, some handling creases and minor time staining, otherwise in good conditionS. 400 x 300 mm.

4,000-6,000 $6,100-9,100 5,400-8,100


With Libreria Prandi, Reggio Emilia (with their blindstamp).


Duthuit-Matisse 567

l*59

HENRI MATISSE

Torse lAiguire

lithograph, 1927, on China paper, signed in pencil, numbered 21/50 (there were also ten artists proofs), the full sheet, very pale light staining, otherwise in very good conditionL. 364 x 263 mm., S. 498 x 359 mm.

8,000-12,000 $13,000-18,000 11,000-16,000


Duthuit-Matisse 494

43

l62

JOAN MIR

Centenaire Mourlot

lithograph in colours, 1953, on Arches wove paper, signed and inscribed Ea. in black ink, an artists proof aside from the edition of 75, with deckle edges at left and right, in very good conditionS. 507 x 660 mm.

15,000-20,000 $23,000-30,000 21,000-27,000


Mourlot 190

l61

JOAN MIR (1893-1983)

Femme et Chien devant la Lune

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

8,000-10,000 $13,000-15,000 11,000-13,000


Pierre Meuz (not in Lugt.


Dupin 18

44

l63

JOAN MIR

Suites pour Ubu Roi

the complete set of 39 lithographs, including 26 in colours, 1966, on Arches paper, hors-texte, with title page and table of contents, 13 signed, 13 initialled and 13 unsigned (as issued), all numbered 45/75, published by Triade Editeur, Paris, the full sheets, all with a deckle edge below, the colours very fresh and vibrant, in very good condition, loose (as issued), within the original green cloth-covered box with gilt lettering on the spine (portfolio)570 x 785 mm. (overall)

40,000-60,000 $61,000-91,000 54,000-81,000


Mourlot 460-498; Cramer Books 108

The grotesque play Ubu Roi by Alfred Jarry (1873-1907), written in 1896, has often been seen as a precursor to surrealism and had a strong influence on the writers and artists of the subsequent generation, including Joan Mir. Jarrys greedy and evil character King Ubu reminded the artist uncannily of the Spanish dictator Jos Franco. Like Picasso in his two prints Sueo Y Mentira de Franco (see lot 89), Mir uses Ubus story to at once ridicule the dictator and to denounce the injustices and brutalities perpetrated by the regime in his native Spain.

Mir created three large series based on the story of Ubu: Ubu roi (1966), Ubu aux Balares (1971) and LEnfance dUbu (1975); a total of one hundred lithographs, many of which contain only thinly disguised caricatures of Franco. Rather than his signature use of cheerful primary colours, Mir in this series employed an equally vibrant, but somewhat diferent, slightly poisonous palette, which adds to the sense of the ridiculous and grotesque.

45

l*64

JOAN MIR

LAdorateur du Soleil

etching, aquatint, and carborundum in colours, 1969, on Arches wove paper, signed in pencil, inscribed HC (an hors commerce impression aside from the edition of 75), published by Maeght Editeur, Paris, authenticated in pencil on the reverse by Rosa Maria Malet, Fondaci Mir, Barcelona, dated 27 November 2014, the full sheet, a deckle edge above, a pale area of foxing at upper left, otherwise in very good conditionS. 1064 x 679 mm.

8,000-12,000 $13,000-18,000 11,000-16,000


Dupin 483

l65

JOAN MIR

Dfil de Mannequins en Laponie

lithograph in colours, 1969, on Arches wove paper, signed in pencil, numbered 70/75, published by Maeght, Paris, the full sheet, mount staining at the sheet edges, some minor soft creasing, generally in good condition, framedL., S. 1260 x 865 mm.

8,000-12,000 $13,000-18,000 11,000-16,000


Mourlot 633

46

l66

JOAN MIR

Llibre dels sis Sentits

the complete set of six etchings and aquatints in colours, 1980, on Guarro wove paper, watermarked Sala Gaspar, each signed, dated 25.X.80 and inscribed Bat. in pencil, the bon tirer impressions before the edition of fifty (there were also 14 hors commerce sets), the full sheets, published by Sala Gaspar, Barcelona, 1981, some soft handling creases and very minor staining in the margins, otherwise in good conditionP. 720 x 545 mm., S. 905 x 700 mm. (each)

18,000-25,000 $28,000-38,000 25,000-34,000


Dupin 1165-1170

These are the bon tirer impressions, the final proofs which served as templates for the printing of the edition. As such they were used in the studio and show some handling marks, including minor soft creases and traces of coloured inks in the margins, which should not be considered as defects.

47

l68

PORTFOLIO

San Lazzaro et ses Amis

the complete portfolio including the suite of 8 lithographs in colours by various artists, 1975, on Arches wove paper, with text in French, title page and justification, copy number 36, from the edition of 75 (there were also 55 copies for the artists and collaborators), published by XXe Sicle, Paris, each signed by the artist, numbered 36/75, in very good condition, the full sheets, loose within the paper wrappers, with the original presentation case (portfolio) 380 x 290 mm. (overall)

3,000-5,000 $4,600-7,600 4,100-6,700

l67

JOAN MIR

Sculptures

lithograph in colours, 1971, on Arches wove paper, signed in pencil, numbered 124/150, before the unsigned edition with text, published by the Walker Art Centre, Minneapolis, the full sheet; with Two Plates, from: Cartones, two lithographs in colours, 1965, on Arches wove paper, both signed in pencil and numbered 25/75, published by P. Matisse, New York, the full sheets; all generally in very good condition (3)M. 755: L. 855 x 727 mm., S. 858 x 730 mm. M. 452: L. 305 x 425 mm., S. 420 x 548 mm. M. 453: L. 505 x 635 mm., S. 545 x 707 mm.

3,000-5,000 $4,600-7,600 4,100-6,700


Mourlot 452-453, 755; cf. Cramer Books 103


Cramer Books 1080

The portfolio includes lithographs by Max Bill, Alexander Calder, Max Ernst, Hans Hartung, Joan Mir (Mourlot 1080), Henry Moore - Reclining Figure (Cramer 366), Graham Sutherland and Zao Wou-ki (gerup 268).

48

l69

MASSIMO CAMPIGLI (1895-1971)

Ritratto di Donna

monotype in colours, 1950, on Fabriano wove paper, probably a unique impression, signed and dated in brown ink, the full sheet, in good condition, framedS. 538 x 423 mm.

10,000-15,000 $16,000-23,000 14,000-20,000

This work has been authenticated by Nicola Campigli.

70

LOUIS MARCOUSSIS (1883-1941)

La Table

etching in colours, 1930, on Japan paper, signed in pencil, numbered 3/20 (there was also an edition of 120 on Arches), published by Jeanne Bucher, Paris, with wide margins, presumably the whole sheet, some soft creases at the corners, otherwise in very good conditionP. 245 x 180 mm., S. 500 x 379 mm.

3,000-5,000 $4,600-7,600 4,100-6,700


Milet 52

49

l71

GIORGIO MORANDI (1890-1964)

Natura morta con il Lume bianco a sinistra

etching, 1928, on Chine coll on an album sheet with an architectural engraving verso, signed and inscribed P.d.S. (prova di stampa), a printers proof aside from the edition of fifty, the full sheet, some minor time staining and creasing, in good condition P. 220 x 270 mm., S. 388 x 542 mm.

15,000-20,000 $23,000-30,000 21,000-27,000




Vitali 47; Cordaro 1928 7

l72

GIORGIO MORANDI

Natura morta con due Oggetti e un Drappo su un Tavolo

etching, 1929, on wove paper, signed and dated in pencil, numbered 25/40, the full sheet, adhesive staining along the upper sheet edge, otherwise in good conditionP. 235 x 195 mm., S. 347 x 330 m.

7,000-10,000 $11,000-15,000 9,500-13,000



l73

GIORGIO MORANDI

Natura morta a Tratti sottilissimi

etching, 1933, on Chine coll on Van Gelder Zonen laid paper, signed in pencil, numbered 9/27, pale mount staining, in good condition P. 255 x 235 mm., S. 443 x 327 mm.

10,000-15,000 $16,000-23,000 14,000-20,000





50

l74

PABLO PICASSO (1881-1973)

Portrait de Vollard II, from: La Suite Vollard

aquatint, 1937, on vellum, signed in red ink, numbered 3/3 (there was also an edition of fifty on Montval laid paper with wider margins and of 260 with narrower margins), published by A. Vollard, Paris, 1939, the full sheet, in very good conditionP. 338 x 245 mm., S. 520 x 395 mm.

12,000-18,000 $19,000-27,000 17,000-24,000


Bloch 231; Baer 618 Bb

Picassos La Suite Vollard is the most important series of etchings in his long and fertile printmaking career.The series is named after Ambroise Vollard (1867-1939), the dealer and publisher who had given Picasso his first exhibition in Paris in 1901, thereby launching the most extraordinary career in the history of modern art. Rather paradoxically for a series that cover the years 1930 to 1937, La Suite Vollard was conceived as a suite only in 1934, when Picasso asked to buy a Renoir and a Czanne from Vollards private collection. Vollard ofered instead to swap the paintings for a group of printing plates, with the rights to publish them. The deal was agreed, and in 1936 Picasso handed over 97 plates which he had chosen for Vollard. The term suite is therefore something of a misnomer, as it is more of a rsum, a selection made by the artist from his graphic output of seven years. Stylistically, the majority of the images reflect the neo-classical phase of Picassos work that made its first appearance in 1918, following a journey to Rome the year earlier and subsequent trips to Florence, Naples and Pompeii. Technically, the Suite includes examples of all the etching techniques Picasso had explored and mastered up to this point, ranging from straight etching and drypoint to the highly innovative sugar-lift aquatint, while thematically, the prints ofer a fascinating insight into Picassos inspiration and obsessions as he approached late middle age. Four main motifs are played out in ever-changing variations throughout the series: the Battle of Love, the Sculptors Studio, Rembrandt, and The Minotaur. The last plates are three portraits of Ambroise Vollard, which Picasso had etched in a single day in early 1937 ofered here at beginning of a great selection of prints from La Suite Vollard on the following pages, including examples from all three editions: 260 on laid paper, 50 on laid paper with wider margins, and the extremely limited edition of three impressions only, printed on vellum and signed in red ink.

51

l75

PABLO PICASSO

Portrait de Vollard I, II, III, from: La Suite Vollard

two aquatints and one etching, 1937, on Montval laid paper, B. 231 watermark Montgolfier, each signed in pencil, from the edition of fifty with wider margins (there was also an edition of 260 with narrower margins), published by A. Vollard, Paris, 1939, the full sheets, each in good conditionP. 348 x 248 mm., S. 499 x 386 mm. (and similar) (3)

8,000-12,000 $13,000-18,000 11,000-16,000


Bloch 231, 232, 233; Baer 617, 618, 619

52

l76

PABLO PICASSO

Femmes se reposant, from: La Suite Vollard

drypoint, 1931, on Montval laid paper, watermark Vollard, signed in pencil, from the edition of 260 (there was also an edition of fifty with wider margins), published by A. Vollard, Paris, 1939, the full sheet, a deckle edge at left, in very good conditionP. 300 x 366 mm., S. 337 x 444 mm.

8,000-12,000 $13,000-18,000 11,000-16,000


With Henri Petiet, Paris (with his number 210 in pencil at lower left recto).


Bloch 143; Baer 210

l77

PABLO PICASSO

Le Repos du Sculpteur devant un Centaure et une Femme, from: La Suite Vollard

etching, 1933, on vellum, signed in red crayon, numbered 3/3 (there were also fifty on laid paper with wide margins and 260 with narrower margins), published by A. Vollard, Paris, 1939, with wide margins, pale mount staining, slight rippling towards the sheet edges (as is usual with vellum), binding holes at the sheet edges, a couple of minor nicks at the upper left corner, a repaired tear at the lower left sheet edge, otherwise in good condition, framedP. 187 x 255 mm., S. 404 x 535 mm.

18,000-25,000 $28,000-38,000 25,000-34,000


Bloch 167; Baer 320

53

l*78

PABLO PICASSO

Sculpteur, Modle, et Buste sculpt, from: La Suite Vollard

etching, 1933, on Montval laid paper, watermark Montgolfier, signed in pencil, from the edition of fifty with wider margins (there was also an edition of 260 with narrower margins), published by A. Vollard, Paris, 1939, the full sheet, pale light- and mount staining, otherwise in good condition, framedP. 267 x 192 mm., S. 505 x 385 mm.

6,000-8,000 $9,200-12,000 8,100-11,000


Bloch 148; Baer 300

l79

PABLO PICASSO

Le Repos du Sculpteur devant un Nu la Draperie, from: La Suite Vollard

etching, 1933, on Montval paper, watermark Vollard, signed in pencil, from the edition of 260 (there was also an edition of fifty with wider margins), published by A. Vollard, Paris, 1939, the full sheet, a deckle edge below, pale light-staining, otherwise in good conditionP. 267 x 194 mm., S. 445 x 337 mm.

7,000-10,000 $11,000-15,000 9,500-13,000


Bloch 160; Baer 313

l80

PABLO PICASSO

Le Repos du Sculpteur II, from: La Suite Vollard

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

8,000-10,000 $13,000-15,000 11,000-13,000


Bloch 172; Baer 325

54

l*82

PABLO PICASSO

Sculpteur et Modle agenouill, from: La Suite Vollard

etching, 1933, on Montval paper, watermark Picasso, signed in pencil, from the edition of 260 (there was also an edition of fifty with wider margins), published by A. Vollard, Paris, 1939, the full sheet, some very minor surface dirt in the lower right margin, otherwise in good condition, framedP. 365 x 295 mm., S. 445 x 337 mm.

8,000-12,000 $13,000-18,000 11,000-16,000


Bloch 178; Baer 331

l81

PABLO PICASSO

Trois Femmes nues prs dune Fentre, from: La Suite Vollard

etching, 1933, on Montval laid paper, watermark Vollard, signed in pencil, from the edition of 260 (there was also an edition of fifty with wider margins), published by A. Vollard, Paris, 1939, the full sheet, a deckle edge below, pale time staining, otherwise in good conditionP. 365 x 299 mm., S. 445 x 340 mm.

7,000-10,000 $11,000-15,000 9,500-13,000




Bloch 176; Baer 329

55

l84

PABLO PICASSO

Modle nu et Sculptures, from: La Suite Vollard

etching, 1933, on Montval laid paper, watermark Picasso, signed in pencil, from the edition of 260 (there was also an edition of fifty with wider margins), published by A. Vollard, Paris, 1939, the full sheet, the upper left corner skilfully made up, otherwise in good condition P. 380 x 296 mm., S. 445 x 340 mm.

7,000-10,000 $11,000-15,000 9,500-13,000




Bloch 185; Baer 344

l83

PABLO PICASSO

Le Viol V, from: La Suite Vollard

drypoint, 1933, on Montval laid paper, watermark Montgolfier, signed in pencil, from the edition of fifty with wider margins (there was also an edition of 260 with narrower margins), published by A. Vollard, Paris, 1939, in very good condition, framedP. 296 x 365 mm., S. 384 x 500 mm.

8,000-12,000 $13,000-18,000 11,000-16,000


With Henri Petiet, Paris (with his number 349 in pencil at lower left recto).With Galerie Louise Leiris, Paris. Acquired from the above by the present owner.


Bloch 182; Baer 341 Bc

56

l86

PABLO PICASSO

Modle et grande Sculpture de Dos, from: La Suite Vollard

etching, 1933, on Montval paper, watermark Picasso, signed in pencil, from the edition of 260 (there was also an edition of fifty with wider margins), published by A. Vollard, Paris, 1939, the full sheet, pale light-staining, otherwise in very good conditionP. 267 x 192 mm., S. 445 x 335 mm.

7,000-10,000 $11,000-15,000 9,500-13,000


Bloch 186; Baer 345

l85

PABLO PICASSO

Autoportrait sous trois Formes: Peintre couronn, Sculpteur en Buste et Minotaure amoureux, from: La Suite Vollard

etching, 1933, on Montval paper, watermark Montgolfier, signed in pencil, from the edition of fifty with wider margins (there was also an edition of 260 with narrower margins), published by A. Vollard, Paris, 1939, the full sheet, in very good condition, framed P. 299 x 367 mm., S. 385 x 500 mm.

15,000-25,000 $23,000-38,000 21,000-34,000


With Henri Petiet, Paris (with his number 354 in pencil at lower left recto).With Galerie Louise Leiris, Paris.Acquired from the above by the present owner.



57

l88

PABLO PICASSO

Minotaure aveugle guid par une Fillette II, from: La Suite Vollard

etching, 1934, on Montval laid paper, watermark Montgolfier, signed in pencil, from the edition of fifty with wider margins (there was also an edition of 260 with narrower margins), published by A. Vollard, Paris, 1939, the full sheet, in very good condition, framedP. 240 x 295 mm., S. 383 x 504 mm.

15,000-25,000 $23,000-38,000 21,000-34,000


With Henri Petiet, Paris (with his number 381 in pencil at lower left recto).With Galerie Louise Leiris, Paris. Acquired from the above by the present owner.



l87

PABLO PICASSO

Quatre Femmes nues et Tte sculpte, from: La Suite Vollard

etching and engraving, 1934, on Montval laid paper, watermark Vollard, signed in pencil, from the edition of 260 (there was also an edition of fifty with wider margins), published by A. Vollard, Paris, 1939, the full sheet, a deckle edge at left, in very good conditionP. 223 x 316 mm., S. 340 x 450 mm.

20,000-30,000 $31,000-46,000 27,000-40,000




Bloch 219; Baer 424Bd

58

l89

PABLO PICASSO

Sueo y Mentira de Franco

the pair of etchings with aquatint, 1937, on Chine coll paper, both signed in pencil and numbered 147/150 (there were also thirty signed artists proofs numbered in Roman numerals and a stamp-signed edition of 850 on Montval), published by the artist, Paris, 1937, the full sheets, in good condition, framedP. 315 x 422 mm., S. 382 x 575 mm. (each) (2)

12,000-18,000 $19,000-27,000 17,000-24,000


Bloch 297-298; Baer 615-616; Cramer Books 28

l90

PABLO PICASSO

Tte dHomme de Profil gauche

aquatint and drypoint, 1937, on Richard de Bas laid paper, with the stamped signature, numbered 38/50 (there were also 18 artists proofs), published by Galerie L. Leiris, Paris, 1980, the full sheet, with deckle edges on all sides, in very good condition, framed P. 345 x 245 mm., S. 510 x 402 mm.

4,000-6,000 $6,100-9,100 5,400-8,100


Bloch 302; Baer 630 IIBb1

59

l92

PABLO PICASSO

Tte de Femme No. 5: Portrait de Dora Maar

aquatint and drypoint in colours, 1939, on Montval laid paper, watermark Picasso, from the unsigned edition of 105 printed by Lacourire between 1939 and 1942 (there were also 11 artists proofs, of which only two were signed, according to Baer), the full sheet, with deckle edges above and below, in very good condition P. 299 x 237mm., S. 450 x 338mm.

30,000-50,000 $46,000-76,000 41,000-67,000


Bloch 1337; Baer 653D

l91

PABLO PICASSO

Tte de Femme No. 2: Portrait de Dora Maar

aquatint and drypoint in colours, 1939, on Montval laid paper, watermark Vollard, from the unsigned edition of 104 printed by Lacourire between 1939 and 1942 (there were also 21 artists proofs, of which only one was signed, according to Baer), the full sheet, with deckle edges above and below, in very good conditionP. 299 x 237mm., S. 450 x 340mm.

20,000-30,000 $31,000-46,000 27,000-40,000


Bloch 1340; Baer 650D

These two colour aquatints of Dora Maar, from a series of six executed in 1939, provide an unusual insight into Picassos character and working methods. Picasso found colour printing challenging and frustrating in equal measure, and for three straight months the technicians at Lacourire were monopolised in producing these complex portraits. Whilst the proofs were being pulled, Picasso hit upon the idea of producing a book containing reproductions of his notebooks. The Dora Maar portraits would serve as the hors-texte illustrations. Ambroise Vollard, Picassos publisher, was enthusiastic about the project and negotiations about the paper and design of the binding were at an advanced stage when Picasso suddenly abandoned the whole enterprise. Whilst he still liked the concept, the process seemed too laborious to him. The plates remained in the atelier, which was virtually shut down as the war closed around Paris. When Picasso met Lacourire again in 1942, and saw that he was living in extremely straitened circumstances, he decided to help his friend by allowing him to print some of his old plates. It is generally thought that the colour portraits were amongst these plates, and 104 impressions of Tete de Femme no. 2 and 105 impressions of Tete de Femme no. 5 were printed. But with the project for the book abandoned, Vollard dead, and Dora Maar no longer his mistress and muse, Picasso refused to have them published. This was in spite of the entreaties of Madame Lacourire, who believed quite rightly that only by publishing them would any money be made to recompense her husband and his numerous assistants for all their hard work three years before. Picasso, however, could not be persuaded. The prints were packed up and stored in his studio for the next thirty years, where they were re-discovered after his death. The edition was subsequently divided amongst Picassos heirs, and very few have subsequently appeared on the market.

60

l93

PABLO PICASSO

Fumeur III

aquatint in colours, 1964, on Richard de Bas wove paper, signed in pencil, inscribed preuve dartiste, one of 15 artists proofs aside from the edition of fifty, published by Galerie L. Leiris, 1965, the full sheet, with deckle edges on all four sides, in very good condition P. 417 x 317 mm., S. 560 x 408 mm.

15,000-20,000 $23,000-30,000 21,000-27,000


Bloch 1171; Baer 1171

l94

PABLO PICASSO

Fumeur au Maillot ray gris et bleu

aquatint in colours, 1964, on Auvergne Richard de Bas wove paper, signed in pencil, inscribed preuve dartiste, one of 15 artists proofs aside from the edition of fifty, published by Galerie L. Leiris, Paris, the full sheet, with deckle edges on all four sides, in very good conditionP. 415 x 316 mm., S. 572 x 413 mm.

12,000-18,000 $19,000-27,000 17,000-24,000



61

l95

PABLO PICASSO

Tte de Femme, from: Picasso Dessins

lithograph, 1925, on Japanese Imperial paper, signed in pencil, from the edition of one hundred, published by Daniel Henry Kahnweiler, Paris, the full sheet, generally in very good condition L. 127 x 115 mm., S. 262 x 209 mm.

6,000-8,000 $9,200-12,000 8,100-11,000


Bloch. 73; Baer 240; Mourlot XX; Cramer Books 14

l96

PABLO PICASSO

Franoise

lithograph, 1946, on Arches wove paper, signed in pencil, numbered 27/50, probably the full sheet, generally in good condition, framedS. 650 x 505 mm.

25,000-35,000 $39,000-53,000 34,000-47,000


Bloch 401, Mourlot 45

62


l97

PABLO PICASSO

La Femme la Rsille (Femme aux Cheveux verts)

lithograph in colours, 1956, on Arches wove paper, signed in red crayon, numbered 40/50 (there were also five or six proofs for the artist and printer), the full sheet, a deckle edge above and below, in very good condition, framedS. 657 x 501 mm.

50,000-70,000 $77,000-110,000 68,000-94,000


Bloch 612; Mourlot 178a

63

l*100

PABLO PICASSO

Colombe volant ( lArc-en-Ciel)

lithograph in colours, 1952, on Arches wove paper, signed in pencil and numbered 50/200, probably the full sheet, with time and light-staining, the colours slightly attenuated, handling creases in the margins, tape stains along the upper sheet edge verso L. 500 x 650 mm., S. 545 x 765 mm.

3,000-5,000 $4,600-7,600 4,100-6,700


Bloch 712; Mourlot 214a

l*99

AFTER PABLO PICASSO

Maternit

offset lithograph in colours, 1963, on Arches wove paper, signed in pencil, numbered 117/200, published by Editions Combat de la Paix, Paris, probably the full sheet, pale light-staining, generally in very good conditionL. 800 x 600 mm., S. 893 x 633 mm.

6,000-8,000 $9,200-12,000 8,100-11,000

l98

PABLO PICASSO

Femme accroupie au bras lev

lithograph, 1956, on Arches wove paper, signed in pencil, numbered 47/50 (there were also six proofs for the artist and printer), the full sheet, a deckle edge at left and right, pale time staining, generally in good condition, framedL. 430 x 605 mm., S. 505 x 663 mm.

10,000-15,000 $16,000-23,000 14,000-20,000

Bloch 791; Mourlot 275

64


l101

PABLO PICASSO

Buste de Femme au Chapeau

linocut in colours, 1962, on Arches wove paper, signed in pencil, numbered 1/50 (there were also approximately twenty artists proofs), published by Galerie L. Leiris, Paris, 1963, the full sheet, the colours exceptionally fresh and strong, some very pale mount staining in the margins, in very good condition, framed B. 630 x 530 mm., S. 753 x 620 mm.

200,000-300,000 $310,000-460,000 270,000-400,000


Georges Bloch (1901-1984), Zurich; his stamp verso (not in Lugt).



Although linocuts form a relatively small part of Picassos oeuvre as a printmaker, he produced some of his most outstanding compositions by this method in a short burst of activity between 1958 to 1963. It was a combination of geographic necessity and artistic curiosity which led him, at the age of 78, to turn away from etching and lithography hitherto his favourite means of graphic expression and take up the linocut technique. Picasso had left Paris with Jacqueline Roque in 1958, dividing his time between Villa La Californie at Cannes, and the newly acquired Chteau de Vauvenargues, near Aix-en-Provence. A major practical drawback of this move was the delay in communicating with the printing studios in Paris. There plates could be proofed and returned within hours; now it took days, robbing Picasso the immediate contact with his printers.

His first involvement with linocut printing had been rather casual. In 1952 he had produced a series of simple posters for the potters of Vallauris, a village in the hills above Cannes. It was only six years later that he engaged with the technique more intensely. Working with the young printer Hidalgo Arnra, he re-imagined Lucas Cranachs sober Portrait of a Young Girl. The resulting print is astonishing, but he found the process too labour-intensive and complicated, as it had required the cutting and registering of six diferent colour blocks, to be printed precisely on top of one another.

When Picasso returned to linocut a few years later, he had come up with an extraordinary solution to his technical problem: rather than use separate blocks for each colour, he printed the whole image from just one block in the so-called reduction method. The block was printed in the lightest colour, then cut further and printed successively from the lighter to the darker colours. While

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