MODERN ART

Amsterdam
9 June 2015

INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

MODERN BRITISH AND CONTEMPORARY ART DEPARTMENTS
INTERNATIONAL DIRECTORS
Martha Baer
(Post-War and Contemporary Art)
Tel: +1 212 636 2071
Mariolina Bassetti
(Post-War and Contemporary Art)
Tel: +39 06 686 33 30
Giovanna Bertazzoni
(Impressionist/Modern Art)
Tel: +44 (0)20 7389 2542
Olivier Camu
(Impressionist/Modern Art)
Tel: +44 (0)20 7389 2450
Cyanne Chutkow
(Impressionist/Modern Art)
Tel: +1 212 636 2089
Brett Gorvy
(Post-War and Contemporary Art)
Tel: +1 212 636 2342
Loic Gouzer
(Post-War and Contemporary Art)
Tel: +1 212 636 2248
Marianne Hoet
(Post-War and Contemporary Art)
Tel: +32 2 289 13 39
Conor Jordan
(Impressionist/Modern Art)
Tel: +1 212 636 2074
Sharon Kim
(Impressionist/Modern Art)
Tel: +1 212 636 2068
Brooke Lampley
(Impressionist/Modern Art)
Tel: +1 212 636 2091
John Lumley
(Impressionist/Modern Art)
Tel: +44 (0)20 7389 2055
Robert Manley
(Post-War and Contemporary Art)
Tel: +1 212 636 2381
Adrien Meyer
(Impressionist/Modern Art)
Tel: +1 212 636 2056
Francis Outred
(Post-War and Contemporary Art)
Tel: +44 (0)20 7389 2270
Laura Paulson
(Post-War and Contemporary Art)
Tel: +1 212 636 2134
Jussi Pylkknen
(Impressionist/Modern Art)
Tel: +44 (0)20 7389 2452
Andreas Rumbler
(Impressionist/Modern Art)
Tel: +41 (0)44 268 10 17
Jay Vincze
(Impressionist/Modern Art)
Tel: +44 (0)20 7389 2536
Barrett White
(Post-War and Contemporary Art)
Tel: +1 212 636 2358
HONORARY CHAIRMAN,
AMERICAS
Christopher Burge
Tel: +1 212 636 2910
CHAIRMAN, AMERICAS
Impressionist/Modern Art
Derek Gillman
Tel: +1 212 636 2050
INTERNATIONAL MANAGING
DIRECTORS
Impressionist/Modern Art
Caroline Sayan
Tel: +1 212 636 2289
Post-War and Contemporary Art
Lori Hotz
Tel: +1 212 707 5915
MANAGING DIRECTORS
Impressionist/Modern Art, EMERI
Tara Rastrick
Tel: +44 (0)20 7389 2193
Impressionist/Modern Art
Julie Kim
Tel: +1 212 636 2317

BUSINESS DIRECTORS
Post-War and Contemporary Art
Americas
Cara Walsh
Tel: +1 212 484 4849
Post-War and Contemporary Art
EMERI
Virginie Melin
Tel: +33 1 40 76 84 32
Post-War and Contemporary Art UK
Zoe Ainscough
Tel: +44 (0)20 7389 2958
SENIOR BUSINESS MANAGERS
Impressionist/Modern Art
Eileen Brankovic
Tel: +1 212 636 2198
BUSINESS MANAGERS
Post-War and Contemporary Art,
Americas
Sarah Wendell
Tel: +1 212 707 5901
Post-War and Contemporary Art, UK
Astrid Mascher
Tel: +44 (0)20 3219 6451
Impressionist/Modern Art, Europe
Aoife Leach
Tel: +44 (0)20 7389 2109
ART ADVISORY ASIAN CLIENTS
Rebecca Wei
Xin Li
Tel: +852 2978 6796
PRIVATE SALES
Impressionist/Modern Art
New York
Adrien Meyer
Tel: +1 212 636 2056
London
Libert Nuti
Tel: +44 (0)20 7389 2441
New York
Stefan Kist, Senior Business Director
Tel: +1 212 636 2205
Post War and Contemporary Art
New York
Alexis Klein
Tel: +1 212 641 3741
London
Beatriz Ordovas
Tel: +44 (0)20 7389 2920
WORLDWIDE
AMSTERDAM
IMPRESSIONIST/MODERN ART
Jetske Homan van der Heide
Odette van Ginkel
Benthe Tupker
Tel: +31 (0)20 575 5281
POST-WAR AND
CONTEMPORARY ART
Peter van der Graaf
Jetske Homan van der Heide
Nina Kretzschmar
Elvira Jansen
Tel: +31 (0)20 575 5957
AUSTRIA
Angela Baillou
Tel: +43 1 533 88 12 14
BARCELONA
Carmen Schjaer
Tel: +34 93 487 82 59
BEIJING
Tan Bo
Tel: +86 (0)10 8572 7900
BRUSSELS
Marianne Hoet
Thibault Stockmann
Tel: +32 2 289 13 35
DUSSELDORF
Arno Verkade
Herrad Schorn
Tel: +49 (0)211 491 593 20

GENEVA
Nadja Scribante Amstutz
Eveline de Proyart
Anne Lamuniere
Tel: +41 (0)22 319 17 13
HONG KONG
Eric Chang
Elaine Holt
Jilly Ding
Tel: +852 2978 9985
LONDON (KING STREET)
IMPRESSIONIST/MODERN ART
Giovanna Bertazzoni
Olivier Camu
Jay Vincze
Libert Nuti
Jason Carey
Cornelia Svedman
Michelle McMullan
Adrienne Everwijn-Dumas
Keith Gill
Antoine Lebouteiller
Ottavia Marchitelli
Annie Wallington
Anna Povejsilova
Tel: +44 (0)20 7389 2638
POST-WAR AND
CONTEMPORARY ART
Francis Outred
Edmond Francey
Leonie Moschner
Dina Amin
Darren Leak
Alice de Roquemaurel
Beatriz Ordovas
Rosanna Widen
Leonie Grainger
Katharine Arnold
Tom Best
Cristian Albu
Jacob Uecker
Alexandra Werner
Alessandro Diotallevi
Paola Fendi
Josephine von Perfall
Tel: +44 (0)20 7389 2221
MODERN BRITISH & IRISH ART
Andre Zlatinger
Nick Orchard
Tel: +44 (0)20 7389 2681
LONDON (SOUTH KENSINGTON)
IMPRESSIONIST/MODERN ART
Natalie Radziwil
Imogen Kerr
Albany Bell
Astrid Carbonez
Tel: +44 (0)20 7389 2137
Tel: +44 (0)20 7389 2137
POST-WAR AND
CONTEMPORARY ART
Bianca Chu
Zoe Klemme
Tel: +44 (0)20 7389 2502
MODERN BRITISH & IRISH ART
Angus Granlund
Tel: +44 (0)20 7752 3107
MADRID
Guillermo Cid
Tel: +34 91 532 6627
MILAN
Barbara Guidotti
Elena Zaccarelli
Tel: +39 02 303 283 30
MUNICH
Jutta Nixdorf
Tel: +49 89 2420 9680

NEW YORK
IMPRESSIONIST/MODERN ART
Brooke Lampley
Cyanne Chutkow
Conor Jordan
Derek Gillman
Sharon Kim
Adrien Meyer
Jessica Fertig
David Kleiweg de Zwaan
Morgan Osthimer
Vanessa Fusco
Sarah El-Tamer
Allegra Bettini
Emma Hanley
Alexander Berggruen
Alyssa Ovadis
Isabel Elliman
Tel: +1 212 636 2050
POST-WAR AND
CONTEMPORARY ART
Brett Gorvy
Laura Paulson
Robert Manley
Loic Gouzer
Barrett White
Andy Massad
Jonathan Laib
Martha Baer
Ingrid Dudek
Koji Inoue
Alexis Klein
Sara Friedlander
Jennifer Yum
Amelia Manderscheid
Saara Pritchard
Michael Gumener
Edouard Benveniste
Edward Tang
Ana Maria Celis
Tel: +1 212 636 2100
PARIS
IMPRESSIONIST/MODERN ART
Anika Guntrum
Tudor Davies
Tatiana Ruiz Sanz
Fanny Saulay
Olivia de Fayet
Thomas Morin
Tel: +33 (0)1 40 76 85 91
POST-WAR AND
CONTEMPORARY ART
Edmond Francey
Laetitia Bauduin
Christophe Durand-Ruel
Paul Nyzam
Etienne Sallon
Ekaterina Klimochkina
Tel: +33 (0)1 40 76 84 34
ROME
Mariolina Bassetti
Renato Pennisi
Tel: +39 06 686 33 30
SYDNEY
Ronan Sulich
Tel: +612 93 26 14 22
TEL AVIV
Roni Gilat-Baharaff
Tel: +97 23 695 0695
TOKYO
Chie Banta
Gen Ogo
+ 81 (0)3 6267 1766
ZURICH
Andreas Rumbler
Hans-Peter Keller
Rene Lahn
Philippe David
Jacqueline Riederer
Tel: +41 (0)44 268 10 12

28/04/15

2
Email. First initial followed by last name@christies.com (eg. Martha Baer = mbaer@christies.com)

MODERN ART
Amsterdam
AUCTION

Tuesday 9 June 2015

at 2.00 pm Lots 1-140
Cornelis Schuytstraat 57,
1071 JG Amsterdam
AUCTION CODE AND NUMBER

In sending absentee bids or making

enquiries, this sale should be referred
to as AMS-3056
under the aegis of
Mr M.J. Meijer c.s. Notarissen.
VIEWING

Friday
Saturday
Sunday
Monday

5
6
7
8

June
June
June
June

10.00
10.00
10.00
10.00

am
am
am
am

5.00
5.00
5.00
5.00

pm
pm
pm
pm

AUCTIONEERS

Jop Ubbens and Benthe Tupker

Front cover: Lot 3
Back cover: Lot 46
Inside front cover: Lot 13 & 90
Inside back cover: Lot 6

AUCTION RESULTS
+44 (0)20 7627 2707
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INTERNATIONAL IMPRESSIONIST
AND MODERN ART SPECIALISTS
GLOBAL PRESIDENT

INTERNATIONAL HEAD OF THE DEPARTMENT

Jussi Pylkknen
London

Olivier Camu
Deputy Chairman
Impressionist & Modern
London

Giovanna Bertazzoni
London

Andreas Rumbler
Deputy Chairman
Impressionist & Modern
Zurich

John Lumley
Vice Chairman
Europe

Cyanne Chutkow
Deputy Chairman
Impressionist & Modern
New York

Christopher Burge
Honorary Chairman
America

Conor Jordan
Deputy Chairman
Impressionist & Modern
New York

Derek Gillman
Chairman
Impressionist & Modern
The Americas

INTERNATIONAL DIRECTORS AND SENIOR SPECIALISTS

Jay Vincze
International Director
Head of Department
London

Libert Nuti
International Director
London

Sharon Kim
International Director
New York

Adrien Meyer
International Director
New York

Brooke Lampley
International Director
New York

Mariolina Bassetti
International Director,
Chairman
Italy

Jetske Homan van der Heide

Director, Senior Specialist
Amsterdam

Carmen Schjaer
Director
Barcelona

Thibault Stockmann
Specialist
Brussels

Nadja Scribante
Head of Department
Geneva

Hans Peter Keller

Head of Department
Zurich

Philippe David
Specialist
Zurich

Xin Li
Deputy Chairman Asia

Elaine Holt
Vice President,
Director
Hong Kong

Anika Guntrum
Director
Paris

Tudor Davies
Head of Department
Paris

Tan Bo
Regional Director,
Impressionist &
Modern Art,
Beijing

Renato Pennisi
Senior Specialist
Rome

Roni Gilat-Baharaff
Managing Director
Tel Aviv

Adele Zahn
Business Development
Manager
Zurich

Ksena Apukhtina
Associate Director
Russian and CIS
Business Development

SPECIALISTS AND SERVICES FOR THIS AUCTION

Jetske Homan van der Heide

Senior Specialist
jhoman@christies.com
Tel: +31 20 575 5241

Odette van Ginkel

Head of Sale
ovanginkel@christies.com
Tel: +31 20 575 5284

EMAIL

SERVICES

First initial followed by

last name @christies.com
(eg. Benthe Tupker =
btupker@christies.com.)
For general enquiries about
this auction, email should
be addressed to the auction
administrator

ABSENTEE BIDS

Benthe Tupker
Specialist
btupker@christies.com
Tel: +31 20 575 5242

Thibault Stockmann
Specialist Business Coordinator
Brussels
tstockmann@christies.com
Tel: +32 22 891 338

Lisa Snijders
Sale Coordinator
lsnijders@christies.com
Tel: +31 20 575 5957

Tel: +31 (0)20 575 52 57

Fax: +31 (0)20 575 59 74
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Tel: +31 (0)20 575 59 50

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CONDITIONS OF SALE

This auction is subject to

Important Notices,
Conditions of Sale and to Reserves
BUYING AT CHRISTIES

For an overview of the process, see the

Buying at Christies section.
[21]
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COPYRIGHT NOTICE
No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or
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permission of Christies.
COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2001)

l1

PROVENANCE:

CAREL WILLINK (1900-1983)

Untitled

Anonymous sale, Christies Amsterdam, 31 May 1994, lot 64.

Kunsthandel Lambert Tegenbosch, Heusden aan de Maas.
Acquired from the above by the present owner.

signed and dated Willink 23 (lower left)

watercolour, pencil and collage on paper
27 x 20 cm.
Executed in 1923

Carel Willink came in touch with the constructivist movement in the early
1920s and this infuenced his work: some of his collages from 1922, with
right-angled and linear forms, are reminiscent of the collages by Kurt Schwitters
(1887-1948), who was, in turn, infuenced by the form discipline of Theo
van Doesburg (1883-1931). In 1923 Willink reached the pinnacle of his
constructivist period, with compositions constructed from formal elements and
colour planes with no reference to a reality outside the picture plane.

12,000-16,000

$14,000-17,000

PROVENANCE:

THEO VAN DOESBURG (1883-1931)

Stained-Glass Composition VIII

Acquired by the present owner during the renovation of the Spangen blocks,
Rotterdam, circa 1985.

stained glass
34.5 x 81.5 cm.
Executed in 1918-19

De Stijl, Volume IV, no. 5 (1921), p. 78, (titled Glas-in-lood compositie VII).
S. Polano, Theo van Doesburg. Scritti di arte e di architettura, Rome 1979, pp.
540-41, no. arch 16 (titled Vetrata compositione VII).
E. Hoek (ed.), Theo van Doesburg. Oeuvre catalogus, Utrecht 2000, no. 612.I
(illustration of another window).

15,000-20,000

$17,000-22,000

LITERATURE:

In 1918-1919 Van Doesburg designed the stained glass windows above the
doors of the Rotterdam Spangen housing project - blocks I and V designed by
the architect J.J. Oud.

l!3

MARLOW MOSS (1890-1958)

White, yellow and black
oil and pencil on canvas
54.5 x 55 cm.
Painted in 1947

80,000-120,000

$88,000-130,000

PROVENANCE:

Netty Nijhoff, Biggekerke.

Gimpel & Hanover Galerie, Zrich.
Acquired from the above by the present owner in 1973.
EXHIBITED:

Amsterdam, Stedelijk Museum, Marlow Moss, 30 March - 30 April

1962, no. 17.
Middelburg, Vleeshal, Marlow Moss, April 1972.
Zurich, Gimpel & Hanover Galerie/ London, Gimpel Fils, Marlow
Moss (1890-1958), Bilder, Konstruktionen, Zeichnungen, 1 December
1973 - 17 May 1975, no. 13 (illustrated).
LITERATURE:

F. Dijkstra, Marlow Moss: constructiviste + het reconstructieproject,

s-Hertogenbosch 1994, no. S29 (illustrated p. 31).
L. Howard, Marlow Moss (1889-1958), Plymouth 2008, no. 39
(illustrated).

First: single lines split up the canvas so that the composition falls apart into
separate planes and the painting becomes a self-contained unit.
Second: single lines make the composition static. Third: the double-line or
a multiplicity of lines renders a continuity of related and inter-related rhythm
in space possible, which makes the composition dynamic instead of static.
(Marlow Moss in: L. Howard, Marlow Moss (1889-1958), Plymouth 2008, p. 180)

l4

ARMAND BOUTEN (1893-1965)

A couple
painted wood, nails, rope, mirror and beads
66 cm. high

8,000-12,000

$8,800-13,000

EXHIBITED:

Deurne, Museum de Wieger, Armand Bouten x Hanny Korevaar: een

nieuw licht op het Nederlands expressionisme, 25 November 1990 - 13
January 1991, no. 78 (illustrated p. 33).
Groningen, Groninger Museum, Armand Bouten (1893-1965): kunst
maakt zichzelf, 9 November 2008 - 1 March 2009, no. C82 (illustrated
p. 138).

10

l5

ARMAND BOUTEN (1893-1965)

Melksters met koeien
signed and dated Armand Bouten.18 (lower right); titled and
dated Melksters met koeien 1918 (on the stretcher)
oil on canvas
98 x 103.5 cm.
Painted in 1918

10,000-15,000

$11,000-16,000

PROVENANCE:

Galerie Maris, Haarlem.

Acquired from the above by the present owner.
EXHIBITED:

Deurne, Gemeentemuseum De Wieger, Armand Bouten x Hanny Korevaar: een

nieuw licht op het Nederlands expressionsime, 25 November 1990 - 13 January
1991, no. 7 (illustrated p.19).
Groningen, Groninger Museum, Armand Bouten (1893-1965): kunst maakt
zichzelf, 9 November 2008 - 1 March 2009, no. C10 (illustrated p. 66).
LITERATURE:

A.G. Maris, For me and for you, Ghent 1998, no. 98, p. 207 (illustrated p. 208).

11

l6

CAREL WILLINK (1900-1983)

Composition with arches
signed and indistinctly dated Willink 20 (lower left)
oil on canvas
66.5 x 106.5 cm.
Painted circa 1920

70,000-90,000


$77,000-98,000

PROVENANCE:

Anonymous sale, Sothebys Mak van Waay, Amsterdam,

14 March 1983, lot 322.
EXHIBITED:

Amsterdam, Gebouw Heystee, Carel Willink, 9-23 February

1924.
Tilburg, Paleis Raadhuis, A.C. Willink, 30 July 19 September 1955, no. 7 (where dated 1924).
Amsterdam, Stedelijk Museum, Carel Willink, 22 September 23 October 1961, no. 3 (where dated 1924).
LITERATURE:

H.L.C. Jaff, Willink, Amsterdam 1986, no. 21,

pp. 11, 202 (illustrated).

12

13

l7

ARMAND BOUTEN (1893-1965)

Figures
signed A. Bouten (lower right)
oil on plywood
48 x 46 cm.
Painted circa 1918

3,000-5,000

$3,300-5,500

PROVENANCE:

Galerie Maris, Haarlem.

Acquired from the above by the present owner.
EXHIBITED:

Deurne, Gemeentemuseum De Wieger, Armand Bouten

x Hanny Korevaar: een nieuw licht op het Nederlands
expressionisme, 25 November 1990 - 13 January 1991,
no. 6 (illustrated p. 17).
Groningen, Groninger Museum, Armand Bouten (18931965): kunst maakt zichzelf, 9 November 2008 - 1 March
2009,
no. C9 (illustrated p. 65).

l8

REIMOND KIMPE (1885-1970)

La Cocotte
signed and dated R. Kimpe 41 (lower right)
oil on canvas
80.5 x 65.5 cm
Painted in 1941

6,000-8,000

$6,600-8,700

PROVENANCE:

Kunsthandel Wending, Amsterdam.

Galerie Maris, Haarlem.
Acquired from the above by the present owner.
LITERATURE:

A.G. Maris, For me and for you, Ghent 1998, no. 142,
p. 296 (illustrated p. 297).

14

PROPERTY FROM THE COLLECTION OF

HUGO TUTEIN NOLTHENIUS

(1863-1944)
(LOTS 9-33)

Fig. 1

Christies is pleased to offer part of the important collection of Hugo Tutein

Nolthenius.
Tutein Nolthenius was a chemist by training who went into industry and
from 1898 to 1920 was the director of the Calv fne oil factory (NOF) in
Delft. He was a man of many talents, who enjoyed driving cars, skating,
and had a passion for art. He himself was an amateur photographer,
ceramist and glass-painter, but he was also a patron of the arts and one of
the early 20th centurys great Dutch collectors.
Hugo Tutein Nolthenius grew up in a household which appreciated
art, as it had been one of the interests of his banker father. In the early
1880s Hugo attended the Polytecnic School in Delft, and it is likely that
he attended the classes given by the professor of decorative arts Adolf le
Comte, who was an innovator in the feld of ceramics. Later Hugo had his
own kiln and experimented with his nephew Harm Kamerlingh Onnes and
with Bart van der Leck to produce ceramics.
His interest in art even spilt over into his professional life, and in 1894
Tutein Nolthenius commissioned an advertising poster from Jan Toorop,
which advertised Delftsche Slaolie for the NOF Company. This lithograph
is the best known example of Dutch Art Nouveau (Fig. 1).
For his own home in Delft Hugo Tutein Nolthenius commissioned stained
glass windows from Johan Thorn Prikker, as well as portraits of himself and
his sister and brother. In addition to the works he commissioned, Tutein
Nolthenius also collected both Chinese works of art, and work by sculptors
as John Rdecker, Jan Altorf, Lambertus Zijl and Joseph Mendes da Costa,
paintings by Floris Verster, Menso Kamerlingh Onnes, Bart van der Leck,

Hugo Tutein Nolthenius

Jacob Maris, Isaac Israls, Chris Beekman and Vincent van Gogh. Tutein
Nolthenus owned twelve paintings by Van Gogh,The Potato eaters was
among them (now in the Krller-Mller museum, Otterlo).
Hugo Tutein Nolthenius was adviced by Hendricus Petrus Bremmer
(1871-1956), the artist, collector, author, teacher, and the most important
Dutch art advisor and art critic of the frst half of the 20th century. Tutein
Noltenius sister Julie followed Bremmers art classes and so Bremmer
and Tutein Nolthenius made their acquaintance. At a certain point the
collection of Tutein Nolthenius was considered to be so important that
Bremmer organised lectures based upon the collection in 1924-25.
Another known pupil of H.P. Bremmer was zealous collector Helene
Krller-Mller, who bought her frst three paintings by Vincent van Gogh
under Bremmers guidance in 1909. Their alliance resulted in one of the
largest private Dutch collections of modern art, which now forms the core
of the Krller-Mller museum, Otterlo.
Bremmer encouraged and supported many young modern artists during his
life. Both Bart van der Leck and Piet Mondriaan were supported fnancially
and Bremmer would advice his wealthy clientele to purchase work by
artists as Charley Toorop, John Rdecker, Lambertus Zijl, Gino Severini and
Odilon Redon. Other artists were advised by Bremmer on how and what to
paint. Bremmer was extremely infuential, which is refected in many Dutch
public and private collections, such as the collection presented in this sale.
Hugo Tutein Nolthenius was generous with his collection and allowed
objects from it to go on public exhibtion on a number of occasions. In
2008 part of the collection was exhibited in Delft at the Prinsenhof in order
to celebrate both the collector and his remarkable collection.

15

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

l9

BART VAN DER LECK (1876-1958)

De Ruiter
photo-lithograph in colours, 1918-19, on wove paper, signed in pen,
with margins, printed by W. Scherjon, Utrecht, the sheet glued down
onto the mount in places, the sheet somewhat time-stained, creasing
in places, glue remnants in lower margin, paper scuffng in lower right
corner, otherwise in good condition
S. 830 x 330 mm.; L. 795 x 285 mm.

4,000-6,000

$4,400-6,500

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
EXHIBITED:

Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius (1863-1944),

portret van een Delftsch kunstverzamelaar, 13 September - 30 November
2008.
LITERATURE:

W.C. Feltkamp, B.A. van der Leck, leven en werken, Leiden 1956
(illustration of another version p. 61).
D. Dooijes, P. Brattinga, A history of the Dutch poster 1890-1960,
Amsterdam 1968, no. 155 (illustration of another version).
R.W.D. Oxenaar, Bart van der Leck tot 1920, een primitief van de
nieuwe tijd, The Hague 1976, no. 109 (illustration of another version).
A.W. Purvis, Dutch graphic design 1918-1945, New York 1992,
p. 28 (illustration of another version).
Jan Juffermans, Met stille trom, Beeldende kunst en Utrecht sinds 1900,
Utrecht 1996, p. 38. (illustration of another version).
The original painting of the same composition was created in 1918 and
was right away purchased by Helene Krller-Mller for her collection. A
photo-lithographic print was produced in 1919 to be used as a poster (with
two text banners added) for the exhibition of Van der Lecks work Voor de
Kunst (For Art) in Utrecht.
De Ruiter embodies Van der Lecks complete reduction of forms to their
base components. The image of a rider on a horse is depicted by means
of associated fragmented angular shapes whose only context is a blue strip
of line suggesting sky and two red rectangles suggesting a base or ground
for the image.

16

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

l10

BART VAN DER LECK (1876-1958)

Fish
signed with initials and dated B vd L 36 (on the side)
glazed terracotta
12.5 x 12.5 cm., in the original wooden stand.
Executed in 1936

3,000-5,000

$3,300-5,500

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.

l11

BART VAN DER LECK

(1876-1958)
Untitled
signed and dated BvdL 37 (underneath)
glazed terracotta plate
30 cm. diameter
Executed in 1937

7,000-9,000

$7,700-9,800

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
Tutein Nolthenius was an enthusiast amateur ceramicist,
who had his own kiln at home, where he would produce
ceramics infuenced by Asian examples. He would also
support and encourage Bart van der Leck in experimenting
with new methods and materials.
In July 1934 Bart van der Leck wrote to Bremmer: From
Nolthenius I received several necessities for the pottery, for
which i am very grateful. He is so amazingly kind! We
discussed that I would not have had the opportunity to do
these things with any other potter. I must add, this is surely
due to his kind cooperation. Now I have to do several
tests and I need some more materials before i can make
something, but that will come (C. Hilhorst, Vriendschap
op afstand. De correspondentie tussen Bart van der Leck
en H.P. Bremmer, Bussum 1999, p. 166).

17

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

l12

JOHAN COENRAAD ALTORF (1876-1955)

Seated monkey
signed and dated Altorf 1904 (on the back)
bronze with a brown patina
18 cm. high
Conceived and cast in 1904 in a small unknown edition.

7,000-9,000

$7,700-9,800

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
EXHIBITED:

Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius (1863-1944), portret

van een Delftsch kunstverzamelaar, 13 September - 30 November 2008.

l13

CHRIS BEEKMAN (1887-1964)

Untitled
signed and dated Christ. B. 19-20. (lower left)
oil on canvas
79.5 x 39.5 cm.
Painted in 1919-20

25,000-35,000

$28,000-38,000

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
EXHIBITED:

Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius (1863-1944),

portret van een Delftsch kunstverzamelaar, 13 September - 30 November
2008.
This abstract work by Chris Beekman is one of the few known non
fgurative paintings by the artist. Beekman met Bart van der Leck for the frst
time in 1915 and followed him in his movement towards abstraction and
in the reduction of a visual reality. Both moved to Het Gooi in 1916. Chris
Beekman met Vilmos Huszar already earlier, when he was still living in The
Hague. Although Beekman never became a member of De Stijl group,
between 1917-1920 his work was based on a geometrical grid, with
primary colours or just black, grey and white. Around 1930 Beekmans
work would be infuenced by his political communist ideas, showing a
return to fguration.
Chris Beekman used the composition of the present lot for an illustration
in the book: C. Beekman, S. Goudsmit, De Gast-vertellers, een serie
pogingen tot een eenigszins fatsoenlijk Cabaret in klein- kwarto, no. 1 kleine
ontdekkingen, Laren 1924, p. 55.
The present lot will be sold with a copy of this book.

18

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

19

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

l14

JOHN RDECKER (1921-1956)

Maskerkop

PROVENANCE:

signed with initials and dated J.R. 1928 (on the side)
bronze with a brown patina
29 cm. high
Conceived and cast in 1928 in an edition of circa 8.

EXHIBITED:

15,000-20,000

Y. Koopmans, John Rdecker, de droom van het levende beeld, Zwolle

2006, no. Ia-102 (illustrated p. 318).

20

$17,000-22,000

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius (1863-1944), portret
van een Delftsch kunstverzamelaar, 13 September - 30 November 2008.
LITERATURE:

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

l15

JOHAN COENRAAD ALTORF (1876-1955)

AND CHRIS LANOOY (1881-1948)
Elephant
signed, marked, dated and numbered Altorf + Lanooy 1912 ABL 12X
(underneath)
Cast porcelain
22 cm. high
Conceived and cast in 1912 in an edition of 12.

3,000-5,000

$3,300-5,500

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
EXHIBITED:

Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius (1863-1944), portret

van een Delftsch kunstverzamelaar, 13 September - 30 November 2008.
LITERATURE:

P. A. Terwen, Het ceramische werk van J. C. Altorf en de samenwerking met

Chris Lanooij, Vormen uit Vuur 2/21, Amsterdam 1998, p. 11 (illustration of
another cast).
W. Heijbroek, K. Gaillard, Tussen twee vuren, Chris Lanooy 1881-1948,
Zwolle 2002, no. 93 (illustration of another cast p. 66).
In 1910 a collaboration between sculptors J.C. Altorf and Chris Lanooy
started on the initiative of art collector and Maecenas H.P. Bremmer (18711956). The artists started on a series of animal sculptures, experimenting with
different forms of casting clay, including porcelain. The sculptures produced
during this partnership were limited to a maximum edition of twelve and
provided with a specifc mark signifying the collaboration between the three
men. The mark consists of a triangle with the initials A (Altorf), L (Lanooy) and
B (Bremmer) at each corner and the edition of the sculpture placed in the
middle. Bremmer included one piece of each series of sculptures produced
by Altorf and Lanooy in his private collection. How many different sculptures
the artists made is currently unknown, but in a period of a few years at least
fve were conceived: an elephant, an owl, a cockatoo, a seated monkey
and a lying bison.

l16

JOHN RDECKER (1885-1956)

Seated nude
signed with initials J.R (lower right)
chalk on paper
44.5 x 37 cm.;
and Another work on paper by the same hand depicting a ballerina. (2)

1,000-1,500

$1,100-1,600

PROVENANCE:

Kunsthandel Huinck & Scherjon, Amsterdam.

Acquired from the above by Hugo Tutein Nolthenius, Delft.
By descent from the above to the present owner.
(Part lot)

21

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

17

MENSO KAMERLINGH ONNES (1860-1925)

Indian cress
signed and dated M. Kamerlingh Onnes. 99 (lower left)
watercolour and gouache on paper
46.5 x 32 cm.
Executed in 1899

8,000-12,000
22

$8,800-13,000

PROVENANCE:

Kunsthandel Huinck & Scherjon, Amsterdam.

Acquired from the above by Hugo Tutein Nolthenius, Delft.
By descent from the above to the present owner.
EXHIBITED:

Leiden, Stedelijk Museum De Lakenhal, Menso Kamerlingh Onnes,

15 December 1945 - 20 January 1946, no. 77.

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

18

JAN VOERMAN (1857-1941)

Roode Oost Indische kers

PROVENANCE:

signed with initials and dated J.V. 89 (lower right)

watercolour and gouache on paper
45 x 36 cm.
Executed in June 1889

8,000-12,000

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
LITERATURE:

$8,800-13,000

A. Verkade-Voerman, Werkcatalogus Jan Voerman, August 1964

(unpublished manuscript).

23

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

l19

LAMBERTUS ZIJL (1866-1947)

Lady with a beret
signed with initials, numbered and with initials LZ 14/15 NS
(on the back of the bronze base)
bronze with a dark brown patina
19.5 cm. high
Conceived and cast at an unknown date in an edition of 15.

1,500-2,000

$1,700-2,200

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
EXHIBITED:

Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius

(1863-1944), portret van een Delftsch kunstverzamelaar,
13 September - 30 November 2008.

l20

LAMBERTUS ZIJL (1866-1947)

Bust of H.P. Bremmer
signed with initials and dated LZ 19 (on the back)
bronze with a dark brown patina
12.5 cm. high
Conceived and cast in 1919 in an unknown small edition.

1,000-1,500

$1,100-1,600

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
EXHIBITED:

Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius (1863-1944),

portret van een Delftsch kunstverzamelaar, 13 September 30 November 2008.

24

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

l21

CHRIS BEEKMAN (1887-1964)

A quiet street in The Hague

EXHIBITED:

Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius (1863-1944),

portret van een Delftsch kunstverzamelaar, 13 September - 30 November
2008.

signed and dated Christ B. 1914 (lower right)

oil on canvas
33 x 51 cm.
Painted in 1914

7,000-9,000
PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.

$7,700-9,800

In 1913 Beekman went to Paris were he was inspired by the work of

Georges Seurat. After his return in 1914, Beekman focussed on the city
of The Hague in his work, where he resided at the time. He documented
many streets that were still under construction. It has been suggested that
the present lot depicts the Ieplaan, The Hague. In 1914 Beekman made
a lithograph with a similar subject, titled Zonsopgang, now in the KrllerMller museum in Otterlo.

25

l22

RAOUL MARTINEZ (1876-1973)

Flowers in a vase
signed and dated R. Martinez 37 (upper left)
oil on canvas
55 x 46 cm.
Painted in 1937

800-1,200

$880-1,300

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.

l23

JEAN-LOUIS-MARCEL COSSON (1878-1956)

At the opera
signed Cosson (lower right)
oil on panel
33 x 24 cm.

1,000-1,500
PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.

26

$1,100-1,600

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

l24

JAAP NIEWEG (1877-1955)

A still life with fruits and fowers
signed and dated J Nieweg 1922
(lower right)
oil on canvas
79 x 100.5 cm.
Painted in 1922

6,000-8,000

$6,600-8,700

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present
owner.

25

WILLIAM DEGOUVE DE
NUNCQUES (1867-1935)
Landscape with trees
signed with monogram (lower right)
oil on board
37.5 x 57.5 cm.

2,500-3,500

$2,800-3,800

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present
owner.

27

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

l26

l27

l28

LAMBERTUS ZIJL (1866-1947)

Henk Bremmer at the age of 13

LAMBERTUS ZIJL (1866-1947)

Portrait of a girl

LAMBERTUS ZIJL (1866-1947)

Squatting bear

signed with initials, dated and titled L.Z. 17

Henk Bremmer AET.13. (on top of the bronze
base)
bronze with a dark brown patina
31 cm. high
Conceived and cast in 1917 in an unknown
small edition.

dated 1905 (lower right)

bronze with a black patina
20.5 cm. high
Conceived and cast in 1905 in a small
unknown edition.

signed with initials, numbered and with

monogram LZ 4/15 NS
(on the back of the bronze base)
bronze with a black patina
17 cm. high
Conceived and cast at an unknown date in
an edition of 15.

1,000-1,500

800-1,200

2,500-3,500

$1,100-1,600

$880-1,300

$2,800-3,800

PROVENANCE:

PROVENANCE:

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.

EXHIBITED:

EXHIBITED:

EXHIBITED:

Delft, Museum Het Prinsenhof, Hugo Tutein

Nolthenius (1863-1944), portret van een
Delftsch kunstverzamelaar, 13 September 30 November 2008.

Delft, Museum Het Prinsenhof, Hugo Tutein

Nolthenius (1863-1944), portret van een
Delftsch kunstverzamelaar, 13 September 30 November 2008.

Delft, Museum Het Prinsenhof, Hugo Tutein

Nolthenius (1863-1944), portret van een
Delftsch kunstverzamelaar, 13 September 30 November 2008.

LITERATURE:

LITERATURE:

M. Broekman, a.o., Lambertus Zijl, Assen

1990, no. 255 (illustration of another cast).

R.W.P. de Vries Jr., Lambertus Zijl, Bussum

1946, no. 32 (illustrated).

28

l29

JAAP NIEWEG (1877-1955)

Pink roses
signed with monogram and dated 1951
(lower right)
oil on canvas
60.5 x 70.5 cm.
Painted in 1951

3,000-5,000

$3,300-5,500

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.

l30

JAAP NIEWEG (1877-1955)

Flowers in a Chinese vase
signed with monogram and dated 1953
(lower right)
oil on canvas
40 x 35.5 cm.
Painted in 1953

1,000-1,500

$1,100-1,600

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.

29

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

l31

JOHN RDECKER (1921-1956)

Kop van een neger

PROVENANCE:

signed with initials JR (on the back)

stone
30 cm. high

EXHIBITED:

20,000-30,000

LITERATURE:

30

$22,000-33,000

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius (1863-1944), portret van een
Delftsch kunstverzamelaar, 13 September - 30 November 2008.
Y. Koopmans, John Rdecker, de droom van het levende beeld, Zwolle 2006, no. Ia-163.

PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)

l32

LAMBERTUS ZIJL (1866-1947)

Elephant
signed with initials, numbered and with monogram
LZ 12/15 NS (on the back of the bronze base)
bronze with a brown patina
14 cm. high
Conceived and cast in 1916 in an edition of 15.

1,200-1,600

$1,400-1,700

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
EXHIBITED:

Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius

(1863-1944), portret van een Delftsch kunstverzamelaar,
13 September - 30 November 2008.
LITERATURE:

R.W.P. de Vries Jr., Lambertus Zijl, Bussum 1946, no. 37

(illustrated).

l33

JAAP NIEWEG (1877-1955)

Monkeys
signed with monogram and dated 28 (on the base)
terracotta
18.5 cm. high
Executed in 1928

2,000-3,000

$2,200-3,300

PROVENANCE:

Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
EXHIBITED:

Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius

(1863-1944), portret van een Delftsch kunstverzamelaar,
13 September - 30 November 2008.

31

l34

CHRIS BEEKMAN (1887-1964)

Zwoegers
signed and dated Christ. B. 1915.
(lower right)
pencil, ink and gouache on paper
36 x 46 cm.
Executed in 1915

1,500-2,000

$1,700-2,200

EXHIBITED:

Amsterdam, Stedelijk Museum, Nederlandse kring van

tekenaars, 18 January - 13 February 1956.

l35

JOHN RDECKER (1885-1956)

Horse
painted terracotta
24.5 cm. high
Conceived in 1934.

1,000-1,500

$1,100-1,600

PROVENANCE:

Henri van Abbe, Eindhoven.

By descent from the above to the previous owner.
This work is a preliminary study for the sculptures made
for the entrance of the Van Abbe Museum, Eindhoven.

32

PROPERTY FROM THE ESTATE OF A.J. SOLANO-LUBBERS

!36

LEO GESTEL (1881-1941)

Caricature of the artist in the hospital
signed with initials, dated and indistinctly inscribed LG. Febr 33
Ziekenverpl. Laren (lower right)
pencil, colour crayons and ink on paper
24.5 x 19.5 cm., unframed
Executed in 1933;
and Four other caricatures depicting the artist during hospitalisation
in 1933 and 1936.
(5)

1,500-2,000

$1,700-2,200

PROVENANCE:

From the estate of A.J. Solano-Lubbers, Geneva.

(Part lot)

PROPERTY FROM THE COLLECTION OF DR. J.F.S. ESSER

37

LEO GESTEL (1881-1941)

Markt Nijmegen
signed, dated and titled Leo Gestel 08 Markt Nijmegen
(lower left)
chalk, watercolour and colour crayons on paper
26 x 20.5 cm., unframed
Executed in 1908;
and Another work on paper by the same hand depicting a
seated boy

1,500-2,000

(2)

$1,700-2,200

PROVENANCE:

Dr. J.F.S. Esser, Amsterdam.

By descent from the above to the present owner.

33
(Part lot)

PROPERTY FROM THE COLLECTION OF DR. J.F.S. ESSER

38

PIET MONDRIAAN (1872-1944)

Head of a girl
with signature Piet Mondriaan (lower centre)
chalk on paper
34 x 21 cm.
Executed circa 1896

5,000-7,000

$5,500-7,600

PROVENANCE:

Dr. J.F.S. Esser, Amsterdam.

By descent from the above to the present owner.
EXHIBITED:

Laren, Singer Museum, Onstuitbare verzamelaar J.F.S. Esser:

Mondriaan, Breitner, Sluijters e.a, 13 December 2005 - 28
April 2006, no. 55 (illustrated p. 56).
LITERATURE:

R.P. Welsh, Piet Mondrians early career, the naturalistic

periods, New York, 1977, no. 27-28.
R.P. Welsh, Catalogue Raisonn of the Naturalistic works (until
early 1911), Blaricum/Paris 1998, no. A27 (illustrated p. 164).
The signature was added by Dr. J.F.S. Esser.

34

39

PIET MONDRIAAN (1872-1944)

Polder with moored boat near Amsterdam I
signed twice Piet Mondriaan (lower left) and Mondriaan (lower right)
oil on board
34 x 55 cm.
Painted circa 1899-1900

50,000-70,000

$55,000-76,000

PROVENANCE:

Kunsthandel G.J. Nieuwenhuizen Segaar, The Hague.

EXHIBITED:

The Hague, Gemeentemuseum, Mondriaan, 10 February - 12 April 1955,

no. 8 (illustrated).
LITERATURE:

M. Seuphor, Piet Mondrian, Life and Work, New York, 1956, no. 124
(illustrated p. 367).
M.G. Ottolenghi, Lopera completa di Mondrian, Milan 1974, no. 15.
R.P. Welsh, Piet Mondrians early career, the naturalistic periods, New York,
1977, no. 54 (illustrated).
R.P. Welsh, Catalogue Raisonn of the Naturalistic works (until early 1911),
Blaricum/Paris 1998, no. A233 (illustrated p. 246).
M. Bax, Complete Mondriaan, Burlington 2001 (illustrated p. 336).

The present lot depicts a small barge, nonetheless equipped with a

sail, located within a waterway presumably near Amsterdam. This
presumption is strengthened by the presence of a rounded tower,
upper right along the horizon, which can be identifed only as that
surmounted by a cupola of the Paleis voor Volksvlijt. Thus the view is
from a canal to the south of Amsterdam looking back to the city, which
explains the right-hand position of the Paleis voor Volksvlijt, located
near the Amstel, at right.
In this painting there is also a smokestack visible at the left along
the horizon. Here, again, one can think only of it as belonging to
the Royal Wax Candle Factory on the Hobbemakade behind the
Rijksmuseum, a building complex and an area well known to the
artist since his 1895 residence on the Ruysdaelkade, the bank of the
Boerenwetering opposite to that of the Hobbemakade.
In reference to this industrial subject and the impressionist style in
which it is executed, one could easily group this painting with similar
ship-oriented subjects executed by the artist during the fnal years
of the nineteenth century. (R.P. Welsh, Catalogue Raisonn of the
Naturalistic works (until early 1911), Blaricum/Paris 1998, p. 246).

35

l40

JEAN POUGNY (1892-1956)

Tte dArlequin
oil on canvas laid down on board
14.5 x 13 cm.;
and Another work on cardboard by the same hand, depicting
an interior.
(2)

3,000-4,000

$3,300-4,400

PROVENANCE:

J. Lwenstein, London.
Anonymous sale, Christies, London, 29 November 1993, lot 56.
Kunsthandel Lambert Tegenbosch, Heusden aan de Maas.
Acquired from the above by the present owner.
LITERATURE:

H. Berninger and J. Cartier, Jean Pougny (Iwan Puni) 1892-1956.

Catalogue de loeuvre Tome 2: Le Pougny Classique: ParisCte dAzur. 1924-1956, Tbingen, 1972-1992, no. 1029
(illustrated p.264).

(Part lot)

l41

RAPHAEL DUBOIS (1888-1960)

Girl with tambourine
signed and dated Raphael Dubois 1914 (lower left)
oil on canvas
92 x 73.5 cm.
Painted in 1914

3,000-5,000
36

$3,300-5,500

l42

JOSEPH FLOCH (1894-1977)

Circus Colosseum
signed and dated Floch.J. 1917 (lower right)
oil on canvas
140 x 125 cm.
Painted in 1917

20,000-30,000

$22,000-33,000
37

l43

KARL SCHMIDT-ROTTLUFF (1884-1976)

Landschaft mit untergehender Sonne
signed S Rottluff (lower right)
ink and watercolour on paper
37 x 50.5 cm.

15,000-20,000

$17,000-22,000

Hermann Gerlinger has confrmed the authenticity of this work.

38

PROPERTY FROM THE TRITON COLLECTION FOUNDATION

l44

HERMANN MAX PECHSTEIN (1881-1955)

Four men in a rowing boat
signed with initials and dated HMP 1920 (lower right)
charcoal, ink and ink wash on paper
26.5 x 37 cm.
Executed in 1920

6,000-8,000

$6,600-8,700

PROVENANCE:

Piccadilly Gallery, London.

Anonymous sale, Sothebys, London, 20 October 1999, lot 123.
Anonymous sale, Christies, London, 5 February 2004, lot 378.
Acquired at the above by the Triton Collection Foundation.

LITERATURE:

S. van Heugten, Avant-gardes, 1870 to the Present, the Collection of the

Triton Foundation, Brussels 2012, p. 557 (illustrated p. 184).
The privately owned Triton Collection Foundation holds one of the most
important collections of the 19th and 20th Century avant-garde art in
private hands worldwide. It comprises a few hundred works from three
centuries of global art from Claude Monet, Pablo Picasso, Georges
Braque and Vincent Van Gogh to Yves Klein, Gerhard Richter, Ellsworth
Kelly, Marina Abramovich, and Ai Weiwei.
Alexander Pechstein has confrmed the authenticity of this work.

39

PROPERTY OF A PRIVATE COLLECTOR

45

MAX SLEVOGT (1868-1932)

Selbstbildnis im Garten
signed and dated Slevogt 10 (lower right)
oil on canvas
101 x 80 cm.
Painted in 1910

150,000-200,000

$170,000-220,000

PROVENANCE:

Acquired directly from the artist by Dr. Carl Steinbart, Berlin.

By descent from the above to the present owner.
EXHIBITED:

Dresden, Galerie Arnold, Deutsche Malerei im 19. Jahrhundert, 1918,

no. 212.
Berlin, Paul Cassirer, Max Slevogt, Ausstellung zum 50. Geburtstag
des Knstlers, November - December 1918, no. 121.
Schaffhausen, Museum zu Allerheiligen, Liebermann, Corinth, Slevogt,
23 April - 24 July 1955, no. 113.
Laren, Singer Museum, Schilderkunst uit La Belle Epoque, 4 July 16 September 1964, no. 73 (illustrated no. 39).
Basel, Kunsthalle, Max Slevogt zum 100 Geburtstag, 22 June - 28 July
1968, no. 85 (illustrated on the cover).
LITERATURE:

K. Scheffer, Max Slevogt in: Kunst und Knstler, XIV, 1916, p. 287
(illustrated).
W. Kurth, Deutsche Malerei im 19. Jahrhundert in: Deutsche Kunst
und Dekoration, XLIII, 1918-19, p. 208 (illustrated).
G. Pauli, Werden und Vergehen des Impressionismus in: Zeitschrift fr
Bildende Kunst, LIV, 1918-19, p. 66 (illustrated).
Anonymous, Max Slevogt in: Kunst fr Alle, XXXVI, 1920-21, p. 84
(illustrated).
H.J. Imiela, Max Slevogt: eine Monographie, Karlsruhe 1968, p. 388.
The authenticity of this work has been confrmed by Bernhard Geil
based on photographs.

40

From 1909 until 1913 Max Slevogt spent the summer months at Godramstein
near Landau in the Palatinate, where his wifes parents lived. Involved in the
Berlin Secession movement with Max Liebermann and Lovis Corinth, life in a
small village in a beautiful natural setting provided a welcome change of scene
for his wife and their two children. Slevogt painted many landscapes in the
garden of the villa and the immediate surroundings in 1909-10. He abandoned
the dark palette he had been taught to use at the art academy in Munich, to
explore under the sway of French Impressionism and infuenced by Vincent van
Gogh. These landscapes are characterized by a summery joie de vivre and are
painted in exquisitely glowing, intense colours.
Since the late 1890s Slevogt had been engaged in an investigation of the
human fgure. Infuences of French artists became visible. In the autumn of 1889,
Paul and Bruno Cassirer organised an exhibition with work by Monet and other
French painters in Berlin, along with some of Slevogts paintings. The freshness
of handling and the vibrancy of the palette were an eye-opener for the artist.
Slevogt was particularly taken by Manet. I admired Manet so much, because,
in him, I found what makes the world so beautiful (op. cit. B. Geil a.o., German
Impressionist Landscape Painting Liebermann-Corinth-Slevogt, Stuttgart 2010).
In Selbstbildnis im Garten the artist is in direct contact with the viewer, with
his ever-present cigar he seems calm and confdent. The work combines the
liveliness of the sun-lit summer landscape and a self portrait of the artist at the
peak of his artistic career.
The frst owner of Selbstbildnis im Garten, Carl Steinbart (1852-1923) was a
banker, art dealer and art collector. He owned one of the largest collections of
Slevogts work, consisting of at least 80 paintings. Slevogt portrayed Steinbart
and his family members several times.

PROPERTY OF A PRIVATE COLLECTOR

46

MAX SLEVOGT (1868-1932)

Gartenecke in der Sonne
signed Slevogt (lower right)
oil on canvas
56.5 x 69 cm.
Painted in 1917

60,000-80,000

$66,000-87,000

PROVENANCE:

Acquired directly from the artist by Dr. Carl Steinbart, Berlin.

By descent from the above to the present owner.
EXHIBITED:

Berlin, Paul Cassirer, Max Slevogt, Ausstellung zum 50. Geburtstag

des Knstlers, November - December 1918, no. 202.

Das Auge ist kein Instrument, kein Spiegel - es ist eine

lebendige Weiterleitung in unserem Organismus.
Es sieht, was es sucht, und was es nicht versteht, sieht es nicht.
(Max Slevogt in: Gemlde, Aquarelle, Zeichnungen, Stuttgart 1992)

The present lot shows a corner in the garden of Neukastel, with fowering
plants and a sunlit garden wall, painted in 1917. Originally owned by
the artists parents-in-law, the Finklers, whose daughter Slevogt had married
in 1898, the property passed to the artist in 1914. In 1917 Slevogt was
forced to stay in Neukastel during World War I. This was distressing for
him, since he had been appointed supervisor of a master-class painting
studio at the Berlin Academy in that same year. He did make good use of
this long stay at Neukastel and was very productive, resulting in a series
of vibrant pictures showing the estate and its gardens.

become worthy of being painted purely due to a specifc light situation,

enabling a detail of the garden to unfurl all its splendor of colors. The piece
of garden has been transformed into a joyously experienced minor miracle
of light, which has offered itself unexpectedly to the artist while the war has
cast its shadow on the outside world. The glowing beauty of an intimate
garden has become for Slevogt a moment of peaceful remoteness that
he has been overjoyed to see, a light impression whose beauty the artist
literally wanted to capture for himself. (B. Geil a.o., German Impressionist
Landscape Painting, Stuttgart 2010, p. 218)

Bernard Geil wrote about Slevogts garden pictures from around 1917:
The choice of motifs in these garden paintings sometimes seems random,
a characteristic very typical of French Impressionism. A modest motif has

The authenticity of this work has been confrmed by Bernhard Geil based
on photographs.

42

43

l47

JOHAN DIJKSTRA (1896-1978)

Haystacks
signed twice Johan Dijkstra (lower left and right)
oil on canvas
50.5 x 70 cm.

6,000-8,000

$6,600-8,700

PROVENANCE:

Acquired from the family of the artist by the present

owner in 2013.

48

LEO GESTEL (1881-1941)

Blaricum
signed, dated and titled Leo Gestel Blaricum 39
(on the reverse), with estate stamp, inscribed and
dated Landschap 1939 (on the backing)
oil on board
21 x 27 cm.
Painted in 1939

2,000-3,000

$2,200-3,300

PROVENANCE:

Anonymous sale, Paul Brandt, Amsterdam, 22 May

1962, lot 151.
H.A. Frank, Le Blonay.
By descent from the above to the present owner.
EXHIBITED:

Schiedam, Stedelijk Museum, Een huis vol met

Gestels, 16 December 1970 - 11 January 1971.
Deurne, Museum de Wieger, 100 jaar later: 18811981, September 1981 - 1982.

44

l49

JOHAN DIJKSTRA (1896-1978)

Borg Harssens, the village Adorp in the distance
signed Johan Dijkstra (lower left)
oil on canvas
60 x 80 cm.

10,000-15,000

PROVENANCE:

Acquired from the family of the artist by the present owner in 2013.

$11,000-16,000

45

PROPERTY OF A BELGIAN COLLECTOR

50

EMILE CLAUS (1849-1924)

View of the Leie
signed and dated Emile Claus 1923 (lower left); signed
with initials and dated Junij B.C. E.C. (on the reverse)
oil on canvas
114.5 x 157 cm.
Painted in June 1923

 70,000-90,000

$77,000-98,000

PROVENANCE:

Anonymous sale, De Vuyst, Lokeren, 13 October 1979, lot 285.

EXHIBITED:

Bern, Exposition de lArt Belge ancien et moderne,

27 March - 7 June 1926, no. 64.
Beauvoorde, Opbouwwerk IJzerstreek, Emile Claus,
17 July - 15 August 1982, no. 67.

His art is sure, clear and

ceaselessly in search of
air, light and life.
(Poet Emile Verhaeren in: World Impressionism: The International Movement, New York 1990 p. 261)

46

47

PROPERTY FROM THE COLLECTION OF DR. J.F.S. ESSER

l51

JAN SLUIJTERS (1881-1957)

De Baarsjes, Amsterdam
signed Jan Sluijters (lower right)
ink on paper
26.5 x 20.5 cm., unframed
Executed circa 1908

4,000-6,000

$4,400-6,500

PROVENANCE:

Dr. J.F.S. Esser, Amsterdam.

By descent from the above to the present owner.
EXHIBITED:

Laren, Singer Museum, Onstuitbare verzamelaar J.F.S. Esser: Mondriaan,

Breitner, Sluijters e.a, 13 December 2005 - 28 April 2006, no. 85
(illustrated p. 49).
LITERATURE:

J. Juffermans, N. Bakker, Jan Sluijters, schilder, Amsterdam 1981

(illustrated p. 108).
Included in the digital Catalogue Raisonn on the artists work by the RKD
- Netherlands Institute for Art History: sluijters.rkdmonographs.nl

PROPERTY FROM THE COLLECTION OF DR. J.F.S. ESSER

l52

JAN SLUIJTERS (1881-1957)

De Baarsjes, Amsterdam
colour crayons on paper
26 x 20.5 cm., unframed
Executed circa 1908

3,000-5,000

$3,300-5,500

PROVENANCE:

Dr. J.F.S. Esser, Amsterdam.

By descent from the above to the present owner.
EXHIBITED:

Laren, Singer Museum, Onstuitbare verzamelaar J.F.S. Esser: Mondriaan,

Breitner, Sluijters e.a., 13 December 2005 - 28 April 2006, no. 86.
Included in the digital Catalogue Raisonn on the artists work by the RKD
- Netherlands Institute for Art History: sluijters.rkdmonographs.nl

48

PROPERTY FROM THE COLLECTION OF DR. J.F.S. ESSER

l53

JAN SLUIJTERS (1881-1957)

De Baarsjes, Amsterdam
signed with monogram and dated 08 (lower right)
oil on canvas
43 x 34.5 cm.
Painted in 1908

7,000-9,000

$7,700-9,800

PROVENANCE:

Dr. J.F.S. Esser, Amsterdam.

By descent from the above to the present owner.
Included in the digital Catalogue Raisonn on the artists work
by the RKD - Netherlands Institute for Art History: sluijters.
rkdmonographs.nl

PROPERTY FROM THE COLLECTION OF DR. J.F.S. ESSER

l54

JAN SLUIJTERS (1881-1957)

A seated lady reading
signed Jan.Sluijters. (lower right)
pencil and watercolour on paper
29.5 x 23.5 cm., unframed

1,500-2,000

$1,700-2,200

PROVENANCE:

Dr. J.F.S. Esser, Amsterdam.

By descent from the above to the present owner.

49

55

LEO GESTEL (1881-1941)

Standing nude with raised arm
signed and dated Leo Gestel 31 (lower right)
chalk and pastel on paper
62.5 x 46 cm.
Executed in 1931

2,000-3,000

$2,200-3,300

PROVENANCE:

Anonymous sale, Paul Brandt, Amsterdam, 29 March 1962, lot 254.

H.A. Frank, Le Blonay.
By descent from the above to the present owner.
EXHIBITED:

Schiedam, Stedelijk Museum, Een huis vol met Gestels, 16 December

1970 - 11 January 1971.

l56

JAN SLUIJTERS (1881-1957)

Mother and child
signed Jan Sluijters (upper left)
chalk and watercolour on paper
70 x 49.5 cm.

3,000-5,000

$3,300-5,500

PROVENANCE:

Anonymous sale, Van Stockum The Hague, 15 May 1974, lot 111.
Anonymous sale, Christies Amsterdam, 9 June 1998, lot 229.

50

l57

CHARLOTTE VAN PALLANDT (1898-1997)

Vooroverleunend
signed, dated, numbered and with foundry mark v Pallandt 1965
9/10 1999 Binder Bronsgieterij (on the side)
bronze with a black patina
59 cm. high
Conceived in 1965, enlarged circa 1980 and cast in 1999 in an
edition of ten.

15,000-20,000

PROVENANCE:

Kunsthandel Lambert Tegenbosch, Heusden aan de Maas.

Acquired from the above by the present owner.
LITERATURE:

L. Tegenbosch, M. Koekkoek, Charlotte van Pallandt Beelden en

tekeningen, Zwolle 1994, no. 125 (illustration of the smaller version
pp. 57, 135).

$17,000-22,000
51

58

LEO GESTEL (1881-1941)

Bloemenstilleven
signed Leo.Gestel. (lower right); signed and titled Leo Gestel Bloemenstilleven (on the reverse)
oil on canvas
73 x 93 cm.
Painted circa 1915

15,000-20,000

52

$17,000-22,000

59

LEO GESTEL (1881-1941)

A village road, Bergen

EXHIBITED:

signed and dated Leo Gestel 1912 (lower left)

chalk on paper
75 x 105.5 cm.
Executed in 1912

20,000-30,000

$22,000-33,000

PROVENANCE:

Anonymous sale, Mak van Waay, Amsterdam, 19 June 1962, lot 147.
H.A. Frank, Le Blonay.
By descent from the above to the present owner.

Schiedam, Stedelijk Museum, Een huis vol Gestels, 16 December 1970 11 January 1971, no. 27.
Deurne, Museum Dinghuis, Leo Gestel, 1 November 1975 - 1 July 1976,
no. 22 (illustrated).
Warmenhuizen, Oude Ursulakerk, Landschappen van Leo Gestel, 19 June 14 August 1977, no. 2.
Haarlem, Frans Hals Museum/Den Bosch, Noord Brabants Museum, Leo Gestel
als Modernist, werk uit de periode 1907-1922, 4 June - 16 October 1983.
Laren, Singer Museum, Leo Gestel, schilder en tekenaar, 28 November 1993 30 January 1994, no. 52.
Bergen, Museum Kranenburgh, Leo Gestel in Bergen, 8 May - 6 October 2002.
LITERATURE:

N.H. Wolf, in: De Kunst, 1913, no. 268 (illustrated p. 376).

53

l60

LOUIS VALTAT (1869-1952)

Paysage, la rivire

PROVENANCE:

signed L. Valtat (lower right)

oil on canvas
54 x 65 cm.
Painted in 1898

20,000-30,000

54

Ambroise Vollard, Paris.

Nathan A. Bernstein Co., New York.
Anonymous sale, Christies, New York, 13 February 1986, lot 29.
LITERATURE:

$22,000-33,000

J. Valtat, Louis Valtat, catalogue de loevre peint, Neuchtel 1977, no.

221 (illustrated p. 25).

61

ARMAND GUILLAUMIN (1841-1927)

La Seine Paris
signed Guillaumin (lower left)
pastel on paper
44.5 x 54.5 cm.
Executed circa 1873

12,000-18,000

The Comit Guillaumin (Dominique Fabiani, Stphanie Chardeau-Botteri,

Jacques de la Braudire) will include this work in their forthcoming second
volume of the Guillaumin catalogue raisonn.

$14,000-20,000

55

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

62

THEO VAN RYSSELBERGHE (1862-1926)

La Tour de Furnes
signed with the monogram (lower right)
oil on canvas
100.5 x 82 cm.
Painted circa 1898

220,000-280,000

$240,000-310,000

PROVENANCE:

Galerie Ariel, Paris.

Acquired from the above by the family of the present owners in
February 1964.
EXHIBITED:

Vienna, Secession, V. Austellung der vereinigten Bildenden Knstler

sterreichs, January - February 1899.
LITERATURE:

G. van Zype, Notice sur Tho Van Rysselberghe, Brussels, 1932,

p. 35 (dated 1897) .

This painting will be included in the forthcoming catalogue raisonn

supplement being published by Ronald Feltkamp.

from around 1888, and for the next decade, he became one of the leading
proponents of this style in Belgium.

This painting will be included in the forthcoming van Rysselberghe catalogue

raisonn prepared by Pascal de Sadeleer and Olivier Bertrand.

By the end of the 19th Century, at the time La Tour de Furnes was painted,
Van Rysselberghe had begun to abandon the rigorously methodical
technique and its strict division of colours, turning instead towards a looser
handling and a less divisionist touch. In La Tour de Furnes, Van Rysselberghe
has still applied colour in accordance to colour harmonies, but these nuances
of colour are conveyed in a more expressive manner, suffusing the scene
with an atmospheric, sensitively conveyed interplay of light and shadows.
The artist wrote in a letter to his friend Paul Signac in 1899, the year after La
Tour de Furnes was painted, I never considered division, or pure pigment,
as an aesthetic principle even less as a philosophy but rather as a means
of expression. As soon as this medium seems incomplete to me I change
my tools (Van Rysselberghe, quoted in Tho van Rysselberghe, exh. cat.,
Brussels, 2006, p. 66).

Painted circa 1898, La Tour de Furnes demonstrates Tho van Rysselberghes

Neo-Impressionist style at a pivotal time during which he was incorporating a
greater level of naturalism into his pointillist technique. In La Tour de Furnes,
Van Rysselberghe has depicted a street scene bathed in a softly glowing
light, overlooked by the majestic church tower in Veurne, a picturesque
market town in Belgium, known as Furnes in French.
At the end of the 1890s, the time that La Tour de Furnes was painted, Van
Rysselberghe had begun to develop a more unique style of Pointillism, using
slightly larger, more loosely applied brushstrokes, as can be seen in the
present painting. This was a contrast to the rigorously methodical technique
that had frst been pioneered by Georges Seurat, and embraced by Paul
Signac in the mid-1880s, in which small brushstrokes of colour were applied
to the canvas in adherence to scientifc laws of colour. Van Rysselberghe
had frst been exposed to Pointillism, often also known as Divisionism, while
he was in Paris in 1886, with his friend, the Belgian poet, Emile Verhaeren.
The two saw Seurats Sunday Afternoon at La Grande Jatte (1884-86, The
Art Institute of Chicago) at the 1886 exhibition of the Socit des Artistes
Indpendants. This work and its radical Neo-Impressionist style made an
indelible impact on Van Rysselberghe and he consequently asked Seurat to
exhibit at the avant-garde Brussels group, Les XX, which Van Rysselberghe,
amongst others, had founded in 1884. Having witnessed French NeoImpressionism, Van Rysselberghe adopted the pointillist technique in his work

56

In a letter dated 8 February 1925 from Van Rysselberghe to Belgian poet

and critic, Andr Fontainas, the artist refers to an important oil, which
depicts the church tower in Veurne, that was exhibited at the Vienna
Secession in 1899; this is most likely the present work (R. Feltkamp, Tho
Van Rysselberghe, 1862-1926, Catalogue Raisonn, Brussels, 2003, p.
320). The inclusion of this work in that seminal exhibition has also been
confrmed from the personal and unpublished artists notebooks in the
possession of Pascal de Sadeleer and Olivier Bertrand. The Secessionists,
a group of artists including Gustav Klimt, Koloman Moser and Oskar
Kokoschka, greatly admired Van Rysselberghes style and technique,
particularly the highly decorative surface of his works, and invited him to
exhibit with them at the close of the 19th Century.

57

l63

FRED CARASSO (1899-1969)

Three women
signed and dated F Carasso 1958 (on a foot)
bronze with a brown patina
61 cm. high (excl. wooden base)
Conceived and cast in 1958 in an unknown small edition.

6,000-8,000

58

$6,600-8,700

PROPERTY FROM A PRIVATE COLLECTION

l!64

JACQUES LIPCHITZ (1891-1973)

Exodus
signed, numbered and marked with the thumbprint
J.Lipchitz 1/7 (on the side underneath)
bronze with brown patina
55.5 cm. high
Conceived in 1947 and cast in an edition of 7

18,000-22,000

$20,000-24,000

PROVENANCE:

Acquired by the present owner in the 1980s.

LITERATURE:

A.G. Wilkinson, The Sculpture of Jacques Lipchitz, A

Catalogue Raisonn, vol.II, The American Years 1941-1973,
London 2000, no. 414, (another cast illustrated p. 42).

59

l65

GEER VAN VELDE (1898-1977)

Village
signed G van Velde (lower left); signed
G. v. Velde (on the reverse)
oil on canvas
45 x 65.5 cm.
Painted circa 1925

6,000-8,000

$6,600-8,700

PROVENANCE:

Galerie dEendt, Amsterdam.

Anonymous sale, Christies, Amsterdam,
2 December 1997, lot 233.
Kunsthandel Simonis & Buunk, Ede.
Acquired from the above by the present owner.
LITERATURE:

E. Slagter, Geer van Velde en het licht, Zwolle

1998, p. 40 (illustrated).
R.M. Mason, S. Ramond, Bram en Geer van
Velde, Deux peintres, un nom, Paris 2010,
no. 32 (illustrated pp. 47, 294).

l66

GEER VAN VELDE (1898-1977)

Untitled
signed with initials GvV (lower right)
oil on canvas
40.5 x 60.5 cm.

8,000-12,000

$8,800-13,000

PROVENANCE:

Mr. de Lange, Amsterdam.

Kunsthandel Simonis & Buunk, Ede.
Acquired from the above by the present owner.

60

l67

GEER VAN VELDE (1898-1977)

Untitled
signed with initials GvV (lower right)
oil on canvas
81 x 99.5 cm.

15,000-20,000

$17,000-22,000

PROVENANCE:

P.A. Regnault, Amsterdam.

61

l68

GEORGE COLLIGNON
(1923 - 2002)
Cobra
signed Collignon (lower right); signed, dated and
titled Collignon 49 Cobra (on the reverse)
oil on canvas
130 x 89 cm.
Painted in 1949

6,000-8,000

$6,500-8,800

PROVENANCE:

Acquired directly from the artist by the present owner,

circa 1992.
EXHIBITED:

Ostend, Provinciaal Museum voor Moderne Kunst,

Art Abstract, 1987.
Amstelveen, Cobra Museum, Georges Collignon 75.
Schilderijen 1948-1986, 1997.
Schilde, Museum Albert van Dyck, Cobra,
11 October - 7 December 2003.
LITERATURE:

F. Bonneure, Georges Collignon, Peintures abstraites

1946-1966, Tielt 1990, no. 11 (illustrated p. 31).

62

l69

FRIEDA HUNZIKER
(1908-1966)
Stuiters
signed F. Hunziker (on the stretcher)
oil on canvas
75 x 100 cm.

5,000-7,000

$5,500-7,600

PROVENANCE:

From the family of the artist.

EXHIBITED:

Amstelveen, Cobra Museum voor Moderne Kunst,

Frieda Hunziker, 4 March - 30 April 2000,
(illustrated p. 55).

l70

FRIEDA HUNZIKER
(1908-1966)
Golf
oil on canvas
80 x 100 cm.
Painted in 1965

4,000-6,000

$4,400-6,500

PROVENANCE:

From the family of the artist.

EXHIBITED:

Amstelveen, Cobra Museum voor Moderne Kunst,

Frieda Hunziker, 4 March - 30 April 2000,
(illustrated p. 62).

70 no lot

63

l71

ERNST VAN LEYDEN (1892-1969)

A self portrait of the painter and his family
oil on canvas laid down on plywood
166.5 x 122 cm.
Painted in 1946

5,000-7,000

$5,500-7,600

PROVENANCE:

R. van Leyden, La Bardelle.

Galerie Maris, Haarlem.
Acquired from the above by the present owner.
EXHIBITED:

Rotterdam, Kunsthal, Karin & Ernst van Leyden, Een reizend

kunstenaarspaar, 16 October 1999 - 9 January 2000 (illustrated p. 105).
The Hague, Gemeentemuseum, Liefde! Kunst! Passie!, 21 February 1 June 2009.
LITERATURE:

A.G. Maris, For me and for you, Ghent 1998, no. 3, p. 18 (illustrated p.
19).
Dick Adelaar (a.o.), Ernst van Leyden, Ghent 1999 (illustrated p. 105).

l72

SIMONE HERMAN (B. 1905)

Untitled
signed and dated Simone Herman 38. (lower right)
oil on canvas
92 x 65 cm.
Painted in 1938

3,000-5,000

$3,300-5,500

LITERATURE:

A.G. Maris, For me and for you, Ghent 1998, no. 128, p. 268
(illustrated p. 269).

64

l73

KARIN VAN LEYDEN

(1906-1977)
Untitled
signed and dated Karin 54 (lower left);
signed Karin van Leyden (on the reverse)
oil on canvas
102 x 137 cm.
Painted in 1954

2,000-3,000

$2,200-3,300

PROVENANCE:

Acquired directly from the artists family by

Kunsthandel Willem Kerseboom, Bergen.
Acquired from the above by the present owner.

l74

SIMONE HERMAN (B. 1905)

Cranes
signed and dated Simone Herman 39
(lower right)
oil on canvas
97 x 130 cm.
Painted in 1939

3,000-5,000

$3,300-5,500

PROVENANCE:

Galerie Maris, Haarlem.

Acquired from the above by the present owner.
LITERATURE:

A.G. Maris, For me and for you, Ghent 1998,

no. 114, p. 240 (illustrated p. 241).

65

PROPERTY FROM THE COLLECTION OF EMIEL DE HANTSETTERS

l75

GUY VANDENBRANDEN (1926-2014)

Untitled
with the artists label (on the reverse)
oil on board
122 x 91 cm.

2,000-3,000

$2,200-3,300

PROPERTY FROM THE COLLECTION OF EMIEL DE HANTSETTERS

l76

GUY VANDENBRANDEN (1926-2014)

Untitled
with the signed and dated artists label GvdB 1972 (on the
reverse)
oil on board
73 x 61 cm.
Painted in 1972

1,500-2,000

66

$1,700-2,200

l77

JOOST BALJEU (1925-1991)

Kindergarten serie nr. 5- synth. constructie w IX
signed Joost Baljeu (on the artists label on the reverse) and inscribed
with dedication to Arnold Herstand in friendship Amsterdam May
1967 (on the reverse)
perspex on board
30 x 30 cm.
Conceived in 1959 and executed in 1967

7,000-9,000

PROVENANCE:

Arnold Herstand, New York.

Acquired from the above by the present owner.

$7,700-9,800

67

78

TINUS VAN DOORN (1905-1940)

Woman with parrot
signed with monogram and dated 52 (lower right)
oil on canvas
120.5 x 100 cm.
Painted in 1952

8,000-12,000

68

$8,800-13,000

PROVENANCE:

Galerie Thom Mercuur, Franeker.

Galerie Maris, Haarlem.
Acquired from the above by the present owner.
LITERATURE:

A.G. Maris, For you and for me, Ghent 1998, no. 101, p. 213
(illustrated p. 214).

l79

WIM BOSMA (1902-1985)

Havenbeeld

PROVENANCE:

signed and dated Bosma 1935 (lower right)

oil on canvas
120 x 100 cm.
Painted in 1935

22,000-26,000

$24,000-28,000

Anonymous sale, Christies, Amsterdam, 2 December 2008, lot 84.

Acquired at the above sale by the present owner.
EXHIBITED:

Arnhem, Museum voor Moderne Kunst Arnhem/Paris, Institut Nerlandais,

Magie en Zakelijkheid. Realistische Schilderkunst in Nederland 19251945, 13 November 1999 - 28 May 2000, no. 16 (illustrated p. 123).
Rotterdam, Kunsthal Rotterdam, Panorama Rotterdam, 8 September 2001
- 6 January 2002.

69

l80

CAREL WILLINK (1900-1983)

Preparatory study for The Hermit (self portrait)
signed and dated Willink 38 (upper right)
oil on canvas
26.5 x 22.5 cm.
Painted in 1938

12,000-16,000

$14,000-17,000

PROVENANCE:

Anonymous sale, Christies, Amsterdam, 25 November 2003, lot 182.

Acquired at the above sale by the present owner.
LITERATURE:

W. Kramer, Willink, The Hague 1973, no. 112, p. 103.

H.L.C. Jaff, Willink, Amsterdam 1980, no. 179 (illustrated p. 221).

l81

TOON KELDER (1894-1973)

Portrait of Jan Toorop
signed and dated Toon Kelder f 25 (lower left)
oil on canvas
98.5 x 81 cm.
Painted in 1925

3,000-5,000

$3,300-5,500

PROVENANCE:

P. Boendermaker, Bergen/Amsterdam.
Anonymous sale, Sothebys Mak van Waay, Amsterdam, 24 October
1983, lot 152.
Galerie Maris, Haarlem.
Acquired from the above by the present owner.

70

l82

CHARLEY TOOROP (1891-1955)

Takken met vruchten, herfst
signed C Toorop (lower left); signed, dated and titled Charley
Toorop 1935 Takken met vruchten, herfst (on the reverse)
oil on canvas
60 x 80 cm.
Painted in 1935

30,000-50,000

$33,000-55,000

PROVENANCE:

Acquired directly from the artist by the sculptor John Rdecker.

By descent from the above to the present owner.
EXHIBITED:

The Hague, Kunstzalen dAudretsch, Charley Toorop, 1935, no. 10.

Leiden, Stedelijk Museum De Lakenhal, Charley Toorop, 20 December

1935 - 12 January 1936, no. 9.

Utrecht, Vereniging voor de Kunst, C.Toorop en E. Fernhout, 1936, no. 9.
The Hague, Kunsthandel Nieuwenhuizen Segaar, Drie generaties, 30 March 1 May 1937, no. 5 (illustrated).
Amsterdam, Stedelijk Museum, Zomertentoonstelling Universiteits-Lustrum,
1937, no. 63.
The Hague, Gemeentemuseum, Gerijpte kunst, 12 October - 17 November
1946, no. 181.
The Hague, Gemeentemuseum/ Amsterdam, Stedelijk Museum/ Eindhoven,
Van Abbe Museum, Charley Toorop, 18 April - 25 November 1951, no. 81.
New York, Hammer Galleries, Charley Toorop, 1952, no. 17.
The Hague, Galerie Nova Spectra, Herdenkingstentoonstelling Charley
Toorop bij haar 75ste geboortejaar, 1891-1955, 8 - 30 October 1966.
LITERATURE:

A.M. Hammacher, Charley Toorop, Rotterdam 1952, no. 160.

N.J. Brederoo, Charley Toorop, leven en werken, Epe 1982, no. 355
(illustrated p. 307).

71

PROPERTY OF A PRIVATE COLLECTION

l83

CONSTANTIN TERECHKOVITCH
(1902-1978)
A summer bouquet
signed and dated C. Terechkovitch 60 (upper left)
oil on canvas
81 x 65 cm.
Painted in 1960

3,000-5,000

$3,300-5,500

PROVENANCE:

Mr. Herpain, Brussels.

Galerie Paul Ptrids, Paris.
M. Krebs, Brussels.
EXHIBITED:

Paris, Galerie Paul Ptrids, Terechkovitch, Exposition doeuvres

rcentes, 25 October - 12 November 1960, (illustrated).
France Terechkovitch has confrmed the authenticity of this work.

l84
83

WILLEM PAERELS (1878-1962)

Woman at the beach
signed and dated W.M. Paerels 1915 (lower left)
oil on canvas
50.5 x 40 cm.
Painted in 1915

5,000-7,000

$5,500-7,600

l85

WILLEM PAERELS (1878-1962)

La Kermesse
signed Paerels (lower right)
oil on canvas
100 x 80 cm.
Painted in 1909

40,000-60,000

$44,000-65,000

PROVENANCE:

F. Van Haelen, Brussels.

Van Weyenbergh, Brussels.
M. Hayez, Sint-Pieters-Leeuw.
EXHIBITED:

84

72

Brussels, Palais des Beaux-Arts, Willem Paerels, 17 September 1 October 1968, no. 6 (illustrated).
Brussels, Palais des Beaux-Arts/Laren, Singer Museum, Willem
Paerels, 1878 - 1962, 3 March - 11 June 1978, no. 13
(illustrated).

85

73

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

l86

JAMES ENSOR (1860-1949)

Le Flacon bleu
signed and dated Ensor 80 (lower right); signed, dated and titled
James Ensor Le Flacon bleu. 1880 (on the stretcher)
oil on canvas
47 x 53 cm.
Painted in 1880

60,000-80,000

$66,000-87,000

PROVENANCE:

Augusta Boogaerts, Brussels.

Acquired from the above by the present owner circa 1940.
EXHIBITED:

Brussels, Palais des Beaux-Arts, James Ensor, 19 January - 17 February

1929, no. 29.
Paris, Muse National dArt Moderne, James Ensor, February - April 1954,
no. 11.
Ostend, Stedelijk Museum voor Schone Kunsten, James Ensor, 12 June 15 September 1960, no. 15 (illustrated).
Basel, Kunsthalle/Mnster, Landesmuseum, James Ensor, 15 June - 4 August
1963, no. 11 (illustrated p. 19).
Brussels, Galerie Isy Brachot, Ensor: dans les collections prives, 10
December 1965 - 25 January 1966, no. 6.
Paris, Muse de lOrangerie, LArt famand dEnsor Permeke, 20 February
- 20 April 1970, no. 42.
Chicago, Art Institute/New York, Guggenheim Museum, Ensor, 6
November 1976 - 9 January 1977, no. 5 (illustrated p. 53).
Brussels, Palais des Beaux Arts, Lart en Belgique, 1880-1950, Hommage
Luc et Paul Haesaerts, 27 June - 23 August 1978, no. 30 (illustrated p. 82).
LITERATURE:

P. Haesaerts, James Ensor, Brussels 1957, (illustrated p. 49).

T. Kiefer, J. Ensor, Recklinghausen, 1976, (illustrated p. 19).

74

X. Tricot, James Ensor, Catalogue Raisonn of the Paintings, London 1992,

no. 124, (illustrated p. 103).
X. Tricot, James Ensor, Catalogue Raisonn of the Paintings, Brussels 2009,
no 145, (illustrated p. 257).
In 1877 James Ensor enrolled at the Acadmie Royale des Beaux-Arts in
Brussels, where he stayed for three years before he left because he felt his
work did not get the recognition it deserved. In the years just after Ensor left
the academy he painted several still lifes that depict different ingredients for
meals, placed on wooden tables in the kitchen: fruit, vegetables, fsh, meat
and poultry were the main focus in these paintings.
The present lot was painted in 1880. The composition is formed by a blue
bottle on the left, a featherless chicken in the middle with its head falling
slightly over the edge of the table and a copper pan on the right, turned
upside down. The composition of the still life is kept simple, the precise form
and identity of the objects is neglected to put emphasis on the intricate play
of light and dark and the subtlety of the colours used in this painting. This
particular composition, featuring the striking blue bottle, was painted by
Ensor four times over the course of forty-fve years and clearly shows Ensors
development as a painter. While the early versions are subtle in colour, the
last painting in this series, painted in 1925, is flled with the bright colours
typical of Ensors later style (X. Tricot, James Ensor, Catalogue Raisonn of
the Paintings, Brussels 2009, no. 144, 453, 540).

75

87

GUSTAVE DE SMET
(1877-1943)
Trees in a landscape
signed Gust. De Smet (lower left)
oil on board
31.5 x 38 cm.

4,000-6,000

$4,400-6,500

Mr Piet Boyens has kindly confrmed that

authenticity of the present lot.

l88

CONSTANT PERMEKE
(1886-1952)
Seascape
signed Permeke (lower left)
oil on canvas
60.5 x 75 cm.

8,000-12,000

76

$8,800-13,000

l!89

JEAN BRUSSELMANS (1884-1953)

Voetbrug
signed and dated Jean Brusselmans. 1933. (lower right)
oil on canvas
90 x 100 cm.
Painted in 1933

20,000-30,000

The present lot depicts a bridge in the city of Anderlecht,

Belgium. Brusselmans made several paintings and etchings
with the same subject (R.L. Delevoy, Jean Brusselmans, Brussels
1972).

$22,000-33,000

77

PROPERTY OF A PRIVATE EUROPEAN COLLECTOR

l90

PAUL DELVAUX (1897-1994)

Les Soeurs
signed, dated, titled and inscribed Les Soeurs Furnes, 22-9-71 P.
Delvaux (lower right)
watercolour and ink on paper
102.5 x 69 cm.
Executed in 1971

120,000-160,000

$140,000-170,000

PROVENANCE:

Galerie Isy Brachot, Brussels.

Galerie Willy DHuysser, Brussels.
Anonymous sale, Christies, London, 22 March 1983, lot 153.
Margo Feiden Galleries, New York.
EXHIBITED:

Ferrara, Gallerie Civiche dArte Moderna, Palazzo dei Diamanti,

Paul Delvaux, 20 April - 22 July 1986.
Bielefeld, Kunsthalle Bielefeld, Paul Delvaux, 22 October 2006
21 January 2007, (illustrated p. 106).
Sint-Idesbald, Delvaux Museum, Odysse dun rve, 31 March 2007
6 January 2008.

Regarding the nudes in his work Delvaux explained that they participate
purely as a presence without any particular role. They form part of the
pictorial structure, the aim of which is purely poetic they are active only
in the lyrical sense; they have no mission in the picture beyond that of
the poetic (Delvaux quoted in J. Meuris, Paul Delvaux: Sept Dialogues,
Brussels, 1987, pp. 22 & 58). The essential mystery of the female nude
and the trains, trams and stations, we see so often in his work, was one
that never tired him. In the present lot Delvauxs focus is entirely on the two
female nudes with no background. But these elements, so essential to his
painting, held little or no symbolic value, he felt. They were ultimately only
pictorial tools by which he sought to generate the specifc atmosphere of
poetic mystery that he wanted his art to convey. Painting is not only the
pleasure of putting colours on canvas he once asserted, it is also the
expression of a poetic feelingWhat interests me is plastic expression,
the rediscovery of poetry in painting, which had been lost for centuries
(Delvaux quoted in Paul Delvaux 1897-1994, exh. cat., Royal Museums
of Fine Art, Brussels, p. 21).

78

In this large work on paper we see two beautifully executed women

holding hands. The sheet is monumental of size which makes the work,
because of its incredible detail, all the more impressive. The face of the
woman on the right is not entirely visible. It almost appears as if she is
whispering something in the ear of her friend. It looks like we are part of
an intimate moment. The lesbian theme was recurring in Delvauxs oeuvre
from the 1930s on. It has been suggested that Delvaux used it to convey
his disappointment with his heterosexual relationships, since he was not
particularly succesful with women. A dominant mother, a deep love for a
woman his parents did not approve of and a failed marriage might have
made him explore, artistically, the love between two people of the same
sex. It could also be the reason why Delvaux was so taken with the theme
women in general. They are the mysterious creatures appearing in almost
every work he made. Mysterious and sexual perhaps, but never in contact
with the viewer. The nudes always seem occupied with themselves or each
other and make no eye contact, like in the present lot.

79

PROPERTY OF A PRIVATE COLLECTION

l91

PAUL DELVAUX (1897-1994)

Seated nude
signed with initials and dated PD 31 (lower left)
chalk and pencil on paper
27 x 17 cm.
Executed in 1931

2,500-3,500

$2,800-3,800

PROVENANCE:

Acquired by the parents of the present owner between 1960-75.

l92

REN MAGRITTE (1898-1967)

Seated lady
signed and dated Ren Magritte 1920. (lower left)
chalk on paper
33.5 x 24 cm.
Executed in 1920

10,000-15,000

$11,000-16,000

PROVENANCE:

Pierre-Louis Flouquet, Brussels.

Fernand Verhesen, Brussels.
LITERATURE:

S. Whitfeld, Ren Magritte, newly discovered works, Catalogue Raisonn

VI, Brussels 2012, no. 45 (illustrated p. 69).

80

l93

LEON SPILLIAERT (1881-1946)

Arbres au crpuscule jaune et vol doiseaux II
signed and dated L. Spilliaert 1919 (lower left)
pencil, chalk, watercolour and pastel on paper
49.5 x 59 cm.
Executed in 1919

20,000-30,000

This work will be included in the forthcoming catalogue raisonn currently

being prepared by Anne Adriaens-Pannier.

$22,000-33,000

81

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

94

RIK WOUTERS (1882-1916)

La Femme la blouse jaune
inscribed with authentifcation No 43 Femme la blouse jaune
t peint par Rik Wouters 1911 Boitsfort Mme Vve R Wouters (on
the reverse)
oil on canvas
65.5 x 54.5 cm.
Painted in 1911

200,000-300,000

$220,000-330,000

PROVENANCE:

Nel Wouters, Overijse.

Galerie Robert Finck, Brussels.
Acquired from the above by the family of the present owner in 1973.
EXHIBITED:

Charleroi, Salle de la Bourse, Cercle Artistique et Littraire, XXIme salon,

15 - 31 March 1947, no. 9.
Antwerp, Koninklijke Museum voor Schone Kunsten, Rik Wouters,
5 - 27 April 1947, no. 51.
Brussels, Galerie Breughel, Rik Wouters, 18 - 30 September 1954, no. 4.
Brussels, Palais des Beaux-Arts, Rik Wouters, 1962.
Brussels, Palais des Beaux-Arts, Lart en Belgique, 1880-1950, Hommage
Luc et Paul Haesaerts, 27 June - 23 August 1978,
no. 103, (illustrated p. 126).
LITERATURE:

R. Avermaete, Rik Wouters, Brussels 1986, p. 205.

O. Bertrand, Rik Wouters, Antwerp 1995, no. 57 (illustrated).

Executed in 1911, La Femme la blouse jaune is one of the paintings

by Rik Wouters that show his ability and interest for capturing impressions,
rather than making realistic images. We see a pretty young woman posing
in a summer hat and a blouse, bathed in a surrounding of vibrant colours.
Only an impression of the woman can be seen, a swift moment where
she is an expression of light and colour. The visual experience is key in
Wouters paintings. The life-likeness of the work is not expressed by many
details, but rather by the indeterminacy of the suggestion, combined with
many different visual sensations.
The portraits and interiors painted by Wouters in 1911 and 1912
demonstrate his talent for combining the three-dimensional with the twodimensional surface of the painting. He fnds solutions in simple colour
contrasts and a few distinct contours. He achieves a certain expressionism
in his forms by using a painters knife (spatula) in addition to a brush.
Wouters was a great admirer of James Ensor, who was a master of the
knife. His love for Ensors refned colourist effects and forms expresses itself
in the present lot, where the pleads, the fabric and even the expression
on the face of the woman are the result of Wouters exquisite handling
of a knife and coarse brushstrokes (H. Todts, Rik Wouters. Des origines
loeuvre, exh. cat., Brussels 2002, p. 36).

82

The use of a knife is a clear expression of Wouters extreme spontaneity.

Wouters did not start a work from a scheduled plan. His widow Nel wrote
about his working process in 1944: Rik never knows beforehand what
he is going to paint and nothing is planned in advance. (...) For him a
painting is the personal life around him, the intimacy of his interior. (...)
Again, he never plans a picture (G. Audinet, Rik Wouters. Des origines
loeuvre, exh. cat., Brussels 2002, p. 218). Wouters truly dreaded
working on the same picture again after a frst session, and this may
explain the sketch-like appearance of many of his works including La
Femme la Blouse jaune. Sudden moments, impressions, or incidences of
light could bring him to a ceaseless and enthusiastic creativity that forced
him to paint. Especially the frst sessions were lengthy and time-consuming,
and drove Nel to desperation sometimes.
The combination of impressionism and expressionism in Wouters paintings,
which can also be seen in this work, makes it especially diffcult to label his
style. Infuenced by James Ensor and from 1909 on by Czanne, Wouters
developed a very individual and infuential style of painting, which was
later adopted as Brabants fauvisme. Nevertheless, there has never been
consensus of opinion among contemporaries and even among later critics,
concerning the name of this style and its place in the canon of art history.

83

l95

MAURICE BRIANCHON (1899-1979)

A beach scene in Carnac
signed Brianchon (lower left); inscribed and dated Carnac 1961
(on the stretcher)
oil on canvas
61 x 61 cm.
Painted in 1961

6,000-8,000

$6,600-8,700

PROVENANCE:

Galerie des Chaudronniers, Genve.

Waterhouse & Dodd, London/New York.
Kunsthandel Rob Noortman, Maastricht.
Acquired from the above by the present owner.
EXHIBITED:

Bevaix, Galerie Pro Arte, Matres de la ralit potique et de la tradition

Franaise, 15 April - 20 May 1973, no. 9 (illustrated).
LITERATURE:

P.A. Brianchon, O. Daulte and M. Dupertuis, Maurice Brianchon,

catalogue de loeuvre peint, Lausanne 2008, no. 617 (illustrated p. 280).

l96

95

KEES VERWEY (1900-1995)

A still life with fowers
signed and dated Kees Verwey 68 (lower left)
watercolour on paper
50.5 x 41.5 cm.
Executed in 1968

2,000-3,000

$2,200-3,300

l97

FERDINAND ERFMANN (1901-1968)

Two girls on bicycles
signed and dated Erfmann 1936 (lower right)
oil on canvas
99 x 65 cm.
Painted in 1936

20,000-30,000

$22,000-33,000

PROVENANCE:

C. van Geest, Amsterdam.

Galerie Mokum, Amsterdam.
Galerie Michael Hasenclever, Munich.
Galerie Maris, Haarlem.
Acquired from the above by the present owner.
EXHIBITED:

Breda, Cultureel Centrum de Beyerd, Ferdinand Erfmann, 22 March 21 April 1974, no. 23.
LITERATURE:
96

84

H. Romijn Meijer, L. Tegenbosch, Ferdinand Erfmann, Amsterdam 1973,

no. 23, p. 18 (illustrated).
A.G. Maris, For me and for you, Ghent 1998,
no. 1 (illustrated p. 15).

85
97

98

JAN TOOROP (1858-1928)

Portrait of pastor Van Straelen
signed, dated and inscribed Jan Toorop 1902 Pastoor van Straelen
Katwijk a/d Rijn (upper right)
pencil, colour crayon and chalk on paper
39 x 29.5 cm., unframed
Executed in 1902

2,500-3,500

$2,800-3,800

PROVENANCE:

Mr. Mesdag, Hilversum.

LITERATURE:

A. Plasschaert, Jan Toorop, Amsterdam 1925, no. 3, p. 41.

To be included in the Catalogue Raisonn on the artists work, currently
being prepared by G.W.C. van Wezel.

99

LEO GESTEL (1881-1941)

A head of a Spakenburger (recto); a study of
a head (verso)
with the estate stamp (lower right); with the estate stamp (on the
reverse)
gouache on cardboard
72 x 51.5 cm.

2,000-3,000

$2,200-3,300

PROVENANCE:

H.A. Frank, Le Blonay.

Anonymous sale, Christies, Amsterdam, 10 June 1999, lot 172.
Acquired at the above sale by the present owner.

86

l100

WILLEM VAN LEUSDEN (1886-1974)

Le moulin passionn II
signed W.v.Leusden (lower right); signed, dated and titled
Wv Leusden Le moulin passionn 1937 (on the stretcher)
oil on canvas
157 x 127 cm.
Painted in 1937

4,000-6,000

$4,400-6,500

LITERATURE:

D. Adelaar, J. van Asperen, M. Roding, Willem van Leusden,

Essays over een verhard romanticus, Utrecht 1990, no. 195
(illustrated p. 156).
Almost the entirety of the painting is flled with the wooden interior
of a windmill, however the attention of the viewer is drawn to the
painter and his model in the lower left corner. It seems like a regular
painting in painting scene, but in reality there is something else
happening. The painter and his model are shocked when they
discover that the painting came to life and the boy who is pictured
tries to escape out of the painting. We see the painter throwing his
arms in the air in dismay.
This painting is meant to show the relationship and the boundaries
between art and reality (D. Adelaar, J. van Asperen, M. Roding,
Willem van Leusden, Essays over een verhard romanticus, Utrecht
1990, pp. 154-158).

101

FERDINAND HART NIBBRIG

(1866-1915)
The garden
signed Hart. Nibbrig (lower right)
oil on canvas laid down on plywood
40 x 56 cm.

2,000-3,000

$2,200-3,300

87

l102

KEES VAN DONGEN (1877-1968)

Les cavalires au bois

PROVENANCE:

signed van Dongen. (lower right)

watercolour, pastel and gouache on paper
30.5 x 46.5 cm.

To be included in the forthcoming Kees Van Dongen catalogue critique

of paintings and drawings being prepared by Jacques Chalom Des
Cordes under the sponsorship of the Wildenstein Institute.

15,000-20,000

88

$17,000-22,000

Anonymous sale, Galliera Paris, 16 June 1964, lot 113.

l103

IGOR MITORAJ (1944-2014)

Luci di Nara
signed and numbered Mitoraj (on the reverse)
bronze with a black patina
82 cm. high (incl. the bronze base)
Conceived in 1998 and cast in an edition of eight.

35,000-45,000

$39,000-49,000

LITERATURE:

J. Russel-Taylor, Igor Mitoraj, escultures, Barcelona 1994,

p. 39 (illustration of another cast).

89

l104

CONSTANT PERMEKE
(1886-1952)
Landscape with a horse
signed Permeke (lower left)
oil on canvas
55 x 70 cm.

6,000-8,000

$6,600-8,700

l105

TOON KELDER (1894-1973)

Card players
signed Toon Kelder (lower left)
oil on canvas
130.5 x 169 cm.

5,000-7,000

$5,500-7,600

PROVENANCE:

W.F. Selderbeek, Amsterdam.

90

PROPERTY FROM THE ESTATE OF A.J. SOLANO-LUBBERS

l!106

ADRIAAN LUBBERS (1892-1954)

The Hudson River, New York
signed Adriaan Lubbers (lower centre); signed twice and titled Adriaan
Lubbers Hudson River New York (on the reverse and on the stretcher)
oil on canvas
65 x 81 cm.

10,000-15,000

$11,000-16,000

91

PROPERTY FROM THE ESTATE OF A.J. SOLANO-LUBBERS

l!107

ADRIAAN LUBBERS (1892-1954)

The Sky Ride, World Fair, Chicago
signed Adriaan Lubbers (lower right)
oil on canvas
76.5 x 60.5 cm.
Painted in 1933

4,000-6,000

$4,400-6,500

The present lot shows the legendary Sky Ride, built especially
for the World Fair of Chicago in 1933-34. It was the largest
and most prominent structure at the World Fair and had a
capacity to transport 5,000 people an hour. In the upper right
corner of this painting we can also see a zeppelin. This was
the German built Graf Zeppelin which circled lake Michigan
during the fair.

PROPERTY FROM THE ESTATE OF A.J. SOLANO-LUBBERS

l!108

ADRIAAN LUBBERS (1892-1954)

A mountainous landscape, Eisenstein,
Germany
signed and dated Adriaan Lubbers 1923 (lower right)
oil on canvas, unframed
66 x 90.5 cm.
Painted in 1923

2,000-3,000

92

$2,200-3,300

l109

HARMEN MEURS (1891-1964)

Les Remorqueurs, Marseille
signed Harmen Meurs (lower left); signed and
titled Harmen Meurs Les Remorqueurs (Marseille)
(on the reverse)
oil on canvas
60 x 73.5 cm.
Painted circa 1927

4,000-6,000

$4,400-6,500

PROVENANCE:

Anonymous sale, Sothebys, Amsterdam,

3 December 2001, lot 207.
Acquired at the above sale by the present owner.

l110

PIET VAN DER HEM (1885-1961)

The entertaining clown
signed P.v.d. Hem (lower right)
oil on canvas
52.5 x 41.5 cm.

7,000-9,000

$7,700-9,800

93

l112

JOHAN VAN HELL (1889-1952)

Rassen (Ober bedient twee nouveau-riche
fguren)
signed and dated Johan van Hell 1932
(lower right)
oil on canvas
95.5 x 70.5 cm.
Painted in 1932

30,000-50,000

$33,000-55,000

PROVENANCE:

L. Auerhaan, Amsterdam, 1976.

Galerie Thom Mercuur, Franeker.
Galerie Michael Hasenclever, Munich.
Galerie Maris, Haarlem.
Acquired from the above by the present owner.
EXHIBITED:

l111

CAREL WILLINK (1900-1983)

Portrait of the sculptor C. Schrikker
signed and dated AC Willink juni 1919 (upper left)
oil on canvas laid down on canvas
51.5 x 37 cm.
Painted in 1919

4,000-6,000

$4,400-6,500

PROVENANCE:

C. Schrikker, Laren.
Kunsthandel Gebroeders Koch, Amsterdam.
Anonymous sale, Christies, Amsterdam, 3 June 2003, lot 203.
Acquired at the above sale by the present owner.
LITERATURE:

W. Kramer, Willink, The Hague, 1973, (illustrated p. 10).

H.L.C. Jaff, Willink, Amsterdam 1980, no. 10 (illustrated p. 201).

94

Amsterdam, Stedelijk Museum, De Brug, 14 January 1933, no. 51.

Franeker, t Coopmanshs, 16 January - 22 February 1976.
Amsterdam, Stedelijk Museum, Johan van Hell, 30 April - 30 May
1976, no. 15.
Zwolle, De Librije, Johan van Hell (1889 - 1952),
20 August - 29 September 1976, no. 16 (illustrated).
Arnhem, Museum voor Moderne Kunst/ Paris, Institut Neerlandais,
Magie en Zakelijkheid, 13 September 1999 - 28 May 2000,
no. 48 (illustrated p. 171).
Rotterdam, Kunsthal, Vier eeuwen roken in de kunst. Taboe en
tabak: van Jan Steen tot Picasso, 13 December 2003 - 14 March
2004.
LITERATURE:

Anonymous, Voor de Kunst, in: Nieuwe Rotterdamsche Courant,

25 March 1933.
L. Haks, G. Maris, Lexicon of foreign artists who visualized
Indonesia 1600-1950, Utrecht 1995,
p. 484.
K. Hofman, Johan van Hell: oprecht bewogen, Amsterdam 1995,
p. 21.
A.G. Maris, For me and for you, Ghent 1998,
no. 79 (illustrated p. 171).
C. Blotkamp, Magie en Zakelijkheid. Realistische Schilderkunst in
Nederland 1925-1945, Zwolle 1999, pp. 171-172.
C. Roodenburg, Van Hell, Warnsveld 2005, no. S100 (illustrated
p. 91) and no. 94 (illustrated p. 66).

95

l113

JAN SLUIJTERS (1881-1957)

Standing nude

PROVENANCE:

S. Nienhuis, Amsterdam.
C.J.M. Verbeek, s-Hertogenbosch.
Kunstgalerij Albricht, Oosterbeek.
Anonymous sale, Christies, Amsterdam 9 June 1998, lot 228.
Acquired at the above sale by Kunsthandel Loek Brons, Amsterdam.
Acquired from the above by the present owner.

signed Jan Sluijters (upper left)

oil on canvas
100 x 80.5 cm.
Painted circa 1930

25,000-35,000

96

$28,000-38,000

Included in the digital Catalogue Raisonn on the artists work by the RKD
- Netherlands Institute for Art History: sluijters.rkdmonographs.nl.

114

LEO GESTEL (1881-1941)

A landscape, Mallorca

PROVENANCE:

signed and dated Leo Gestel 14 (lower right)

oil on canvas
40.5 x 49 cm.
Painted in 1914

30,000-50,000

Kunsthandel M.L. de Boer, Amsterdam.

Acquired from the above by the present owner circa 1965.

$33,000-55,000

97

115

JAN MANKES (1889-1920)

Lijster tussen bloesem
signed J Mankes (lower right)
oil on canvas
25.5 x 20.5 cm.
Painted in 1912

50,000-70,000

$55,000-76,000

PROVENANCE:

G.A. van Rede, Rotterdam, 1927.

J.A.A.M. van Es, Wassenaar, 1950.
EXHIBITED:

Utrecht, Utrechtsche Kunsthandel, Eere-tentoonstelling Jan Mankes,

24 February - 24 March 1923, no. 119.
Rotterdam, Kunstkring, Tentoonstelling van schilderijen, teekeningen
en grafsch werk van Jan Mankes, 11 - 29 April 1923, no. 85.
Wassenaar, Kunstzaal De Rietvink, Keuze-tentoonstelling van
werken door Jan Mankes uit particulier bezit, 7 - 30 May 1927,
no. 31.
Utrecht, Centraal Museum, Herdenkingstentoonstelling Jan Mankes,
10 December 1949 - 14 January 1950, no. 39.
LITERATURE:

A. Mankes-Zernike, R.N. Roland Holst, Jan Mankes, Utrecht 1923,

p. 59.
A. Plasschaert, J. Havelaar & A. Mankes-Zernike, Jan Mankes,
Wassenaar 1927, p. 56.
A. Mankes-Zernike, R.N. Roland Holst, Jan Mankes, Wassenaar
1927, p. 57.
A. Ottevanger (a.o.), Jan Mankes 1889-1920, Zwolle 2007, no.
80 (illustrated p. 191).
Jan de Lange, Jan Mankes, een kunstenaarsleven in brieven 19101920, Zwolle 2013, p. 262.

98

After the retirement of his father, in 1909, Jan Mankes left Delft for the rustic
countryside of Friesland in the north of The Netherlands.
Here Mankes had more room for his animals, which were his favourite subject
to paint. He worked with small animals like rabbits, goats and mice. However,
he specifcally loved birds. Owls, crows and the thrush, probably sent to Mankes
by his maecenas A.A.M. Pauwels, who would supply him with all the materials,
including animals, he would need.
Mankes was especially confdent about this present lot Lijster tussen bloesem. In
February 1912 he wrote a letter to A.A.M. Pauwels: Het deed me bijzonder
plezier dat er weer wat bij verkocht is, temeer daar we daar sterk aan twijfelen,
wie weet, komt het nog niet heel goed als de zaak nog wat open blijft, de lijster
zal wel die zijn met de witte bloesems, stellig een der mooiste dingen, wat t
zelfportret is zullen we nog wel hooren. (op.cit. J. De Lange, Jan Mankes: een
kunstenaarsleven in brieven, Zwolle 2013, p. 262)
The thinly painted canvas with its transparent layers and the oblong format refects
Mankes interest in Japanese art. His inspiration came from the Gowanbook
he recieved from a friend in The Hague. The little booklet contained a few
reproductions of Japanese prints and drawings. It stimulated Mankes symbolistic
phase, in which he focused more on inner thruth and ideal beauty than the
technique that was truest to nature. The three values Mankes pursued in his work:
beauty, purity and simplicity, can therefore be recognised in the Lijster tussen
bloesem, where the bird is the ultimate example of Mankes characteristic style.

99

l116

DIRK SMORENBERG
(1883-1960)
Water lilies at the Loosdrechtse
Plassen
signed D. Smorenberg. (lower right)
oil on canvas
50 x 60.5 cm.

2,500-3,500

$2,800-3,800

l117

DIRK SMORENBERG
(1883-1960)
The Loosdrechtse Plassen
signed D. Smorenberg. (lower right)
oil on canvas, unframed
55 x 80.5 cm.

2,000-3,000

100

$2,200-3,300

l118

ADRIAAN HERMAN GOUWE

(1875-1965)
Ploughing
signed A.H. Gouwe. (lower left)
oil on canvas
40 x 86 cm.
Painted circa 1915

7,000-9,000

$7,700-9,800

PROVENANCE:

Acquired directly from the artist by the grandmother of

the present owner.

l119

SAL MEIJER (1877-1965)

Farm in Blaricum
signed Sal Meijer (lower right)
oil on plywood
39.5 x 49.5 cm.

4,000-6,000

$4,400-6,500

PROVENANCE:

Galerie Mokum, Amsterdam.

Acquired from the above by the present owner.

101

120

EXHIBITED:

LEO GESTEL (1881-1941)

A self portrait
signed and dated Leo Gestel 13 (lower right)
chalk on paper
43.5 x 35.5 cm.
Executed in 1913

5,000-7,000

$5,500-7,600

PROVENANCE:

Mrs. A. Gestel - Overtoom, Blaricum.

Anonymous sale, Paul Brandt, Amsterdam, 2 June - 5 June 1981,
lot 1704.
Kunsthandel Monet, Amsterdam.
Kunsthandel Lambert Tegenbosch, Heusden aan de Maas.
Kunsthandel Willem Rueb, Amsterdam.
Anonymous sale, Christies, Amsterdam 20 November 2000, lot 221.

102

The Hague, Kunstzaal Schller en Eissenloeffel, Tentoonstelling van Schilderijen en

Teekeningen van Leo Gestel, March - April 1913, no. 70 (illustrated).
Deurne, Museum Dinghuis, Leo Gestel 1881-1941, 1 September 1975 - 7 January
1976, no. 25 (illustrated).
Warmenhuizen, Oude Ursulakerk, Tentoonstelling landschappen van Leo Gestel,
19 June - 14 August 1977, no. 1 (illustrated).
Woerden, Gemeentemuseum Woerden, Tentoonstelling werken Leo Gestel,
17 November - 29 December 1979, no. 37 (illustrated).
Deurne, Museum De Wieger, Honderd jaar later, 1881-1981, 1981 - 1982.
The Hague, Kunsthandel Ivo Bouwman, Leo Gestel, 3 October - 2 November 1981,
no. 18 (illustrated).
Haarlem, Frans Halsmuseum/ Den Bosch, Noordbrabants Museum, Leo Gestel
als modernist; werk uit de periode 1907-1922, 4 June - 16 October 1983, no. 31
(illustrated).
LITERATURE:

N.H. Wolf, in: De Kunst, 1913, no. 268 (illustrated p. 369).

A.B. Loosjes-Terpstra, Moderne kunst in Nederland 1900-1914, Utrecht 1987, p. 143.
A. Venema, De Bergense School, Baarn 1976 (illustrated p. 65).
M. van Noort, Gestel in Bergen, Zwolle 2002 (illustrated p. 30).

121

LEO GESTEL (1881-1941)

Chatting ladies
signed Leo Gestel (lower right)
chalk on paper
44 x 54 cm.
Executed circa 1905

10,000-15,000

$11,000-16,000

PROVENANCE:

H.A. Frank, Le Blonay.

By descent from the above to the present owner.
EXHIBITED:

Schiedam, Stedelijk Museum, Een huis vol met Gestels, 16 December 1970 - 11 January
1971, no. 6.
Deurne, Museum Dinghuis, Leo Gestel, 1 November 1975 - 1 July 1976, no. 22 (illustrated).
Deurne, Museum de Wieger, 100 jaar later: 1881-1981, September 1981 - 1982.
Haarlem, Frans Hals Museum, Leo Gestel als Modernist, 20 August - 16 October 1983, p. 32.
LITERATURE:

E. Wouthuysen, M. Trappeniers, Leo Gestel als modernist, s-Hertogenbosch 1983, (illustrated

p. 32).

122 no lot
103

123

124

MOISSEY KOGAN (1879-1943)

Seated nude

MOISSEY KOGAN (1879-1943)

Standing nude

bronze relief with a black patina

36.5 x 27.5 cm.

bronze relief with a brown patina

26.5 x 10 cm.

3,000-5,000

104

$3,300-5,500

2,000-3,000

$2,200-3,300

PROVENANCE:

PROVENANCE:

F.J. Sandbergen, his sale, Christies, Amsterdam, 19 March 1985,

lot 685.
H.A. Frank, Le Blonay.
By descent from the above to the present owner.

F.J. Sandbergen, his sale, Christies, Amsterdam, 19 March

1985, lot 270.
H.A. Frank, Le Blonay.
By descent from the above to the present owner.

l125

SERGE CHARCHOUNE
(1888-1976)
Untitled
signed and dated Charchoune 44
(lower right)
oil on board
33 x 55 cm.
Painted in 1944

5,000-7,000

$5,500-7,600

PROVENANCE:

Klasema Art, Wouwse Plantage.

l126

PABLO PICASSO (1881-1973)

Wood-owl in lines (Alain Rami 121)
glazed white ceramic vase, painted in brown and black, 1951 , from
the edition of 300, with the MADOURA and EDITION PICASSO
pottery stamps and marks on the base, apparently in very good condition
30 cm. high
Conceived in 1951 and executed in an edition of 300.

5,000-7,000

$5,500-7,600

LITERATURE:

A. Rami, Picasso, Catalogue of the Edited Ceramic Works, 1947-1971,

Madoura 1988, no. 121 (another version illustrated p. 70).

l127

PABLO PICASSO (1881-1973)

Dove Subject (A.R. 435)
glazed white earthenware vase painted in blue, 1959, numbered
361/500, inscribed R. 128, with the MADOURA PLEIN FEU stamp
and EDITION PICASSO pottery stamp and mark on the underside, in
very good condition
15.5 cm. high
Conceived in 1959 and executed in an edition of 500.

1,500-2,000

$1,700-2,200

105

l128

GEORGE COLLIGNON
(1923 - 2002)
Icone or Argent
signed Collignon (lower left); signed twice,
dated and titled Collignon 72 Icone or
argent (on the reverse)
oil and gold paint on canvas
81 x 100 cm.
Painted in 1972

3,000-5,000

$3,300-5,500

PROVENANCE:

Acquired directly from the artist by the present

owner, circa 1992.

l129

ANS MARKUS (B. 1947)

Godshuizen
signed Ans Markus (lower left)
oil on canvas
Painted in 1996

3,000-5,000

$3,300-5,500

PROVENANCE:

Acquired directly from the artist circa 1996 by

the present owner.
LITERATURE:

A. Frenkel, Tot op de huid, 25 jaar Ans Markus,

Amsterdam 2003, p. 180 (illustrated).

106

l130

HENK HELMANTEL (B. 1945)

A still life with eggs, a jug and a milk churn on a table
signed and dated H.F.N Helmantel 1970 (lower right); signed, dated
and numbered twice H.F.N. Helmantel 14 oct. 1970 no. 20 no 1 N.P
(on the reverse)
oil on board
122.5 x 100 cm.
Painted in 1970

25,000-35,000

PROVENANCE:

Anonymous sale, Christies Amsterdam, 9 June 1998, lot 263.

Acquired at the above sale by the present owner.

$28,000-38,000
107

l131

MAURITS CORNELIS ESCHER

(1898-1972)
Butterfies (B. 369)
wood engraving, 1950, on thin wove paper, signed
in pencil and inscribed eigen druk with margins, the full
sheet is laid down on cardboard, paper losses along
the edges, minor retouching in the extreme right edge
of the print, thin lines of discoloration visible in the
upper and lower margins, few soft spots of foxing in
places, otherwise in good condition
S. 340 x 310 mm.; B. 277 x 257 mm.

4,000-6,000

$4,400-6,500

PROVENANCE:

Acquired by the family of the present owner circa 1960.

l!132

MAURITS CORNELIS ESCHER

(1898-1972)
Other World (B. 348)
woodcut and wood engraving printed in colours,
1947, on laid Japan, signed in pencil (strengthened),
inscribed eigen druk, with margins, the sheet loose,
attached with papertape to the mount at upper corners,
slightly timestained, the left edge unevenly cut, fresh
colours, otherwise in very good condition, unframed
B. 317 x 260 mm.; S. 395 x 317 mm.

8,000-12,000

$8,800-13,000

PROVENANCE:

Acquired directly from the artist by Irwin Hersey, New York.

Albert Abrams, New York.
Acquired from the above by the present owner.

108

l133

MAURITS CORNELIS ESCHER (1898-1972)

Day and Night (B. 303)
woodcut, printed from two blocks in black and grey, 1938, on
Japan, signed in pencil, inscribed eigen druk, with wide margins,
sheet glued to the passepartout along the edges, sheet somewhat
timestained, soft horizontal marks visible in the upper left part of
the sheet, the extreme edges with tears and paper losses, these
covered by the passepartout, few lesser defects, otherwise in
good condition, framed
B. 387 x 675 mm.; S. 503 x 782 mm.

12,000-16,000

$13,000-17,600

PROVENANCE:

Acquired from the artist by the family of the present owner.

134 no lot
109

135

CZESLAW MYSTKOWSKI (1898-1938)

Portrait of a Balinese girl
signed and inscribed C. Mystkowski -Bali- (lower left)
oil on panel
24 x 24.5 cm.

2,000-3,000

$2,200-3,300

PROVENANCE:

Galerie Maris, Haarlem.

Acquired from the above by the present owner.
LITERATURE:

L. Haks, G. Maris, Lexicon of Foreign Artists who Visualized Indonesia

(1600-1950), Utrecht 1995, no. 230 (illustrated p. 481).

l136

PIET OUBORG (1893-1956)

Portrait of an Indonesian lady
signed with initials PO (upper right)
oil on panel
33 x 25.5 cm.

1,500-2,000

$1,700-2,200

PROVENANCE:

From the family of the artist.

137

THEO MEIER (1908-1982)

Working the sawah
signed and dated Theo Meier 46 (lower right)
oil on canvas
85 x 73.5 cm.
Painted in 1946

20,000-30,000

110

$22,000-33,000

111

138

112

l138

RUDOLF BONNET (1895-1978)

The seashell divers
signed R. Bonnet (lower right)
pastel on paper
65 x 50 cm.
Executed in 1948

10,000-15,000

$11,000-16,000

PROVENANCE:

Gifted by the artist to the father of the present owner in 1949.

l!139

GERARD PIETER ADOLFS (1897-1968)

Kemphanenfokker, Madoera
signed Adolfs (lower centre); signed, dated, numbered and
titled Adolfs 58 no 462 Kemphanenfokker Madoera (on
the reverse)
oil on canvas
65 x 50 cm., unframed
Painted in 1958

3,000-5,000

$3,300-5,500

139

l140

GERARD PIETER ADOLFS (1897-1968)

Cockfght Adoean Djago, Bali
signed Adolfs (lower left); signed, dated, numbered, titled
and inscribed Adolfs 58-59 no 560 Bali Cockfght Adoean
Djago (on the reverse)
oil on canvas
60 x 78.5 cm., unframed
Painted in 1958-59

5,000-7,000

$5,500-7,600

PROVENANCE:

Acquired by the family of the present owner in 1963.

END OF SALE

140

113

INDEX
A

Adolfs, G.P., 139, 140

Altorf, J.C., 12

Hart Nibbrig, F., 101

Hell, J. van, 112
Helmantel, H., 130
Hem, P. van der, 110
Herman, S., 72, 74
Hunziker, F., 69, 70

Paerels, W., 84, 85

Pallandt, C. van, 57
Pechstein, H. M., 44
Permeke, C., 88, 104
Picasso, P., 126, 127
Pougny, J., 40

Kamerlingh Onnes, M., 17

Kelder, T., 81, 105
Kimpe, R., 8
Kogan, M, 123, 124

Rdecker, J., 14, 16, 31, 35

Rysselberghe, Th. van, 62

B
Baljeu, J., 77
Beekman, C., 13, 21, 34
Bonnet, R., 138
Bosma, W., 79
Bouten, A., 4, 5, 7
Brianchon, M., 95
Brusselmans, J., 89

C
Carasso, F., 63
Charchoune, S., 125
Claus, E., 50
Collignon, G., 68, 128
Cosson, J., 23

D
Degouve de Nuncques, W., 25
Delvaux, P., 90, 91
Dijkstra, J., 47, 49
Doesburg, T. van, 2
Dongen, K. van, 102
Doorn, T. van, 78
Dubois, R., 41

L
Lanooy, C., 15
Leck, B. van der, 9, 10, 11
Leusden, W. van, 100
Leyden, E. van, 71
Leyden, K. van, 73
Lipchitz, L., 64
Lubbers, A., 106, 107, 108

S
Schmidt-Rottluff, K., 43
Slevogt, M., 45, 46
Sluijters, J., 51, 52, 53, 54, 56,
113
Smet, G. De, 87
Smorenberg, D., 116, 117
Spilliaert, L., 93

T
Terechkovitch, C., 83
Toorop, C., 82
Toorop, J., 98

Floch, J., 42

Magritte, R., 92
Mankes, J., 115
Markus, A., 129
Martinez, R., 22
Meier, T., 137
Meijer, S., 119
Meurs, H., 109
Mitoraj, Igor, 103
Mondriaan, P., 38, 39
Moss, M., 3
Mystkowski, C., 135

Gestel, L., 36, 37, 48, 55, 58,

59, 99, 114, 120, 121
Gouwe, A. H., 118
Guillaumin, A., 61

Nieweg, J., 24, 29, 30, 33

Zijl, L., 19, 20, 26, 27, 28, 32

E
Ensor, J., 86
Erfmann, F., 97
Escher, M.C., 131, 132, 133

O
Ouborg, P., 136

V
Valtat, L., 60
Vandenbranden, G., 75, 76
Velde, G. van, 65, 66, 67
Verwey, K., 96
Voerman, J., 18

W
Willink, C., 1, 6, 80, 111
Wouters, R., 94

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as follows:
* A fixed administration fee of 11 per lot (with a
maximum of 33 per buyer) excl. VAT.
* Storage charges of 3.25 per day for larger lots and 2.25
per day for smaller lots excl. VAT.
In accordance with Christies Conditions of Sale (Section
B.9) printed at the back of this catalogue, the risk of loss
or damage to purchased Lots shall be borne by the Buyer
from the moment when the Buyers bid is accepted as the
highest bid by Christies at the auction. This means that
Buyers have a legal obligation to pay for their purchases
in full in accordance with the conditions of business, even
if the Lots are subsequently lost or damaged. Buyers are
advised to arrange their own insurance cover as soon as
practicable after the sale.

30/09/14

115

EXPLANATION OF CATALOGUING PRACTICE

PICTURES, DRAWINGS,
PRINTS AND MINIATURES
The following expressions with their accompanying explanations are used by Christies 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 our opinion a work by the artist.
* Attributed to
In our opinion probably a work by the artist in
whole or in part.
* Studio of / Workshop of
In our opinion a work executed in the studio or
workshop of the artist, possibly under his supervision.
* Circle of
In our opinion a work of the period of the artist and
showing his influence.
* Follower of
In our opinion a work executed in the artists style
but not necessarily by a pupil.
* Manner of
In our opinion a work executed in the artists style
but of a later date.
* After
In our opinion a copy (of any date) of a work of
the artist.
Signed /Dated / Inscribed
In our opinion the work has been signed/dated/
inscribed by the artist.
With signature / With date /
With inscription
In our 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. 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).
* This term and its definition in this explanation
of Cataloguing Practice are a qualified statement as
to authorship. While the use of this term is based
upon careful study and represents the opinion of
specialists, Christies and the consignor assume no
risk, liability and responsibility for the authenticity
of authorship of any lot in this catalogue described
by this term.

116

BUYING AT CHRISTIES
CONDITIONS OF SALE

ABSENTEE BIDS

Christies 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.

Absentee bids are written instructions from prospective buyers

directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies 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 Christies
location, or online at christies.com.
Absentee bids must be received at least 24 hours before the
auction begins.

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 buyers premium or VAT. Where Estimate on
Request appears, please contact the Specialist Department
for further information.

RESERVES
The 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 next to the lot number

BUYERS PREMIUM
Christies charges a premium to the buyer on the Hammer
Price of each lot sold at the following rates:
30.25% of the Hammer Price of each lot up to and
including 30,000, plus 24.2% of the Hammer Price
between 30,001 and 1,200,000, plus 14.52% of any
amount in excess of 1,200,000. Buyers premium is
calculated on the basis of each lot individually.

PRE-AUCTION VIEWING
Pre-auction viewings are open to the public free of
charge. Christies specialists are available to give advice and
condition reports at viewings or by appointment.

BIDDER REGISTRATION
Prospective buyers who have not previously bid or
consigned with Christies should bring:
Individuals: government-issued photo identification (such
as a 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 or if
located in the Netherlands original excerpt of Chamber of
Commerce not older than 4 weeks.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at +31 (0)20 575 52 11 for advice on the
information you should supply.
A financial reference in the form of a recent bank statement
or a reference from your bank. Christies can supply a form of
wording for the bank reference if necessary.
Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies 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 Christies office within
the last two years 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
Christies Credit Department at +31 (0)20 575 52 11.

REGISTERING TO BID ON SOMEONE

ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to
act on the clients behalf. Please note that Christies does
not accept payments from third parties. Christies can only
accept payment from the client, and not from the person
bidding on their behalf.

BIDDING
The auctioneer accepts bids from those present in the
saleroom, from telephone bidders, or by absentee written
bids left with Christies 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 Bids Form at the back of this
catalogue.

TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated
below 2,200. Arrangements must be confirmed with
the Bid Department at least 24 hours prior to the auction
at +31 (0)20 575 59 50. Fax: +31 (0)20 575 59 74.
Arrangements to bid in languages other than Dutch and
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.

AUCTIONEERS DISCRETION
The auctioneer can, acting reasonably: (a) refuse any bid; (b)
move the bidding backwards or forwards in any way he or she
may decide or change the bidding order; (c) withdraw or divide
any lot; (d) combine any two or more lots; (e) in the case of
a mistake (whether or not made by Christies) or a dispute as
to the successful bidder (whether during or after the auction,
including after the fall of the hammer) restart or continue the
bidding, cancel the sale of the lot or resell or reoffer a lot. If any
dispute arises after the auction the auctioneers decision is final.

SUCCESSFUL BIDS
The fall of the auctioneers hammer indicates the final bid,
at which time the buyer assumes full responsibility for the
lot. The results of absentee bids will be mailed after the
auction. Successful bidders will pay the price of the final
bid plus premium plus any applicable VAT.

PAYMENT
Buyers are expected to pay for purchases immediately after
the auction. Payment can be made in cash, or by bank transfer
in Euros to Christies Stichting Derdengelden: ABN AMRO
Bank (BIC/SWIFT code ABNANL2A), Apollolaan 171,
1077 AS Amsterdam. Account No. 54.76.17.100; IBAN:
NL79ABNA0547617100. By credit card in person at our
cashiers counter (fax or mail transactions are not possible);
Eurocard Mastercard, VISA, American Express (please note a
surcharge will apply).
It is Christies Company Policy not to accept any payments
in cash or cash equivalents of more than 7,500 or the
equivalent value in another currency per annum globally.
All cash payments made at Christies Amsterdam will require
formal identification. If you are active as a private person, this
identification may be a valid passport, European identity card
or driving licence. If you act on behalf of one or more other
persons, identification as above is required for this or those
person(s) in addition to your personal identification. If you act
on behalf of a company, please bring an original extract of the
registration with the Chamber of Commerce (not older than
three months) of your company in addition to your personal
identification.
Source: Dutch Law Mention Unusual Transactions and
Dutch Law Identification Service rendering.
Cheques and drafts should be made payable to Christies
Amsterdam B.V. Only Certified Bank Cheques i.e. those
cheques that are drawn on the bank, can be accepted as form
of payment in cases of immediate collection. Identification
as above may be required and a limit may apply. For further
information call the Cashier at +31 (0)20 575 52 11.
Please note that Christies will not accept payments for
purchased Lots from any party other than the buyer, unless
otherwise agreed between the buyer and Christies prior to
the sale.

LOCAL TAXES AND VAT

If a Lot is marked + or !, it will have a special VAT
status and will be subject to higher rates as follows:
! : Lot is imported from outside the EU. For each Lot the
Buyers Premium is calculated as 37.75% of the Hammer
Price up to a value of 30,000, plus 31.7% of the Hammer
Price between 30,001 and 1,200,000, plus 22.02% of any
amount in excess of 1,200,000.

+ : 21% VAT applies to both the Hammer Price and the

Buyers Premium. The Buyers Premium is calculated for
each lot as 51.25% of the Hammer Price up to a value
of 30,000, plus 45.2% of the Hammer Price between
30,001 and 1,200,000, plus 35.52% of any amount in
excess of 1,200,000.

VAT
REFUNDS FOR BUYERS OUTSIDE THE EU
VAT charged on both the Hammer Price and the Premium
may be refunded provided the following conditions are met:
- Property must be exported from the EU within 2 months
of the date of the sale.
- Christies must be provided with proof of export bearing
the original customs stamp from the point of export from the
EU. Netherlands tax authorities will not accept photocopies.
- The purchase invoice must be addressed to a party resident
outside of the EU.
Christies remains liable to account for VAT on all Lots
unless the conditions listed above are satisfied. Therefore
Buyers will generally be asked to initially deposit all amounts
of VAT invoiced. To apply for a refund the appropriate
export evidence must be sent to Christies accounts
department clearly marked VAT REFUND. There will
be an administration charge of 35 payable to Christies for
this service.
An immediate refund of VAT is possible if shipping is
arranged by Christies within 2 months of the date of the sale.

SHIPPING
A shipping form is enclosed with each invoice to buyers
outside of the Netherlands. It is the buyers responsibility
to pick up purchases or make all shipping arrangements.
After payment has been made in full, Christies can arrange
property packing and shipping at the buyers request and
expense. Buyers should request an estimate for any large
items or property of high value that require professional
packing. For more information please contact the Shipping
Department at +31 (0)20 575 52 52.

INSURANCE AND STORAGE

Buyers are advised to arrange their own insurance cover as
soon as practicable after the sale.
Please note that (subject to availability of space at
our premises) all uncollected purchases may be transferred
to third party storage at your expense if you fail to arrange
timely collection or to issue instructions for shipping.

VAT
BUYERS FROM WITHIN THE EU
Buyers who are resident outside The Netherlands, but within
the EU, and who have obtained a valid VAT identification
number that has been made known to Christies before or
immediately after the sale, and who furthermore comply with
all other conditions specified by Christies, will be eligible
for a VAT rate of 0 %. The buyer guarantees to Christies
the correctness of all information provided. Lots that are sold
in accordance with the above shall be ineligible to be resold
under the Margin Scheme.

EXPORT/IMPORT PERMIT
Overseas buyers are advised to familiarise themselves with any
restrictions or licence requirements relating to their intended
purchases. In case of doubt, buyers are advised to consult their
local customs authority or a reputable international shipper.
Export licences in the Netherlands can usually be obtained
within two to four weeks. Sellers and Buyers are advised
that the Ministry of Education, Culture and Sciences may
designate cultural objects as protected cultural objects, in
which case restrictions with regard to the exportation and
transfer of title of these objects apply. Sellers and Buyers
are further advised that certain objects may fall within the
scope of EU-regulation no 3911/92, as a consequence of
which an export licence from the Ministry of Education,
Culture and Sciences may be required if the objects are to
be exported to a country outside of the EU.
An export licence issued by the Ministry of Agriculture,
Nature and Food Quality, Department CITES will
be required for the export of any item made of, or
incorporating (irrespective of percentage) animal material
such as ivory, whalebone, tortoiseshell, rhinoceros horn
etc. and this generally takes up to 8 weeks. Clients are
advised to check with the regulating body in the country
of importation regarding items within this category - some
countries have an absolute ban on the importation of
certain materials.

22/04/15

117

CONDITIONS OF SALE
The following Conditions of Sale apply to the legal
relationship between Christies Amsterdam B.V.
(hereinafter: Christies) and the participants in the
auctions held by Christies and related activities. By
participating in the auction, the persons who bid at
the auctions held by Christies (hereinafter: Intending
Buyer(s)) accept the applicability of these Conditions
of Sale. Christies therefore request Intending Buyers
to read carefully both the Conditions of Sale and the
definitions of some of the terms used in the catalogue.
For ease of reference, the Conditions of Sale are
divided into sections: Section A gives a background to
some of the terms used in the Conditions generally;
section B to (Intending) Buyers; and section C
contains some general provisions.

at Christies, the purchase agreement between the

Seller and the Buyer comes into being at the moment
when Christies accept a bid as the highest bid.
(b) When making a bid, a bidder is accepting
personal liability to pay the purchase price, including
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before the
commencement of the sale that the bidder is acting as
agent on behalf of an identified third party acceptable
to Christies, and that Christies will only look to the
principal for payment.
(c) Anyone wishing to bid at an auction must fill out
and sign a registration form before the beginning of
the auction.

(A) BACKGROUND TO TERMS USED IN

THESE CONDITIONS
1. In the conditions set out below, some terms are used
regularly that need explanation. They are as follows:
- The Buyer means the person with the highest bid
accepted by the auctioneer, assuming this highest bid
is at least equal to the Reserve, if any;
- The Buyers premium means the charge payable
by the Buyer as a percentage of the Hammer Price, at
the rates set out in Article B.4.;
- Condition report means additional information
on a particular lot in the catalogue, as supplied by
Christies;
- The Consignment Agreement means the written
agreement between Christies and the Seller containing
the instruction from the Seller to Christies to sell the
Lots during one or several auctions;
- Forgery means a Lot constituting an imitation
originally conceived and executed as a whole with
a fraudulent intention to deceive as to authorship,
origin, age, period, culture or source where the
correct description as to such matters is not reflected
by the description in the catalogue and which at the
date of the auction had a value materially less than
it would have had if it had been in accordance with
the description in the catalogue. Accordingly, no
Lot shall be capable of being a Forgery by reason
of any damage and/or restoration work of any kind
(including repainting);
- The Hammer Price means the amount of the
highest bid accepted by the auctioneer in relation to
a Lot;
- Margin Scheme means that the Buyers Premium
includes VAT as set out in Article B.4;
- Lot means any object or set of objects accepted
by Christies for the purpose of selling the same at
the auction and described in the catalogue under one
lot number;
- Proceeds of Sale means the Hammer Price less the
commission and V.A.T. chargeable thereon and less all
costs payable to Christies;
- Purchase Price means the Hammer Price plus
the Buyers premium and all other costs payable
to Christies (including the resale royalty) plus any
applicable VAT;
- The Reserve means the amount below which
Christies agree with the Seller that the Lot cannot
be sold;
- The Seller means the person offering an object
or a set of objects to Christies for sale at one of the
auctions held by Christies;

2. CHRISTIES ACTING AS REPRESENTATIVES

(a) In effecting sales Christies are acting as
representatives for the Seller. Christies do not warrant
to the Intending Buyers that the Sellers have the right
of disposal of the objects sent in, nor that the objects
are not charged with real rights or leased out, nor that
all legal requirements relating to any export or import
of the objects have been complied with.
(b) Christies are not obliged to disclose the name of
the Seller to the Intending Buyer or the Buyer.
(c) Christies recommend Intending Buyers to attend
the auction and to make bids themselves.
(d) If an Intending Buyer gives Christies instructions
to bid on his behalf, by using the form printed
after the catalogue entries, Christies shall - without
charging any additional fee - use reasonable efforts to
do so, provided the instructions are received not later
than 24 hours before the auction. If Christies receive
commission bids on a particular Lot for identical
amounts, and at auction these bids are the highest
bids for the Lot, it will be sold to the person whose
bid was received first. Commission bids are accepted
by Christies subject to other commitments at the
time of the sale, and the conduct of the sale may be
such that Christies are unable to bid as requested.
Christies do not accept liability whatsoever for
failure to make a commission bid or for failure to
correctly execute a commission bid. Intending Buyers
should therefore always attend personally if they wish
to be certain of bidding.
(e) If an Intending Buyer makes arrangements with
Christies not later than 24 hours before the auction,
Christies shall - without charging any additional fee use reasonable efforts to contact the Intending Buyer
to enable him to participate in bidding by telephone.
Christies does not accept liability whatsoever for
failure to make a telephone bid or for failure to
correctly execute a telephone bid.

(B) THE BUYER

1. THE BUYER
(a) The Buyer is the person accepted as the highest
bidder by Christies acting as agents for the Seller. The
decision whether or not to accept a bid shall be made
by Christies. Subject to the provisions of the section
marked Auctioneers Discretion set out in the Buying

118

3. DESCRIPTIONS IN THE CATALOGUE AND

VIDEO IMAGES
(a) All statements of Christies in the catalogue and
condition reports as to the (presumptive) designer,
author, writer, origin, date, age, genuineness, source,
provenance, condition or estimated Hammer Price
of any Lot are statements of opinion only and
shall never imply any guarantee by Christies. All
illustrations in the catalogue serve merely as guidance
for Intending Buyers; they do not provide any
decisive information as to pattern, colours and degree
of damage of any Lot.
(b) Lots may be in imperfect condition. The absence
of any reference in the catalogue to defects in a Lot
does not imply that such Lot is free from defects, nor
does reference to particular defects imply the absence
of others.
(c) Intending Buyers will have to form an opinion
regarding the matters discussed in paragraph (a)
and paragraph (b) above by personal inspection or
otherwise during the previews.

(d) Without prejudice to the provisions in paragraph

(a) and paragraph (b) above, neither Christies nor their
employees or representatives give any guarantee as to
the correctness or completeness of any information
supplied either verbally or in writing about any Lot.
(e) If within one year after the auction the Buyer
proves that a Lot bought by him is a Forgery, the sale
of the Lot shall be cancelled and the Purchase Price
shall be refunded by Christies to the Buyer. The
Buyer should note that this refund can be obtained
only if the following conditions are met:
(i) the Buyer has notified Christies in writing
within one year from the date of the auction that
in his view the Lot is a Forgery;
(ii) the Buyer has within fourteen days after the date
of the notification referred to hereabove under
(i) returned the Lot to Christies in the same
condition as it were in when the Buyer took
delivery of the Lot; and
(iii) the Buyer has at latest upon return of the Lot
produced evidence satisfactory to Christies
that the Lot is a Forgery and that he is able to
transfer the title to Christies, free from any third
party claims.
The right to a refund as contained in this paragraph
shall not exist if either (a) the catalogue description
at the auction date corresponded to the generally
accepted opinion of scholars or experts at that time, or
fairly indicated that there was a conflict of opinions; or
(b) it can be demonstrated that a Lot is a Forgery 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 the auction was
unreasonably expensive or impracticable or likely to
have caused damage to the Lot.
In no circumstance shall Christies be obliged to pay
the Buyer any more than the Purchase Price for the
Lot. The Buyer shall have no claim for interest.
Christies shall be entitled to rely on any scientific or
other process to establish that the Lot is not a Forgery,
whether or not such process was used or in use at the
date of the auction.
The right to a refund as contained in this paragraph is
not capable of being transferred and is solely for the
benefit of the Buyer.
The right to a refund as contained in this paragraph
does not apply to coins, medals and jewellery.
(f) At some auctions there will be a video screen.
Mistakes may occur in its operation, and Christies
shall not be liable to the Intending Buyer regarding
either the correspondence of the image to the
Lot being sold or the quality of the image as a
reproduction of the original.
4. STANDARD CHARGES FOR PURCHASERS
(a) Buyers Premium
Christies charges a Buyers Premium calculated at
30.25% of the Hammer Price for each lot up to and
including 30,000, plus 24.2% of the Hammer Price
between 30,001 and 1,200,000, plus 14.52% of
any amount in excess of 1,20,000. Buyers Premium
is calculated on this basis for each lot individually.
The Buyers Premium does not include shipping or
storage charges. These will be charged separately if
shipping or storage is requested by the Buyer.
(b) Artists Resale Right Regulations (Droit de Suite/
Volgrecht):
If the Artists Resale Right Regulations 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 next to
the lot number.

15/02/13

5. V.A.T.
If a Lot is not marked + or ! in the catalogue,
Christies will offer such Lot for sale under the
Margin Scheme.
If a Lot is marked + or !, it will have a special
V.A.T. status and will be subject to higher rates
as follows:
!: Lot is imported from outside the EU. For each
Lot the Buyers Premium is calculated as 37.75% of
the Hammer Price up to a value of 30,000, plus
31.7% of the Hammer Price between 30,001 and
1,200,000, plus 22.02% of any amount in excess of
1,200,000.
+: 21% V.A.T. applies to both the Hammer Price
and the Buyers Premium. The Buyers Premium is
calculated for each lot as 51.25% of the Hammer Price
up to a value of 30,000, plus 45.2% of the Hammer
Price between 30,001 and 1,200,000, plus 35.52%
of any amount in excess of 1,200,000. The Buyer
must furnish Christies with all relevant information
concerning his V.A.T. position. The Buyer warrants
this information to be correct.
Changes in the V.A.T. status of a Lot may be
communicated by a sale room notice.
6. REGISTRATION OF BIDDERS
Prospective buyers who have not previously bid or
consigned with Christies should bring:
Individuals: government-issued photo identification
(such as a 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 photocopy of the company
register or if located in the Netherlands an original
excerpt of Chamber of Commerce not older than
4 weeks.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies
Credit Department at +31 (0)20 575 52 11 for advice
on the information you should supply.
A financial reference in the form of a recent bank
statement or a reference from your bank. Christies
can supply a form of wording for the bank reference
if necessary.
Persons registering to bid on behalf of someone who
has not previously bid or consigned with Christies
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
Christies office within the last two years 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 Christies Credit
Department at +31 (0)20 575 52 11.
7. PAYMENT
The Buyer shall pay the Purchase Price to Christies
within seven days after the auction, failing which he
shall be in default. The Buyer shall owe interest on the
Purchase Price to Christies at a rate equal to the legal
interest plus two percentage points from the moment
he is in default. The Purchase Price includes V.A.T.
The Buyer shall pay the Purchase Price in full even if
a subsequent V.A.T. refund may be granted.
Christies does not accept payment from third parties.
This also applies to agents.

8. RELEASE OF LOTS
(a) Without prejudice to the provision of article
B.2.(a), the title to the objects belonging to the Lot
shall not pass to the Buyer until he has fully paid the
Purchase Price as well as any and all other moneys due
from the Buyer to Christies as a result of any other
purchase agreements. Until such time, Christies shall
have a lien (retentierecht) on the objects belonging
to the Lot.
(b) The Buyer must take away the Lot(s) purchased by
him at his expense within seven days of the auction,
failing which he shall be in default. The period of
seven days mentioned here may be deviated from in
the auction catalogue.
(c) The Buyer shall be liable for the costs of removal,
storage or other costs of any Lot which has not been
taken away by him within the period referred to
in paragraph (b) above. Christies shall have a lien
(retentierecht) on the Lot in respect of said costs.
(d) The Buyer may request Christies to pack a
purchased Lot or to cause the same to be packed. Such
packing shall be done entirely at the discretion of
Christies and at the expense and risk of the Buyer.
(e) Christies does not provide a packing, postal or
delivery service. Christies can suggest the names of
companies that provide these services if requested
to do so. However Christies does not accept
responsibility for any loss or damage which may occur
during packing, storage or transportation of the Lot(s).
(f) Collection of purchases
Christies shall be entitled to retain items sold
until all amounts due to Christies, or to Christies
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, Christies 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 seven calendar days from the date of the sale
unless otherwise agreed between us and the buyer.
9. RISK OF PURCHASED LOTS
The risk of loss or damage to purchased Lots shall
be borne by the Buyer from the moment when the
Buyers bid is accepted as the highest bid by Christies
at the auction. This means that Buyers have a legal
obligation to pay their purchases in full, even if the
Lots are subsequently lost or damaged.
10. DEFAULT OF THE BUYER
(a) If the Buyer is in default, Christies shall be
authorised to sell the Lot(s) purchased by the Buyer
without further notice, either by private or by public
sale. The Buyer shall continue to be liable for the part
of the Purchase Price remaining unpaid after such sale,
while the Buyer shall never be entitled to any surplus
proceeds which may be realised upon re-auctioning.
(b) If, as a result of the Buyers default, Christies are
sued by the Seller or by third parties or if any property
belonging to Christies or the sold Lot(s) is/are seized
by the Seller or by third parties, or if Christies suffer
damage or incur expenses in any other way as a result
of the Buyers default, Christies shall be entitled
to recover from the Buyer all damage suffered and
expenses incurred by Christies as a result thereof.
Christies shall moreover be authorised to disclose the
identity of the Buyer to the Seller or to the said third
parties if the Buyer is in default.

(c) If the Buyer is in default, Christies may reject at

any future auction any bids made by the Buyer.
11. LIABILITY
(a) Without prejudice to the provisions set forth
elsewhere in these Conditions of Sale, Christies are
liable for damage suffered by the Buyer only, if the
occurrence of the damage is the consequence of gross
negligence or intent of Christies or their employees or
representatives.
(b) In the cases referred to in paragraph (a) above the
extent of the liability of Christies for damage suffered
by the Buyer shall be limited to the amount of the
Buyers premium.
(c) The limitation of liability as contained in this
article may also be invoked by the employees and
representatives of Christies.
12. EXPIRATION
(a) The right of the Buyer to annul, rescind or
cancel the purchase agreement or to cause same to
be annulled or rescinded shall expire after one year
from the day on which the purchase agreement is
concluded. If the Buyer decides to exercise any of the
rights set forth above, he shall be obliged to deliver the
objects belonging to the purchased Lot to Christies
forthwith, in the same condition that they were in
when the Buyer took delivery of them, without
prejudice to the provisions of Article B.3.(e) in case
the Lot is claimed to be a Forgery.
(b) The annulment, nullification, rescission or
cancellation of the purchase agreement shall not affect
the Buyers obligation to pay the Buyers premium and
to reimburse the expenses incurred by Christies.
C. GENERAL PROVISIONS (APPLICABLE TO
BOTH BUYERS AND SELLERS)
1. Neither Christies nor their employees nor their
representatives are liable for any damage suffered by
the Seller or the Buyer, as the case may be, as a result
of default of the Buyer or the Seller, respectively.
2. Christies are authorised, without reason given, to
refuse any person admission to the auction premises
and the auction, and also to exclude any person from
making bids for a Lot.
3. Christies are authorised to combine several Lots,
to combine different objects from one and the same
Seller into one Lot, to refuse any bid, to continue the
bidding, to withdraw or to divide a Lot, and in the
event of a dispute about the bidding to put up the Lot
for sale once again immediately.
4. All notifications and communications to Christies
shall be made in writing.
5. The legal relationship between Christies and the
Buyer shall be governed by Netherlands law.
6. Any dispute between Christies and the Buyer
shall be adjudicated by the competent court of
Amsterdam, on the understanding that a Buyer who
is a natural person and who is not acting in pursuance
of a profession or a sale shall have the right, within
a period of 32 days after Christies have invoked this
clause against him in writing, to choose to have the
dispute adjudicated by the court that has jurisdiction
by law.
7. This text is a translation in the English language of
the Dutch Conditions of Sale. The Dutch text shall
be the authentic text in all cases. A copy of the Dutch
text is on public display at our sale premises and is
available on request.
8. The copyright in all images, illustrations and
written material, relating to a Lot is and shall remain
at all times the property of Christies and shall not be
used by the Buyer nor anyone else without the prior
written consent of Christies.

15/02/13

119

WORLDWIDE SALEROOMS AND EUROPEAN OFFICES

AUSTRIA
VIENNA

INDIA
MUMBAI

RUSSIA
MOSCOW

UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON

+43 (0)1 533 881214

Angela Baillou

+91 (22) 2280 7905

Sonal Singh

BELGIUM
BRUSSELS

DELHI

+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova

+91 (98) 1032 2399

Sanjay Sharma

SPAIN
BARCELONA

ISRAEL
TEL AVIV

+34 (0)93 487 8259

Carmen Schjaer

+972 (0)3 695 0695

Roni Gilat-Baharaff

MADRID

+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
COPENHAGEN

+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI

+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
PARIS

+33 (0)1 40 76 85 85
GERMANY
DSSELDORF

+49 (0)21 14 91 59 352

Arno Verkade
FRANKFURT

+49 (0)173 317 3975

Anja Schaller
(Consultant)
HAMBURG

+49 (0)40 27 94 073

Christiane Grfin zu
Rantzau
MUNICH

+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART

+49 (0)71 12 26 96 99
Eva Susanne Schweizer

DENOTES SALEROOM

ITALY
MILAN

+39 02 303 2831

ROME

+39 06 686 3333

Marina Cicogna
MONACO

+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM

+31 (0)20 57 55 255

NORWAY
OSLO

+47 975 800 78

Katinka Traaseth
(Consultant)
PEOPLES REPUBLIC
OF CHINA
BEIJING

+86 (0)10 8572 7900

HONG KONG

+852 2760 1766

SHANGHAI

+86 86 (0)21 6355 1766

Jinqing Cai

+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 Dyhln
(Consultant)
SWITZERLAND
GENEVA

+41 (0)22 319 1766

Eveline de Proyart
ZURICH

+41 (0)44 268 1010

Dr. Bertold Mueller
TURKEY
ISTANBUL

+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
UNITED ARAB EMIRATES
DUBAI

+971 (0)4 425 5647

+44 (0)20 7839 9060

+44 (0)20 7930 6074

NORTH AND
NORTHEAST

+44 (0)20 7752 3004

Thomas Scott
NORTHWEST AND
WALES

+44 (0)20 7752 3004

Jane Blood
SOUTH

+44 (0)1730 814 300

Mark Wrey
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
(Consultant)
IRELAND

+353 (0)59 86 24996

Christine Ryall
(Consultant)
UNITED STATES
NEW YORK

+1 212 636 2000

PORTUGAL
LISBON

+351 919 317 233

Mafalda Pereira
Coutinho
(Consultant)

ENQ UI RI ES Call the Saleroom or Office

For a complete salerooms & offices listing go to christies.com

E MA I L info@christies.com
14/04/15

120

CHRISTIES SPECIALIST DEPARTMENTS AND SERVICES

DEPARTMENTS
AMERICAN FURNITURE

NY: +1 212 636 2230

AMERICAN INDIAN ART

NY: +1 212 606 0536

IMPRESSIONIST AND
NINETEENTH CENTURY
PICTURES

AMS: +31 (0)20 575 52 82

KS: +44 (0)20 7389 2452
SK: +44 (0)20 7752 3253

AMERICAN PICTURES

INDIAN
CONTEMPORARY ART

NY: +1 212 636 2140

KS: +44 (0)20 7389 2700

ANGLO-INDIAN ART

INDIAN, HIMALAYAN,
SOUTHEAST ASIAN

KS: +44 (0)20 7389 2570

ANTIQUITIES

AMS: +31 (0)20 575 52 20

SK: +44 (0)20 7752 3018

INTERIORS

ARMS AND ARMOUR

SK: +44 (0)20 7389 2236

NY: +1 212 636 2032

KS: +44 (0)20 7389 2020

AUSTRALIAN PICTURES

KS: +44 (0)20 7389 2040

BOOKS AND
MANUSCRIPTS

KS: +44 (0)20 7389 2158

SK: +44 (0)20 7752 3203
BRITISH & IRISH ART

ISLAMIC WORKS OF ART

KS: +44 (0)20 7389 2370

SK: +44 (0)20 7752 3239
JAPANESE WORKS OF ART

AMS: +31 (0)20 575 52 05

JEWELLERY

AMS: +31 (0)20 575 59 15

OLD MASTER PICTURES

AUCTION SERVICES

AMS: +31 (0)20 575 59 58

CORPORATE COLLECTIONS

ORIENTAL CERAMICS
AND WORKS OF ART
PHOTOGRAPHS

Tel: +44 (0)1798 344440

Fax: +44 (0)1798 344442
Email:
norchard @christies.com

SK: +44 (0)20 7389 2292

FINANCIAL SERVICES

POPULAR
ENTERTAINMENT

Tel: +44 (0)20 7389 2317

Fax: +44 (0)20 7389 2204
Email:
nmcallen@christies.com

SK: +44 (0)20 7752 3235

SK: +44 (0)20 7752 3275

POST WAR ART

AMS: +31 (0)20 575 52 82

KS: +44 (0)20 7389 2450
SK: +44 (0)20 7752 3210

HERITAGE AND TAXATION

POSTERS

HOUSE SALES

SK: +44 (0)20 7752 3208

PRINTS

AMS: +31 (0)20 575 52 86

KS: +44 (0)20 7389 2266
RUSSIAN WORKS OF ART

SCULPTURE

PRIVATE SALES

AMS: +31 (0)20 575 52 82

KS: +44 (0)20 7389 2331

US: +1 212 636 2034

Fax: +1 212 636 2035
Email:
jplacent@christies.com

SPORTING MEMORABILIA

VALUATIONS

SCIENTIFIC INSTRUMENTS

BRITISH ART ON PAPER

NY: +1 212 636 2150

KS: +44 (0)20 7389 2278

SK: +44 (0)20 7752 3293
NY: +1 212 606 0565

MARITIME MODELS,
INSTRUMENTS AND
EPHEMERA

BRITISH PICTURES
1500-1850

SK: +44 (0)20 7752 3119

SK: +44 (0)20 7752 3007

KS: +44 (0)20 7389 2945

MARITIME PICTURES

CAMERAS AND
OPTICAL TOYS

AMS: +31 (0)20 575 52 80

SK: +44 (0)20 7752 3284
NY: +1 212 707 5949

TOPOGRAPHICAL
PICTURES

SK: +44 (0)20 7752 3279

MECHANICAL MUSIC

AMS: +31 (0)20 575 52 80

KS: +44 (0)20 7389 2040
SK: +44 (0)20 7752 3291

CARPETS

SK: +44 (0)20 7752 3278

TOYS

AMS: +31 (0)20 575 52 22

MINIATURES

SK: +44 (0)20 7752 3274

CHINESE WORKS OF ART

AMS: +31 (0)20 575 52 05

KS: +44 (0)20 7389 2347

SK: +44 (0)20 7752 3177

TRIBAL AND PRECOLUMBIAN ART

CLOCKS

MODERN DESIGN

PAR: +33 (0)140 768 386

AMS: +31 (0)20 575 52 22

AMS: +31 (0)20 575 52 67

SK: +44 (0)20 7389 2142

TWENTIETH CENTURY
BRITISH ART

AMS: +31 (0)20 575 52 82

KS: +44 (0)20 7389 2920
SK: +44 (0)20 7752 3313

MOTOR CARS

KS: +44 (0)20 7389 2684

SK: +44 (0)20 7752 3311

COSTUME, TEXTILES
AND FANS

SK: +44 (0)20 7752 3365

CONTEMPORARY ART

SK: +44 (0)20 7752 3215

KS: +44 (0)20 7389 2851

MUSICAL INSTRUMENTS
NINETEENTH CENTURY
EUROPEAN ART

SILVER

TWENTIETH CENTURY
PICTURES

AMS: +31 (0)20 575 52 82

SK: +44 (0)20 7752 3218
VICTORIAN PICTURES

DOLLS

AMS: +31 (0)20 575 52 80

SK: +44 (0)20 7752 3276

EUROPEAN CERAMICS
AND GLASS

NINETEENTH CENTURY
FURNITURE AND
SCULPTURE

SK: +44 (0)20 7752 3026

KS: +44 (0)20 7389 2699

AMS: +31 (0)20 575 59 15

FURNITURE

OBJECTS OF VERTU

AMS: +31 (0)20 575 52 22

AMS: +31 (0)20 575 52 17

KS: +44 (0)20 7389 2666
SK: +44 (0)20 7752 3001

WATERCOLOURS AND
DRAWINGS

HOUSE SALES

AMS: +31 (0)20 575 59 75

SK: +44 (0)20 7752 3260

OLD MASTER DRAWINGS

KS: +44 (0)20 7389 2251

MUSEUM SERVICES

SK: +44 (0)20 7752 3286

KS: +44 (0)20 7389 2662

JUDAICA & HEBRAICA

LATIN AMERICAN ART

Tel: +44 (0)20 7752 3260

Fax: +44 (0)20 7752 3154
Email:
awaters@christies.com
US: +1 212 636 2620
Fax: +1 212 636 4929
Email: awhiting@christies.
com

KS: +44 (0)20 7389 2682

NY: +1 212 636 2084
SK: +44 (0)20 7752 3257

AMS: +31 (0)20 575 52 19

Tel: +44 (0)20 7389 2101

Fax: +44 (0)20 7389 2300

KS: +44 (0)20 7389 2468

SK: +44 (0)20 7752 3257
WATCHES

AMS: +31 (0)20 575 52 80

SK: +44 (0)20 7752 3293
WINE

AMS: +31 (0)20 575 52 08

Tel: +31 (0)20 575 5975

Fax: +31 (0)20 57 55 954
Email:
jdejong@christies.com

Melbourne
Tel: +61 (0)3 9820 4311
Fax: +61 (0)3 9820 4876
Email: christieseducation@
christies.edu
CHRISTIES FINE ART
STORAGE SERVICES

London
+44 (0)20 7622 0609
london@cfass.com
New York
+1 212 974 4570
newyork@cfass.com
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.com
CHRISTIES
INTERNATIONAL
REAL ESTATE

New York
Tel +1 212 468 7182
Fax +1 212 468 7141
info@christiesrealestate.com

London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
info@christiesrealestate.com

Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
info@christiesrealestate.com

OTHER SERVICES
CHRISTIES EDUCATION

London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: christieseducation@
christies.edu
New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu
Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email:
hkcourse@christies.com
Paris
Tel: +33 (0)1 42 25 10 90
Fax: +33 (0)1 42 25 10 91
Email:
ChristiesEducationParis@
christies.com

KEY TO ABBREVIATIONS

AMS:
Amsterdam
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
06/04/11

121

we are delighted to announce the

recent private sale of this rare klimt
to a major international museum.

GUSTAV KLIMT (18621918)

Medizin (Kompositionsentwurf) Medicine (Concept), 1897

Purchased privately by The Israel Museum, 2014

Christies Private Sales offers

a personalised alternative to auction.
Please contact us for more details.

122

Contact Americas

Contact Europe

Adrien Meyer
ameyer@christies.com
+1 212 636 2056

Libert Nuti
lnuti@christies.com
+44 (0) 20 7389 2441

HENDRIK WILLEM MESDAG (GRONINGEN 1831-1915 THE HAGUE)

Zeilende bomschuiten; return of the feet, Scheveningen
signed and dated HW Mesdag 1896 (lower left); and remnance of a signature and date (lower right)
oil on canvas 63 x 84 cm.
Painted in 1896
80,000120,000

Old Master & 19th Century Art

including Dutch Impressionism

Amsterdam 23-24 June 2015

Viewing

Contact

19-22 June
Cornelis Schuytstraat 57
1071 JG Amsterdam

Sarah de Clercq
sdeclercq@christies.com
+31 (0)20 575 52 81

christies.com

Impressionist/Modern Day Sale

London, King Street 24th June 2015
Viewing

Contact

1823 June

Keith Gill
kgill@christies.com
+44 (0) 20 7389 2175

RAOUL DUFY (1877-1953)

Lorchestre la chanteuse
oil on canvas
21 x 25 in. (54 x 65 cm.)
Painted in 1942
280,000-350,000

PABLO PICASSO (1881-1973)

Trois poissons sur fond gris (A.R. 396)
engraved terracotta plate
Diameter 41.2 cm.
Conceived on 11 April 1957 and executed in a numbered edition of 175
10,000 15,000

JEAN-PIERRE CASSIGNEUL (B. 1935)

Devant la mer
signed `Cassigneul (lower left); inscribed `Devant la mer (on the reverse)
oil on canvas
27 x 22 cm.
Painted in 1973
15,000 20,000

Picasso Ceramics
London, South Kensington 25 June 2015

Impressionist/Modern
London, South Kensington 26 June 2015
Viewing

Contact

2024 June
85 Old Brompton Road
London SW7 3LD

Imogen Kerr
ikerr@christies.com
+44 (0)20 7752 3177

christies.com

Made in Holland
from golden age to dutch design
Amsterdam 6 October 2015

JAN SCHOONHOVEN (1914-1994);

ARMANDO (B. 1929) AND
HENK PEETERS (1925-2013)

Triptiek Nul
(i) painted tinplates and nails on
chipwood laid down on plywood
Executed in 1962
(ii) painted corrugated cardboard
on chipwood laid down on plywood
Executed in 1964
(iii) feathers on cotton laid down
on plywood
Overall: 90 x 40 cm.
60,000-80,00

Invitation to consign
We are now accepting consignments of Dutch
paintings and decorative works of art, silver,
Delft, photography and design from the 16th
to the 21st century.
Contact
Benthe Tupker
+31 (0)20 5755 957
btupker@christies.com

MODERN ART
TUESDAY 9 JUNE 2015 AT 2.00 PM

Cornelis Schuytstraat 57, 1071 JG Amsterdam

ABSENTEE BIDS FORM

CHRISTIES AMSTERDAM

CODE NAME: AMS

SALE NUMBER: 3056

(Dealers billing name and address must agree with

taxexemption certificate. Invoices cannot be changed after
they have been printed.)
BID ONLINE FOR THIS SALE AT CHRISTIES.COM

Absentee bids must be received at least 24 hours before the auction begins.
Christies will confirm all bids received by fax by return fax. Tel: +31 (0)20 575 5950
Fax: +31 (0)20 575 59 74 on-line www.christies.com

Client Number (if applicable)

Billing Name (please print)

Invoice Address

BIDDING INCREMENTS

Bidding generally opens below the low estimate

and advances in increments of up to 10%, subject
to the auctioneers discretion. Absentee bids that do
not conform to the increments set below may be
lowered to the next bidding interval.
100 to 1,000
by 50
1,000 to 2,000
by 100
2,000 to 3,000
by 200
3,000 to 5,000
by 200-500-800
5,000 to 10,000
by 500
10,000 to 20,000
by 1,000
20,000 to 30,000
by 2,000
30,000 to 50,000
by 2,000-5,0008,000
50,000 to 100,000
by 5,000
100,000 +
by 10,000
The auctioneer may vary the increments during the
course of the auction at his or her own discretion.
Auction Results: +44 (0)20 7627 2707

Please also refer to the information contained in Buying at

Christies at the back of this catalogue.
I request Christies 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 payable shall be the aggregate of the
final bid and a VAT inclusive premium calculated at 30.25% of
the Hammer Price for each lot up to and including 30,000, plus
24.2% of the Hammer Price between 30,001 and 1,200,000,
plus 14.52% of any amount in excess of 1,200,000.
Buyers Premium is calculated on this basis for each lot individually.
Lots marked with a + or ! VAT is applied differently.
I understand that Christies provides the service of executing
absentee bids for the convenience of clients and that Christies is
not responsible for failing to execute bids or for errors relating to
execution of bids. On my behalf, Christies 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 at Christies will take precedence. Absentee bids
in another currency will be converted into Euros using the official
exchange rate on the day of receipt of the absentee bid. The results
of absentee bids will be mailed after the auction. An invoice will be
sent to you on the following business day after the sale.
Please contact the Telephone Bid office at least 24 hours in advance
of the sale to make arrangements for telephone bidding.
Tel: +31 (0)20 575 5950.
All bids are subject to the terms of the Conditions of Sale printed in
this Christies catalogue.

City

Post Code

Home Telephone

Mobile

Fax (Important)

Email

Please tick if you do not wish to receive your results by e-mail.

Name

Date

Signature

If you have not previously bid or consigned with Christies, 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 +31 (0)20 575 52 11 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 Christies, please attach identification documents for yourself as well as the person/entity on
whose behalf you are bidding, together with a signed letter of authorisation from the person/
entity. New clients, clients who have not made a purchase from any Christies office within the last
two years, and those wishing to spend more than on previous occasions will be asked to supply a
bank reference.

PLEASE PRINT CLEARLY

Lot number
(in numerical order)

Maximum Price
(excluding buyers premium)

Lot number
(in numerical order)

Maximum Price
(excluding buyers premium)

If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS

Please quote number below:

23/04/13

127

IMPRESSIONIST AND MODERN

expert knowledge beautifully presented

Code
A194
L194
L3
N194
P194
K194
K5
C110

Subscription Title
Impressionist and Modern
Modern Art
Impressionist and Modern Art
(includes German, Austrian and Surrealist Art)
Modern British and Irish Art
Impressionist & Modern Art
Impressionist and Modern Art
Impressionist and Modern Art
Modern British and Irish Art
Swiss Art

Paintings, sculpture and works on paper by the most important artists of the late 19th century through the mid-20th century, including Czanne, Matisse, Monet, Picasso, van Gogh and all those who
forged artistic movements such as Fauvism, Cubism and Surrealism.
Paintings, sculpture and works on paper by Swiss artists from the
early 19th to the late 20th century.

Location

Issues

UKPrice

US$Price

EURPrice

Amsterdam
King Street

2
5

27
143

44
238

40
219

King Street
New York
Paris
South Kensington
South Kensington
Zurich

4
4
2
3
4
2

95
141
38
43
57
48

152
228
61
71
95
76

144
213
57
66
87
72

www.christies.com/shop
Photographs, Posters and Prints Impressionist and Modern Art
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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
128

CHRISTIES
CHRISTIES INTERNATIONAL PLC

Patricia Barbizet, Chairwoman and CEO

Stephen Brooks, Global Chief Operating
Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Hlose Temple-Boyer,
Jussi Pylkknen, Global President
Sophie Carter, Company Secretary
CHRISTIES EXECUTIVE

Patricia Barbizet, Chairwoman and CEO

Jussi Pylkknen, Global President
Stephen Brooks, Global Chief Operating
Officer
HONORARY CHAIRMEN
Franois Curiel, Chairman, Asia and Pacific
Stephen Lash, Chairman Emeritus, Americas
Viscount Linley, Honorary Chairman, EMERI
Charles Cator, Deputy Chairman, Christies Int.

CHRISTIES EMERI
SENIOR DIRECTORS
Mariolina Bassetti, Giovanna Bertazzoni,
Edouard Boccon-Gibod, Prof. Dr. Dirk Boll,
Olivier Camu, Roland de Lathuy,
Eveline de Proyart, Philippe Garner,
Roni Gilat-Baharaff, Richard Knight,
Francis Outred, Christiane Rantzau,
Andreas Rumbler, Franois de Ricqles,
Jop Ubbens, Juan Varez
ADVISORY BOARD
Pedro Girao, Chairman,
Patricia Barbizet, Arpad Busson, Loula Chandris,
Kemal Has Cingillioglu, Ginevra Elkann,
I. D. Frstin zu Frstenberg, Laurence Graff,
H.R.H. Prince Pavlos of Greece,
Marquesa de Bellavista Mrs Alicia Koplowitz,
Viscount Linley, Robert Manoukian,
Rosita, Duchess of Marlborough,
Countess Daniela Memmo dAmelio, Usha Mittal,
Leopoldo Rods, igdem Simavi

CHRISTIES AMSTERDAM B.V.

Jop Ubbens, Chairman;
Susanne Koning, General Manager
Senior Director
Jetske Homan van der Heide;
Senior Associate Directors
Sarah de Clercq;
Stefan Doebner;
Jessica Koers;
Associate Directors
Victor Bouman; Odette van Ginkel;
Peter van der Graaf; Nina Kretzschmar;
Manja Rottink; Anke Held
AMSTERDAM BASED CERTIFIED
VALUERS
Victor Bouman; Sarah de Clercq;
Odette van Ginkel; Jetske Homan van der Heide;
Jop Ubbens.

23/04/13

Copyright, Christies Amsterdam B.V. (2015)

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