FALL AUCTION - Galerie Michael

G A L E R I E M I C H A E L 

Fa l l a u c t i on 

October 22nd, 2011

2 011 

Fall Auction 

Paintings, Drawings, Proofs and Prints 

Saturday 

October 22 

Preview, Eleven O’Clock 

Auction, Twelve O’Clock Promptly 

Galerie Michael 

224 North Rodeo Drive 

Via Rodeo 

Beverly Hills 

Auction Catalogue Available for Purchase 

V iew Entire Auction Online: www.galeriemichael.com 

to Place Bids in Advance or by Telephone, 

Please Contact Your 

Personal Art Consultant 

at 310-273-3377 • Email: art@galeriemichael.com 

Champagne R.S.V.P. 310.273.3377 

Luncheon Space Limited 

Valet Available at Two Rodeo Complex 

Entrance on Dayton Way

001 

PICASSO, PAblO, 1881-1973 

Colombe Volant (á l’Arc-en-Ciel), 1952 

Color lithograph 

Signed and dated in the stone, lower right. 

Bloch 712; Mourlot 214, R. 598 

19 ¾ x 25 ½ inches. 910288 

Gallery Price: $ 15,800.00 

002 


Pour Roby from L’Age de Soleil, 1950 

Lithograph 

Signed in the plate lower right 

An original lithograph from the book by Robert J. 

Godet, “L’Age de Soleil”. The signature appears in 

reverse in the the pull. Published by MCML, Paris. 

A variation of Bloch 680. Bloch 680. 

9 x 7 inches. 911527 

Gallery Price: $ 4,800.00

003 

MATISSE, HEnrI, 1869-1954 

Le Repos du Modele, 1922 

Lithograph on Japon paper 

One of a large number aside from the total edition of 675 from the album ‘Les Peintres 

lithographs de Manet a Matisse”, Paris, Galerie des Peintres-graveurs, Edition Frapier, 

1925, bearing their stamp lower right. DUTHUIT #416. 14 ½ x 10 7/8 inches. 128713 


004 

DAlÍ, SAlvADOr, 1904-1989 

Untitled 

Original sketch on paper, Signed lower right. From DALÍ’s personal sketch book; it is accompanied by a 

certificate of authenticity; authenticated by A.F. Petit, on June 30, 1988, in Paris. 4 x 6 inches. 908201 


005 


Untitled 

Original sketch on paper, Signed lower right 

From DALÍ’s personal sketch book. Accompanied by a certificate of authenticity 

from A.F. Petit, Paris. 4 x 6 inches. 908195 


006 


Imaginations and Objects of the Future: 

Cyclopean Make-up, 1975/6 

Mixed media lithograph on Arches 

signed lower right in pencil, numbered 86/250 lower left in pencil. 

from the suite of 10 mixed media lithographs “Imaginations and Objects of 

the Future.”This concept is based upon the cyclopean eye. Computerized 

cybernetic patterns will replace conventional make-up. People will wear 

anaglyphic glasses. When one puts on these orange and green glasses and 

views other people, amazing transformations occur. For example: There can 

be total invisibility of any portion of the body. Or, women could make up to 

appear to have doves or fishes for heads, when viewed through these glasses. 

It will be the kingdom of headless women with this cybernetic, surrealistic 

makeup. 

In my museum, I am making cyclopean images on the walls. When you look at 

them with orange and green glasses, everything will be changed. 

Field 75-11F, Prestel 827. 

28 1/8 x 20 ¾ inches. 700114 


007 


Imaginations and Objects of the Future: 

Liquid and Gaseous Television, 1975/6 


signed lower right in pencil, numbered 86/250 lower left in pencil. 

From the suite of 10 mixed media lithographs “Imaginations and 

Objects of the Future.” From the edition of 250. Lithographs 

printed by Desjobert, Engraving by Rigal. Published by Merrill 

Chase, Chicago and Alan Rich New York. Regular and EA 

editions were printed in English and French. Total tirage 600. 

Field 75-11C, Prestel 824 

27 3/4 x 20 3/4 inches 

700111 


008 


Imaginations and Objects of the Future: Intra-Uterine Paradesiac Locomotion, 1975/6 


signed lower right in pencil, numbered 86/250 lower left in pencil 

from the suite of 10 mixed media lithographs “Imaginations and Objects of the Future.”This automobile we carry in a small valise. We blow it up. It is inflatable 

with helium. There is a double wall; inside is helium. There is also a mechanism to make it rotate on an axis. This axis contains the little motor and also the 

place to sit down. So we inflate our car which is a double spherical wall and being soft there are no traffic accidents. It is as if you were inside a protoplasm, in 

a living cell. We can also graduate its’ elasticity and deflate it when it is not in use. 

The precursor to this car is the DALÍnian velocipede which was patented as long ago as 1950 and which is sort of a rigid plastic. But plastic breaks; now this is 

going to be a soft, double-walled ester, with the wall filled with the lightest element, which is helium gas. 

Field 75-11D, Prestel 825 

27 ½ x 20 ¾ inches 

700112 


009 

rEnOIr, AlExAnDrE, b. 1974 

Twilight Lily Pads, 2010 

Oil on canvas 

Signed lower right 

16 x 20 inches 

402469 


011 


La Conversation, 2005 

Hand-colored lithograph on grey wove paper 

Pencil signed and numbered. Printed in black, 

with extensive hand-coloring by the artist, from 

the Roman Numeral edition of 200. XL/CC 

19 x 16 1/2 inches. 221205 


010 


Trois Amis, 2005 


Pencil signed and numbered. Printed in black, with extensive 

hand-coloring by the artist, from the Roman Numeral edition 

of 200. XXXIV/CC. 19 ½ x 15 ¼ inches. 221221 


012 


Aline et son Chien, 2005 


Pencil signed and numbered. Printed in black, with \ 

extensive hand-coloring by the artist, from the Roman 

Numeral edition of 200. LXXVII/CC. 221369 


013 


L’Homme au Canotier, 2005 


Pencil signed and numbered. Printed in black, with extensive 

hand-coloring by the artist, from the Roman Numeral edition 

of 200. XLI/CC 16 x 18 7/8 inches. 221243 


Alexandre Renoir’s Deconstruction of The Boating Party 

Inspired by his Great Grandfather Pierre-August Renoir’s 

Luncheon of the Boating Party, Alexandre deconstructed the 

relationships his great grandfather depicted within the party 

and created 4 different lithographs: 

Aline et son Chien, L’homme au Canotier, La Conversation, 

and Trois Amis. 

014 


The Boating Party, 2006 

Hand-colored lithograph with watercolor and gouache on white Rives BFK paper 

Signed lower right. From the signed and unnumbered edition of 195. There are 

20 trial-artist’s proofs on grey. 24 x 33 inches. 221476C 


017 

PISSArrO, MAnzAnA, GEOrGES-HEnrI, 

1871-1961 

Quatre Coqs 

Pochoir on paper 

Signed and numbered 78/100 lower left 

12 ½ x 19 inches. 

907502 


015 

PISSArrO, PAuléMIlE, 1884-1972 

La Cabane des Hogues 5 H 1er Sept. 

Watercolor on paper, 

Signed lower right in charcoal pencil ‘Paulemile Pissarro’, 

the title annotated lower left in pencil. 

10 1/8 x 7 5/8 inches. 504409 


016 

PISSArrO, lélIA, b. 1963 

The House of Yeyette Lebatard- Spring 

Hand colored lithograph on Arches paper 

Signed lower left, and numbered ‘28/150’ 

lower right. 

18 x 20 ½ inches. 

909895 


018 

lErOux, ClAuDE, 1930-2006 

Autumn on the Quay, Mid-Late 20th Century 

Oil on panel 


10 1/8 x 13 5/8 inches 

906250 


lErOux, ClAuDE (1930 – 2006) 

Claude Leroux was born in France in 1930. A pupil of GAMBEY and 

CHAPELAIN-MIDY, he graduated from the Beaux-Arts school of Bordeaux. 

He was awarded a gold medal at the “Salon des Indépendants” and showed 

his works in several other exhibitions throughout the country. Gifted with 

amazing talent, he very quickly acquired notoriety. 

In love with the beaches near Bordeaux (Arcachon, Biarritz and later the 

Côte d’Azur) as well as with the happy days of the old buses and carriages 

from the “turn of the century” Paris, his style was very soon close to the 

one of GALLIEN-LALOUE or CORTES. 

After exhibiting in number of art galleries in Bordeaux and in France, he 

finally settled in Nice, but unwilling to cut himself of the world, he travelled 

with his brushes through Morocco, Italy, Tuscany and stayed for a short time 

in San Gemminiano. 

He is deeply touched by everything from his own time, as the beaches in 

Italy, Nice, and Côte d’Azur, but also by the very beginning of our century: 

the “Belle Epoque”. 

This outstanding individual, in love with painting, shows as much interest 

for the Barbizon School and Impressionism as for the Italian Masters of 

the Renaissance whose works he admires. Influenced by Eugène Boudin, 

he paints in a synthetic way, with great talent and facility, a colourful and 

peaceful vision of the world. 

His paintings are for the most part done in France: seascapes, still lives, 

landscapes, which reflect his natural talent; harmonious compositions, a very 

detailed but still spontaneous and broad brushwork, and a way of expressing 

himself full of his love for beauty. 

019 

lErOux, ArMAnD HEnrI, 

b. 1948 

Les Affiches 

Oil on panel 


16 1/8 x 12 ¾ inches 

907679 


lErOux, ArMAnD HEnrI (b. 1948) 

Armand Henri Leroux was born in Bordeaux, France on July 31, 1948. 

A pupil of his father, artist Claude Leroux, Armand learned the art of 

drawing at an early age. At 15 years old, his father realized his exceptional 

artistic gift and began encouraging him to be an oil painter. With his 

talent, Leroux was accepted to one of the prestigious French art schools 

referred to as École des Beaux-Arts. While in school he became the 

protégé of the well-known art teacher Gaston Marty, famous for his 

theater sets for the Opera de Paris and the Grand Theatre de Bordeaux. 

Leroux often spent his days wandering alone along the docks of 

Bordeaux painting the architectural motifs of the “Empire” stone bridge 

on the river Garonne. Another artist who painted the same subject was 

Andre Lhote. Soon after graduation Leroux became one of the most 

diligent painters of the banks of the river Seine and the street life scenes 

in Paris. Very quickly between the Cote d’Azur and Paris his style became 

very similar to that of Luigi Loir and Jean Beraud. Considered one of 

France’s rising young talents, Leroux is a prolific painter.

020 

CASSATT, MAry, Après, 1844-1926 

Afternoon Tea Party, 1890-1891 

Color drypoint, softground and aquatint on laid paper, with Arches 

watermark 

Annotated in pencil lower right, “H.C.” - reserved for Claude Tchou & 

Sons. Bresskin 151. 13 ¼ x 10 ¼ inches. 904042 


From a set of ten color prints inspired by the 1890 

Paris exhibition of Japanese woodblock prints. 

Published by the Bibliothèque Nationale, France and 

printed by Claude Tchou & Sons in 1991, to commemorate 

the 100 year anniversary of Cassatt’s onewoman 

exhibition at the Galerie Durand-Ruel, Paris. 

021 


In the Omnibus, 1890-1891 

Color drypoint, softground and aquatint on laid paper, with Arches 

watermark 

Annotated in pencil lower right, “H.C.” - reserved for Claude Tchou & 

Sons. Bresskin 145. 14 ¾ x 10 ½ inches. 904006 


022 

CHAGAll, MArC, 1887-1985 

David and Bathsheba, 1979 

Color lithograph on Japon nacre 

Pencil signed ‘Marc Chagall’ lower right, Numbered 

lower left ‘12/50’. From the edition of 50 signed and 

numbered impressions. Mourlot 936. 

13 ¾x 11 ¾ inches. 911566 


023 


Jacob’s Blessing, 1979 

Color lithograph on Japon nacre 

Pencil signed ‘ Marc Chagall’ lower right. 

Numbered lower left ‘33/50. From the edition 

of 50, published by Editions Maeght, Paris. M943. 

14 7/8 x 12 5/8 inches. 911565 


024 


Visage de Profil, C .1960 

Tapestry 

Woven signature verso. 100% virgin wool woven tapestry. 

Limited edition of 20 (total edition 20 plus proofs). Blue and tan. 

70 ½ x 91 ¼ inches. 

908800 


025 


La Celestine, 1968 

Etching with aquatint on Richard-de-Bas laid paper, 

watermarked ‘La Celestine’ 

Signed in pencil on the justification page. From the book 

edition of 400, book numbered “5”. Printed and published by 

Atelier & Editions Crommelynck, Paris, in 1971. Cramer 149 

3 ½ x 4 ½ inches. 904119 


La Celestina 

La Tragicomedia de Calisto y Melibea, is known by the title La Celestina, is a 

dramatized novel in 21 acts, attributed to Fernando de Rojas, who published 

it in Burgos in 1499. Because of its lively prose dialogue, its well-developed 

characters, and its striking description of the mores of Spain at the time of 

the Catholic kings- that is during the transition period between the Middle 

Ages and the Renaissance- La Celestina is one of the major works in Spanish 

literature. 

The story is simple: Calisto is passionately in love with Melibea, who 

spurns him. His valet, Sempronio, advises him to offer a generous bribe to 

Celestina, who will then be willing to act as matchmaker. Celestina is the 

most remarkable character in the story; her corruption knows no bounds, 

and her cupidity leads her to invent a thousand ruses. Indeed, she does 

succeed in approaching Melibea, a chaste and closely chaperoned girl, and 

in awaking her love for Calisto. Soon the intermediary finds a way to bring 

the lovers together, but in her success lays the portent of doom. When 

Sempronio and a friend tell Celestina that she should share the bribe money, 

026 





Signed in pencil on the justification page. From the book edition 

of 400, book numbered “5”. Printed and published by Atelier & 

Editions Crommelynck, Paris, in 1971. Cramer 149 

3 ¼ x 2 ¼ inches. 904103 


and she refuses to cede any part, they kill her- a crime for which they will 

be hanged. Calisto, pursued by those who know of his secret love, falls from 

a ladder and dies, and, finally, Melibea throws herself from the tower of 

her father’s house. Her poor father is left alone, bewailing the death of his 

daughter: “Why have you left me, sad and alone in this vale of tears?” 

What interested Picasso in the story was the lovers’ meeting arranged 

by Celestina and held in her presence. It is useful to recall at this point 

that the artist had painted a realistic, even cruel portrait of the wellknown 

personage in 1903. The etchings done for La Celestina are part of 

the famous “347 series”. Between March 16 and October 5, 1968 Picasso 

worked on the plates almost daily, using various techniques (sometimes on 

the same plate); he was impatient to see the impression as soon as Aldo 

and Piero Crommelynck, who had installed their atelier at Mougins, pulled 

it. To illustrate La Celestina, Picasso mainly used the lift-ground process on 

greased copperplates.

027 





Signed in pencil on the justification page. From the book 

edition of 400, book numbered “5”. Printed and published 

by Atelier & Editions Crommelynck, Paris, in 1971. 

Cramer 149. 2 ¼ x 3¼ inches. 904128 


028 



Etching with aquatint on Richard-de-Bas laid paper, watermarked ‘La Celestine’ 

Signed in pencil on the justification page. From the book edition of 400, 

book numbered “5”. Printed and published by Atelier & Editions Crommelynck, 

Paris, in 1971. Cramer 149 . 2 ¼ x 3 ¼ inches. 904132 


029 

lEGEr, FErnAnD, 1881-1955 

La Ville - Montparnasse, 1959 

Color lithograph on Arches Velin paper 

From the Verve edition for Galerie Louise Leiris, outside the edition of 180. The twenty-nine original lithographies 

which compose this album were drawn on the presses of the Mourlot brothers. The stones were erased after 

completion. The text composes of “The Roman King”, and the prints were completed on April 3, 1959, on the 

presses of the national printing works of France. This album is one of a hundred and eighty impressions on velin 

arches, numbered 1-80, and twenty impressions contain trade numbers of I to XX. All the prints are marked with 

the signature stamp of the artist. The lithographic had already been acheived by Leger and were completed by 

Fernand Mourlot with the collaboration of Madame Fernard Leger. 

23 ½ x 19 ¾ inches. 904542 


lEGEr, FErnAnD (1881-1955) 

Fernand Leger was born in France in 1881. After apprenticing with an architect 

in Caen from 1897 to 1899, Léger settled in Paris in 1900 and supported 

himself as an architectural draftsman. He was refused entrance to the Ecole 

des Beaux-Arts but nevertheless attended classes there beginning in 1903; 

he also studied at the Académie Julian. Léger’s earliest known works, which 

date from 1905, were primarily influenced by Impressionism. The experience 

of seeing the Paul Cézanne retrospective at the Salon d’Automne in 1907 

and his contact with the early Cubism of Pablo Picasso and Georges Braque 

had an extremely significant impact on the development of his personal style. 

From 1911 to 1914, Léger’s work became increasingly abstract, and he started 

to limit his color to the primaries and black and white. In 1912, he was given 

his first solo show at Galerie Kahnweiler, Paris. Léger served in the military 

from 1914 to 1917. His “mechanical” period, in which figures and objects are 

characterized by tubular, machinelike forms, began in 1917. 

During the early 1920s, he collaborated with the writer Blaise Cendrars on 

films and designed sets and costumes for performances by Rolf de Maré’s 

Ballets Suédois; in 1924, he completed his first film without a plot, Ballet 

mécanique. Léger opened an atelier with Amédée Ozenfant in 1924 and in 

1925 presented his first murals at Le Corbusier’s Pavillon de l’Esprit Nouveau 

at the Exposition internationale des arts décoratifs. In 1931, he visited the 

United States for the first time. In 1935, the Museum of Modern Art, New 

York, and the Art Institute of Chicago presented an exhibition of his work. 

Léger lived in the United States from 1940 to 1945 but returned to France 

after the war. In the decade before his death, Léger’s wide-ranging projects 

included book illustrations, monumental figure paintings and murals, stainedglass 

windows, mosaics, polychrome ceramic sculptures, and set and costume 

designs. In 1955, he won the Grand Prize at the São Paulo Bienal. Léger died 

August 17 of that year, at his home in Gif-sur-Yvette, France. The Musée 

Fernand Léger was inaugurated in 1960 in Biot, France.

lEGEr, FErnAnD (1881-1955) Cirque 

Generally regarded by experts as his graphic masterpiece Cirque is Leger’s homage to the circus, the countryside, 

and the compositional element that became a tenet of his artistic philosophy: the curved line. The circus, with its 

rings, hoops and lithe performers is a perfect vehicle for exploration of this theme. 

“Go to the Circus, quit your rectangles, your geometric windows and you go to the land of circles in action.” 

030 


Cirque - Two Acrobats Performing, 1950 

Color lithograph on Velin d’Arches paper, 

with another black and white lithograph verso 

Signed in ink and numbered “66” on the colophon. From “Cirque” 

printed by Mourlot and published by Tériade, Paris, 1950. From the 

edition of only 300. 16 ½ x 12 ½ inches. 904572 


031 


Cirque - Clown with Horse, 1950 




printed by Mourlot and published by Tériade, Paris, 1950. 

From the edition of only 300. 16 ½ x 12 ½ inches. 904578 


032 


Cirque - Four Acrobats Performing, 1950 

Color lithograph on Vélin d’Arches paper 


printed by Mourlot and published by Tériade, Paris, 1950. From the 

edition of only 300. 16 ½ x 12 ½ inches. 904571 


033 


Cirque - Horse with Masked Figure, 1950 



Signed in ink and numbered “66” on the colophon. From 

“Cirque” 

printed by Mourlot and published by Tériade, Paris, 1950. From 

the edition of only 300. 16 ½ x 12 ½ inches. 904579 


034 

OrvAl, FlOrEnCE vASSEur 

Haystack in Forest, 2009 

Oil on wooden painter’s palette 

21 x 11 ½ inches. 910128 


035 

OrvAl, FlOrEnCE vASSEur 

Haystack, 2009 

Oil on wooden painter’s palette 

21 x 11 ½ inches. 910125 


036 

MIrÓ, JOAn, 1893-1983 

Album 21, 1978 


Signed in pencil lower right. An extremely rare working proof aside from the edition of 90. Printed on Arches vellum. 

From the album of 21 lithographs and a poem by Carlos Franqui. Provenance: Atelier Mourlot, Paris. 

Published by Maeght Éditeur, Paris. Printed by Imperimerie Mourlot, Paris. 

Maeght 1140; Cramer 241. 19 ¾ x 25 ½ inches. 908102 


037 

MIrÓ, JOAn, 1893-1983 

Album 21, 1978 


Signed in pencil lower right. An extremely rare working proof aside from the edition of 90. Printed on Arches vellum. From the 

album of 21 lithographs and a poem by Carlos Franqui. Provenance: Atelier Mourlot, Paris. Printed by Imperimerie Mourlot, Paris. 

Maeght 1144; Cramer 241. 19 ¾ x 25 ½ inches. 908101 


038 

MIrÓ, JOAn, 1893-1983 

Maravillas con Variacciones acrósticas en el Jardin de Miró, 1975 

Color Lithograph on wove paper 

Signed in the plate, lower right From the unnumbered edition of 1500, of the suite of twenty lithographs. Published, printed by 

Ediciones Polígrafa, Barcelona. Title translates to “Wonders with acrostic variations in Miró’s garden.” An acrostic poem is one 

which the first letter or each word or sentence, etc, spells out a word or message. M 1061. 19 5/8 x 25 ¼ inches. 911139 


040 


Cherry Blossom Tree, 2010 

Oil on Canvas 

Signed lower right 40 x 30 inches. 402592 


039 


Waterlilies at Giverny, 2010 

oil on canvas 

signed lower right. 40 x 60 inches. 402315 


rEnOIr, AlExAnDrE (b. 1974) 

Alexandre Renoir was born in Cagnes Sur Mer in the south of France. 

When he was 4, the family moved to Canada, but even after leaving 

France, as the great-grand son of the great French Impressionist artist 

Pierre-Auguste Renoir, Alexandre grew-up surrounded by art and 

artists. 

His famous family includes film director Jean Renoir, actor Pierre 

Renoir, director of photography Claude Renoir Jr., and Claude’s 

daughter actress Sophie Renoir, to name a few. 

Artistic from a young age, Alexandre went to various arts-oriented 

schools including the Virginia Park School and the Victoria School 

for the Performing and Visual Arts where he graduated in 1993. 

In addition to his formal education he also attended classes at the 

Alberta Museum on Aboriginal Arts and Crafts gaining experience in; 

sculpture, pottery, woodworking, stone carving, photography 

and painting. 

His first serious artistic foray was with jewelry design, gemology 

and goldsmithing in a family venture which utilized the abundant local 

occurrence of the rare precious fossil gemstone ammolite. 

Although he was immersed in the arts and culture of his 

environment, Alexandre remained primarily an onlooker until his 

drawing abilities were tapped by his brother Emmanuel. During a 

visit to La Jolla, Emmanuel gave Alexandre some drawing paper and 

challenged him to draw with charcoal. The results were impressive, 

delighting both Alexandre and his brother. From the first sheet, 

Alexandre could naturally draw in various styles; his charcoal drawings 

are created with a sense of ease and grace that is reminiscent of the 

beauty and charm of the Impressionist period. Alexandre’s works 

currently reside in private collections in numerous cities throughout 

North America, Asia and Europe. His work was also featured in 

Tennessee State Museum for the exhibition “Strokes of Genius”.

042 


Lilies, 2011 

Oil on canvas 


24 x 20 x 2 3/8 inches 

402774 


041 


Lagoon, 2010 

oil on canvas 



402362 


043 

rEMbrAnDT, HArMEnSz vAn rIJn, 1606-1669 

The Hundred Guilder Print, c. 1649 

Etching and drypoint on heavy laid paper, with a dated watermark of 

1742 

Second and final state, trimmed to the platemark. A probable 17th 

or early 18th century impression, before the Baillie rework. The 

impression compiles the key subjects of Matthew 19 into a single scene, 

which was rare in earlier iconography. Provenance: Frederick Keppel & 

Co., NYC; Private Midwest Collection, 1910 to present. 

B. 74; H. 236; BB. 49-1. 10 7/8 x 15 5/8 inches. 074901188 


044 


Self Portrait in a Velvet Cap with Plume, 1638 

Etching on laid paper 

Only state, with margins. Twentieth century impression, 

from the American edition of 299, edition #72/299. 

B. 20 H. 156, BB. 38-B 

5 ¼ x 4 inches 

020910732XT. 72 


045 


The Descent From the Cross, 1633 


Signed and dated in plate 

Fifth and final state. A superb 20th century impression 

from the American edition of 200. Edition number 

153/299. B. 81(II); H. 103; BB. 33-C 


081908832XT 


046 

MAnET, EDOuArD, 1832-1883 

La Toilette 

Etching on creme Van Gelder Zonen laid, 

watermarked paper 

Signed in the plate lower right 

From the complete suite of 30 etchings, no. 7/30. 

Printed by A. Strölin, Maison Dumont, Paris, 1905. 

From the edition of 100. Harris 20. 

11 1/8 x 8 ¾ inches 

902972 


047 


Pasiphaé, 1944 

Linocut on paper 

Signed in black ink on the justification page “Exemplaire No. 19/Henri Matisse.” From Henry de Montherlant’s “Pasiphaé- 

Chant de Minos (Les Crétrois)” Martin Fabiani, Paris, editor. Text and engravings printed by Fequet et Baudier, Paris. 

Total edition: 250 examples, handsigned by the artist, on the justification page. Edition: 30 suites on Japon ancien (with an 

additional suite of 12 plates on Chine) numbered from 1-30; 200 suites on vélin d’Arches, with editor’s name watermark, 

numbered 31-230; 20 hors commerce suites on vélin d’Arches marked I to XX. Duthuit. 10. 2 ½ x 6 5/8 inches. 907675E 


048 


Teeny, 1938 

Original linocut 

Initialled and dated in the plate, lower left 

(in reverse).From the first edition of about 

1500 published in the magazine “XXe Siecle,” 

No. 4, Christmas 1938. D. 723. 

12 1/8 x 9 inches. 910375 


049 


Les Fleurs du Mal, 1946 

Lithograph on wove paper 

From “Les Fleurs du Mal” by Baudelaire. 

Produced by Aragon. One of six rare 

proofs outside of the regular edition. 

From the Mourlot Collection. 

Duthuit, Book 16 

13 x 10 inches. 904480 


Les Maitres de L’affiche 

050 

STOWEll, M. lOuISE 

George Humphrey’s Bookstore, 1897 


Maitres de L’Affiche,, Issue #19, June 1897. Bearing the 

MDL stamp lower right. Printed by Imprimerie Chaix, 

Paris. MDL Plate #76. 15 ½ x 11 ¼ inches. 122081 


lES MAITrES DE l’AFFICHE “The Masters of the Poster” 

In the late 1800’s and early 1900’s the streets of many European capitals 

were a swirl of color and excitement. This energy did not emanate from the 

architecture and certainly not from the drab colors of the clothing of the 

day, but rather from advertising posters. These large scale posters filled the 

walls and kiosks of Paris. Major avant-garde artists including Manet, Toulouse 

Lautrec and Mucha designed images that were intended to immediately 

capture the eye of the masses as they strolled the boulevards and streets. 

As new industry and machines created new wealth and more leisure 

time, there was great competition to present products and entertainment 

to masses of people who previously couldn’t afford such luxuries. These 

posters captured not only the eye, but the imagination of the viewers, with 

their beautiful, sometimes whimsical and always colorful new styles. We 

can imagine the young Impressionists, the young Matisse and other great 

artists being profoundly influenced with this exciting new energy. The young 

Picasso was so moved that he himself created advertising posters in a style 

similar to Lautrec. 

Jules Cheret was an innovative artist based in Paris who became intrigued 

with lithography, a printing method whereby an artist drew on special stones 

that were turned into “plates” that were inked and could be printed in any 

number desired, with no loss of the quality of the line or design. In the early 

051 

CrAQuEvIllE, WIllIAM 

Lippincott’s Magazine, 1898 

Lithograph 

Printed by Impremie Chaix, Paris. Maitre de l’Affiche stamp 

lower right. MDL Plate #132. 15 ½ x 11 ¼ inches. 122139 


days of lithography, these prints were usually only black ink on white paper 

or with one or two colors. Cheret created a method to print as many colors 

as desired and his innovative artwork introduced to posters the concept 

of “fine art” images along with the text of an advertisement. This method 

of lithography is also called stone lithography or original lithography in that 

the prints are not copies of an image but are hand drawn or painted on the 

stones, inked and printed directly, and are therefore multiple originals. 

Cheret saw the citizens of Paris, excited with these bright gems of avant 

–garde art, tear them off the walls of the city to adorn their homes and 

even collect. Cheret then created Les Maitre de l’Affiche, “The Masters of 

the Poster”, a series of 256 fine art lithographs, printed on archival paper 

that commemorated the best of the posters of the day. These artworks 

were sold by subscription and sent to homes every month like a magazine 

subscription, between 1895-1900. They were offered in a small size 

compared to the large posters to accommodate smaller Parisian apartments. 

Since they were originals and not copies, they had to be redrawn and 

recolored by hand in this new size on smaller stones. Now, over 100 years 

later, museums and art lovers collect pieces of history and the beauty of a 

bygone era.

052 

PéAn, rEné, b. 1875 

A La Place Clichy 


Maitres de l’Affiche. Printed by Chaix, Paris. 

MDL Plate 191. 

16 x 11 3/8 inches 

903143 


053 

rObbE, MAnuEl, 1872-1936 

L’Eclantante 


Plate number 143 from Les Maitre de L’Affiche. Printed by Imprimerie 

Chaix, Paris. 16 x 11 3/8 inches. 903114 


054 

lEFEvrE, luCIEn 

Electricine, 1897 

Color lithograph, Les Maitre de L’Affiche blind stamp lower right 

Plate number 54 from Les Maitre de L’Affiche. Issue #14, published 

Jan. 1897 and printed by Imprimerie Chaix, Paris. From the deluxe 

edition on japan paper. “Electricine, luxury lighting”. MDL Plate #55. 

16 ½ x 11 ¾ inches. 122640 


055 


The Ten Commandments:10 Silver Medallions, 1975 

Silver medallions 

Each signed and dated. Encased withina plexi display case. 

911571 


056 


DALÍ, 1968 

Book by Max Gérard, signed and remarqued by DALÍ across first 2 pages 

The title page includes two figures pointing to a crescent moon and a shooting star, and has a small Dali crown in upper left corner. 

Inscribed for Dr. J. Sammett, a fellow resident and acquaintance during the artist’s time at the St. Regis Hotel in New York. Translated 

by Eleanor R. Morse. 271 illustrations including 80 in color with dust jacket. New York, (1968). 31 x 11 ½ inches 910377 


057 

PICASSO, PAblO, Après, 1881-1973 

Chapeau a Fleurs 

Color serigraph poster 

Eight-color hand-pulled serigraph poster made after proofs created by 

Picasso and the Atelier Arnera. After ‘Jacqueline a Chapeau a Fleurs II.’ 

Published by Galerie Michael, Beverly Hills, for “Picasso: Rare States / 

Working Proofs.” 24 x 17 7/8 inches. 911608 


058a 

KAnE, rObErT 

Batman over Gotham, 1989 

Color lithograph, Angelus Press, plate destroyed. Signed & numbered 

#125/300. An extremely rare, highly collectible, original color lithograph. 

From the edition of 300. Total tirage, 406: 300 edition, 40 with remarque, 

30 Artist Proofs, 30HCs, 6PPs. 118609 


058b 

KAnE, rObErT 

Batman and Robin, 1989 

Lithograph on paper, plate destroyed. Signed & numbered 

#143/300. An extremely rare, highly collectible, original color 

lithograph. From the edition of 300. Total tirage, 406: 300 

edition, 40 with remarque, 30 Artist Proofs, 30HCs, 6PPs. 

Angelus Press, 120202 


059 

vElICKOvIC, vlADIMIr 

Homme de Muybridge, Fig. CLVI, 1988 

Gouache and collage on paper 

Signed and dated lower right 

15 ¾ x 11 ¾ inches. 

911496 

. 


vElICKOvIC, vlADIMIr (b. 1935) 

Born August 11, 1935 in Belgrade, Serbia (then Yugoslavia), is one 

of the most prominent Serbian painters. He graduated from the 

Faculty of Architecture at Belgrade University. From 1963 to 1966, 

he was an assistant in Krsto Hegedušić’s Master workshop in Zagreb, 

Croatia, then in Yugoslavia, and in 1966 he moved to Paris. In 1983 

060 


Descente, Fig.IX, 1989, 

mixed media on paper, signed and dated lower right 

40 ½ x 26 inches. 

502456 

. 


he was elected professor at the École Nationale Superièure des 

Beaux Arts in Paris, until 2000. In 1985 he was elected as a member 

of Serbian Academy of Sciences and Arts. He was honoured with 

the highest French award in the field of culture and art, Commandeur 

dans l’ordre des Arts et des Lettres. His paintings were exhibited 

in many countries in Europe and America since 1951.

061 

lErOux, ArMAnD HEnrI, b. 1948 

Homeward Bound 

Oil on panel. Signed lower right. 10 ¾ x 18 ¼ inches. 907843 


062 

lErOux, ArMAnD HEnrI 

b. 1948 

La Fleuriste 

Oil on board 

Signed lower right. 

15 ¾ x 12 inches. 909944 


063 

bOGGS, FrAnK, 1855-1926 

Notre Dame 

oil on canvas 

signed lower left. 

21 ½ x 29 inches. 

910337 


064 

FrAnK-WIll bOGGS, 1900-1951 

La Pont Neuf à Paris 

oil on canvas 

signed lower right. 

23 ¾ x 28 ¾ inches. 910338 


TrOyOn, COnSTAnT (1810-1865) 

Constant Troyon began his career as a porcelain painter. By the late 1830s 

he turned his attention to landscape painting, and his first Salon entries 

were views of Saint-Cloud ant Sevres, near the state porcelain works. These 

early paintings were characterized by bright colors based on his experience 

working with porcelain glazes. In 1843, Troyon became friends with Theodore 

Rousseau and Jules Dupre, and began to frequent Fontainebleau, which would 

provide him with a new subject for his painting. In 1846, he was awarded a 

first-class medal at the Salon. 

The turning point in Troyon’s career was in l847 when he visited the 

Lowlands. Here he fell under the influence of the two great 17th century 

Dutch animal painters-Albert Cuyp and Paulus Potter. When he returned 

065 

TrOyOn, COnSTAnT, 1810-1865 

Le poulailler 

oil on board 

red stamp signature lower right. 

8 ½ x 10 ¼ inches. 910837 


to France he concentrated on animal painting, and the Salon of l849 saw his 

first entry devoted to an animal subject. From this point on he was a great 

success, both critically and financially, and his influence was felt in France, the 

Lowlands and Germany. 

Troyon became the first Barbizon artist to win overall acceptance. Exhibitions 

of his works were held in London, Manchester, Brussels, Vienna, Antwerp and 

The Hague. His paintings of animals, rooted in their natural surroundings, are 

characterized by a perfect balance of color, line and composition. Whether 

painting a cow in a pasture or a pointer in a field, animal and nature co-exist 

in total harmony when they are recorded by Troyon’s brush. When Troyon 

died in 1865, his reputation as one of the greatest animal painters of the 19th 

century was firmly established.

067 


Personnages et Colombe, 1954 

Lithograph on Arches paper 

Extraordinary rare working proof prior 

to the signed and numbered edition of 

50; the full sheet. Very rare, possibly a 

unique impression outside of the signed 

and numbered edition. Provenance: 

Mourlot Collection. B. 758; M.254. 

19 11/16 x 25 7/8 inches. 906161 


066 


Frontispiece: Le Peinture et son Modele, 1964 


Dated “11.1.64” in the plate. Picasso Lithographe 

Volume IV: 1956-1963. Catalgoue establised by 

Fernand Mourlot, Paris; André Sauret, Editions 

du Livre, Monte-Carlo. Edition: 3000 

905394 


068 

GOyA y luCIEnTES, FrAnCISCO JOSE DE, 1748-1828 

Los Caprichos: Ya tienen asiento (They already have a seat) Plate 26, c. 1799 

etching and aquatint on paper 

Pun referring to the double meaning of asiento, meaning seat, as in a place to sit, as well as good judgement. With full margins; 

a very good impression with all the subtle aquatint tones showing clearly overall. Possible fifth, probable fourth edition 

according to Harris. Deteil 63 Harris 61. 8 ½ x 6 7/8 inches. 910771 


Los Caprichos 

First published in 1799, Los Caprichos exposed the vice and corruption 

that led Spain to be branded as “Black Spain” in the eighteenth and 

nineteenth centuries. In the 80 etchings that comprise the series, Goya 

depicted the peasantry’s superstitious belief in witchcraft, the arrogance 

of the nobility, and the widespread corruption of the Catholic Church. 

To avoid alienating powerful individuals at Court and to protect himself 

from the wrath of the Inquisition, however, the artist masked his satire 

by means of images that would inspire multiple interpretations. For 

example, in plate 68, two nude witches, one old and withered, the other 

young and voluptuous, ride a broomstick. The image clearly refers to the 

belief in witchcraft, but, on a less obvious level, it also 

addresses the issue of prostitution within Spanish society. This subtle 

layering of meanings, seen with particular brilliance in Los Caprichos is 

one of the hallmarks of Goya’s artistry. 

Only a few copies of the first edition of Los Caprichos were sold. 

Despite Goya’s attempts to veil the critical nature of the series, he felt 

it necessary to withdraw the prints from circulation and make a gift of 

the plates to the Spanish monarch. Ultimately, however, Los Caprichos 

became Goya’s most popular series; Domenico Tiepolo owned a set, as 

did Eugène Delacroix, who borrowed freely from Goya’s images. Twelve 

editions of Los Caprichos were produced between 1799 and 1937, and it 

was primarily through this print series that Goya became known outside 

of Spain.

069 


Los Proverbios: Renounce the Friend Who Covers You with His Wings and Bites You with His Beak, 1864 

Etching and aquatint on wove paper 

Plate 5 from the complete set of 18 etchings of “Los Proverbios”, fifth edition, published by the Real Academia de Noble Artes de San Fernando, 

Madrid, 1904. With margins. Harris 252. 9 ½ x 14 inches. 900754 


070 


Los Proverbios: She Who Is Ill Wed Never Misses a Chance to Say So, 1864 

Etching and aquatint on wove paper 

Plate 7 from the complete set of 18 etchings of “Los Proverbios”, fifth edition, published by the Real Academia de Noble Artes 

de San Fernando, Madrid, 1904. With margins. Harris 254. 9 ½ x 14 inches. 900756 


Los Proverbios 

Francisco Goya created his final and most enigmatic print series in the 

years between 1815 and 1824. For reasons that remain unclear, 40 years 

passed before their publication in 1864. The series was published under the 

title Los Proverbios, although Goya’s own captions for the working proofs 

include the word “disparates,” meaning “follies.” As a result, this print series 

is known by both titles. The proverbs assigned to each plate were added 

upon publication. 

Even with titles, the meanings of Los Proverbios remain ambiguous. Like 

Goya’s “black” paintings, begun in 1819 after his recovery from a serious 

illness and filled with macabre visions, Los Proverbios are imbued with an 

overwhelming sense of pessimism and appear to reflect Goya’s precarious 

mental state at the time. Each of the 18 etchings depicts isolated figures in 

dark, often nightmarish landscapes. While some plates appear harmlessly 

satirical, others depict gruesome monsters or attacks on innocents. 

Although the subject matter in this series is varied, the level of quality is 

constant. Goya’s expert use of contour, line density, and tonal variation 

in weaving his dark visions clearly evidence his extraordinary abilities as a 

master printmaker.

071 


Untitled 

Original sketch on paper, Signed lower right and upper left. From DALÍ’s personal sketch book; it is accompanied by a 

certificate of authenticity; authenticated by A.F. Petit, on June 30, 1988, in Paris.Petit. 4 x 6 inches. 909655 


072 


Untitled 

Original sketch on paper, Signed lower right. From DALÍ’s personal sketch book; it is accompanied by a certificate 

of authenticity; authenticated by A.F. Petit, on June 30, 1988, in Paris. Petit. 4 x 6 inches. 908199 


073 


King of Aragon, 1972 

Color etching and mezzotint on BFK Rives paper 

Inscribed “E.A.” lower left. Unique color proof aside from the numbered 

edition. Printed in reddish brown, tan, dark blue and black. This etching 

was intended for the first edition of “La Vida es Sueño,” but was never 

used in that unrealized project and was subsequently published in the 

second edition (from a smaller plate reproducing the original etching.) 

Field 72-16 M/L 528. 14 x 14 ¾ inches. 911168 


074 


Aiyahl: The Wailing Wall (Let Them Have Dominion 

Over Creeping Things), 1968 

Colored lithograph on Arches 

Signed lower right, numbered lower left 67/250. From the “Aiyahl” 

series of 25 lithographs; for the 20th Anniversary of the founding of 

Israel. Field 68-1E, Prestel 1215. 20 ¼ x 15 ¾ inches. 910232 


075 


La Joie de vivre, 1971 

Engraving with color by stencil on Auvergne paper, with ‘Richard de bas’ watermark 

Signed “Dali” in pencil lower right, and inscribed ‘EA’ lower right. A rare proof, with 

strong colors from outside of the edition of 150 on watermarked Auvergne. There 

were also editions on Arches and Japon; Total tirage 440. Published by Èditions d’Art 

Francony; Printed by Atelier Rigal, Paris. Fields 71-9. 15 ½ x 12 ¼ inches. 911314 


076 


La Conquête du Cosmos: Le caducée de Mars alimenté 

par la boule de feu de Jupiter (The caduseus of Mars 

nourished by the ball of fire of Jupiter), 1974 

Original engraving and lithograph color on BFK Rives 

Signed lower right, and numbered ‘CLVI/CLXXXXV’ lower left. 

From the suite “La Conquête du Cosmos II”, which consists of 

six impressions. Printed at Imprimeire d’Art Bellini, Paris. Each 

print is accompanied by a certificate of authenticity from the 

publisher, Jean Lavigne. Authenticated verso by Frank Hunter 

of the Salvador Dali Archives Ltd, 18 September 2008. The 

complete suite comprises of 12 prints for Cosmos I and Cosmos 

II. The prints for both suites were made in 1974, but because it 

was thought to be difficult to find buyers for so many prints at 

one time, only six were marketed in 1974 as Cosmos I. 

The other six were offered in 1977 as Cosmos II. 

Field 74-12K, Prestel 650. 

29 ½ x 21 ¼ inches. 910451 


077 

DAlI, SAlvADOr, 1904-1989 

La Conquête du Cosmos: Le sang du yin et le yang 

(The blood of the yin and yang), 1974 

Original engraving and lithograph color on BFK Rives 

Signed lower right, and numbered ‘CXII/CLXXXXV’ lower left. 

Also signed by the publisher, Jean Lavigne, lower left. From the suite 

“La Conquête du Cosmos II”, which consists of six impressions. The 

other six were offered in 1977 as Cosmos II. Printed at Imprimeire 

d’Art Bellini, Paris. Each print is accompanied by a certificate of 

authenticity from the publisher, Jean Lavigne. Authenticated verso 

by Frank Hunter of the Salvador Dali Archives Ltd, 18 September 

2008. The complete suite comprises of 12 prints for Cosmos I 

and Cosmos II. The prints for both suites were made in 1974, but 

because it was thought to be difficult to find buyers for so many 

prints at one time, only six were marketed in 1974 as Cosmos I 

Field 74-12L, Prestel 652. 

29 ½ x 21 ¼ inches. 910452 


078 


Portrait de Jacqueline au Chapeau de Paille Multicolore, 1962 

Color linocut 

An extremely rare and unique color proof printed in yellow and gray from the first state of the ‘Plateau principle’ over the 

background plate, or ‘Plateau du fond: le gris definitif.’ printed in grey. Baer records two such impressions. Inscribed in pencil 

by the printer “No.333 Jaune sur gris”. Watermark: Arches. Bloch 1074 Baer 1283 B.a. 13 5/8 x 10 5/8 inches. 911195 


079 


Affiche, Avril 1961, 1961 

Lithographic poster on thin poster paper 

Signature stamp lower right, Annotated in pencil, “epreuve d’ artiste”, lower left. A rare artist’s proof, showing rich colors with 

no attenuation. Poster edition of 250, plus edition of 50, plus a few artist’s proofs. Artist’s proof apart from the larger edition of 

250 printed by Mourlot.Provenance: Mourlot; Pablo Picasso; by decent to Marina Picasso. Collection stamp on verso. 

INV 51323 (recorded in the Picasso archives in Paris). BL. 1293; M. 339; Cz. 045. 24 ¾ x 18 7/8 inches. 910247 


080 


Grand Nu dansant, 1962 

Color linocut 

A working proof printed in brown over a light brown background, before the edition of 50. Ink stamp verso 

“Imprimerie Arnéra Archives / Non Signé”. The extreme edge of the right margin shows remnant of tracing paper. 

The printer, Hidalgo Arnéra, used to attach a sheet of tracing paper at one edge of an impression of an early state 

and print on it the next state of the block. He could then wipe the ink off and print subsequent states in a different 

color ink, allowing Piacsso to decide the colors in which to print the edition. Bloch 1085 Baer 1309 

20 7/8 x 25 1/8 inches. 911212 


081 


Femme Couronnée de Fleurs Accroupie, 1930 

Original engraving 

From the edition of 55 after steel facing 

with strong contrast and fine lines still printing 

with rich blacks. With the vollard stamp. 

Printed by Lacourière. Bloch 130 Baer 194.B.b 

12 ½ x 8 ¾ inches 

908334 


082 



Lithograph 

Signed in the plate lower right An original lithograph 

from the book by Robert J. Godet, “L’Age de Soleil”. 

The signature appears in reverse in the the pull. 

Published by MCML, Paris. A variation of Bloch 680. 

9 x 7 inches. 

911528 


084 


Dove of Peace, 1957 

Color silkscreen on linen scarf 

Signed in screenprint lower right. Unusual and 

highly collectible scarf designed by Picasso for 

the World Youth and Student Festival of 1957 in 

Moscow. The design depicts the ‘Dove of Peace’. 

31 ½ x 30 ½ inches. 911453 


083 


Foulard pour le Festival Mondial de la Jeuness 

et des Etudiants pour la Paix 

(Scarf for the Global Festival of Youth 

and Students for Peace), 1951 

Color silkscreen on linen scarf. 

Signed in screenprint. Unusual and highly collectible 

scarf designed by Picasso to commemorate the 3rd 

World Festival of Youth and Students in Berlin, East 

Germany, August 1951. For festival, whose motto 

was “For Peace and Friendship - Against Nuclear 

Weapons,” Picasso designed a dove surrounded 

by the profiles of European, Asian, African and 

American Indian faces. 

31 ¼ x 30 ½ inches. 911452 


085 

lACAzE, ClAuDE, b. 1938 

Three Standing Nudes 

Oil on canvas 


36 x 23 ½ inches 

909420 


ClAuDE lACAzE (b. 1938) 

Claude Lacaze first studied at Lycee Montaigne in Bordeaux. His teacher 

used to take his students to the pier of Bordeaux where Andre Lhote liked 

to paint. When Lacaze left home, he decided to dedicate his life to painting. 

He entered l’Ecole des Beaux Art de Bordeaux during which time he was a 

student of Marty who decorated the Opera of Bordeaux. 

Through the influence of Andre Lhote, the noted French sculptor and 

painter of portraits, landscapes and still life and early Cubist style involvement, 

Lacaze followed in his footsteps. In addition, the influence of Paul Cezanne 

and his belief that circles, squares and cones were the shapes in which 

all images are formed, was the basis of Lacaze’s early works, as did Cezanne’s 

“passage”, a device in which one physical object is allowed to penetrate 

another physical object thus defying the laws of physical experience. 

086 


Nude Female at Rest 

Oil on board 

Signed ‘C. Lacaze’ lower right 


909085 


As he developed, his work transformed into more sensual compositions, 

featuring women and a more fluid line. The influence of Picasso and Braque 

is also evident in Lacaze’s paintings, especially in works that have a collage like 

appearance. Shortly after completing school at Beaux Arts, Lacaze presented 

his first one man exhibition in Paris on rue Visconti to unanimous acclaim. 

His next endeavor was a foray into teaching becoming a professor of Fine 

Art in the College de Puyguilen. During this time he occasionally agreed to 

do exhibitions, which were always highly anticipated events. Lacaze was also 

a prominent member of the prestigious Society La Maison des Artistes.

087 

nAIllOD, CHArlES 

Femme Assise, 1904 

Original gouache and pencil on painted board 

signed and dated lower left 

19 1/8 x 15 ½ inches 

907504 


088 

CHErET, JulES, 1836-1932 

Le Pays des Fees 


Plate number 181 from Les Maitre de L’Affiche. Printed by Imprimerie Chaix, 

Paris. 16 x 11 3/8 inches. 903132 


089 


Musée Grévin, 1900 

Color lithograph, linen-backed 

Signed and dated on the stone middle-right Printed by Chaix, Paris. 

Before the lettering. Broido 471, plate 24 

48 ½ x 34 ½ inches. 903460 


090 


Pan: A Journal of Satire 


Maitres de l’Affiche. Printed by Chaix, Paris 

MDL Plate 81 

16 x 11 3/8 inches 

903125 


091 


Saxoléine: Pétrole de Sûreté, 1894 


Plate signed and dated lower right “Cheret 94” 

Proof before letters. Printed at Imprimerie Chaix 

(ateliers Chéret), rue Bergère, Paris. Linen-backed. 

Broido 948 (Plate 40) 

47 x 34 ¼ inches. 906998 


093 


Le modèle étendu, 1954 

Lithograph on Arches paper 

092 


Les Trois Baigneuses II (The Three Bathers II), 1923 

Etching on Arches laid paper 

Stamped signature ‘Picasso’ lower right, Numbered 13/50 lower 

left. Only state. One of 69 impressions printed by Frélaut in 1961; 

from the edition of 50 published by Galerie Louise Leiris, Paris, 

1981. There were also 19 artist’s proofs from this printing, as well as 

prior trial proofs. Bloch 61, Baer 107.B.b.1 

9 ½ x 12 ¼ inches 

910860 


Signed “Picasso” in pencil lower right Numbered in pencil ‘45/50’, lower right. Extremely rare, one of only 

25 impressions; a variant without the ochre background. There was also an edition of 25 with ochre ground, 

and 5 proofs. With full margins, in good condition. Bloch 749, M 244. 8 3/8 x 12 inches. 911243 


094 


Les Caprices de Goya: Hasta ensordecer, 1977 

Etching and aquatint on Rives paper 

Signed in pencil lower right, and annotated ‘E.A.’ lower left. 

Signed ‘DALÍ’ in the plate lower right and signed ‘Goya’ in the 

plate lower left. Field 77-3, 53. 


909736 


095 


Les Caprices de Goya: Los relojes blandos, 1977 

Etching and aquatint on Rives paper 

Signed in pencil lower right, and annotated ‘E.A.’ lower left. 

Signed ‘DALÍ’ in the plate lower right and signed ‘Goya’ in the 

plate lower left. Field 77-3, 6 


909783 


From one of 20 E.A. portfolios of “Les Caprices de Goya” aside from the regular edition of 200. The portfolio contains 80 images. 

Published by Berggruen, Paris. This set has been authenticated by Frank Hunter.227 years after the birth of Spanish master Francisco 

Goya, Salvador Dalí had an idea to transform Goya’s Los Caprichos and present a new work. Goya’s Los Caprichos was an artistic 

experiment exposing the foolish superstitions in 18th century Spanish society. Goya described the series as depicting “the innumerable 

foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance, 

or self-interest have made usual”. The body of work was withdrawn from public sale before their planned release in 1799. Only a formal 

order from King Carlos IV kept Goya from being called before the Spanish Inquisition. In 1973 Salvador Dalí created a metamorphosis 

of Goya’s suite into a colorful surrealist masterpiece. Each piece is hand signed by Salvador Dalí and is a genuine rarity 

for Dalí and Goya admirers.

096 

WHISTlEr, JAMES AbbOTT MCnEIll, 1834-1903 

The Punt, 1861 

Etching and drypoint on chine-collé 

Second state of four before the publisher’s address but with the artist’s name lower left. 

A superb, crisp impression of this early, exceptionally rare proof. Work of this quality is seldom 

seen outside of a museum print room. Kennedy 85. 5 x 6 5/8 inches. 901271 

097 

MIllET, JEAn FrAnCOIS, 1814-1875 

Femme vidant un seau, 1862 

Cliché verre 

Signed in the plate ‘Millet’ Only state. 

Probably a proof impression before the 

printing of the 1921 edition by Maurice 

Le Garrec. Extremely rare; virtually 

unobtainable as a proof. 

Delteil 28, Melot 28. 

11 7/8 x 10 1/8 inches 

903437 



098 

MIllET, JEAn FrAnCOIS, 1814-1875 

La Méridienne (Noonday Rest), 1858 

Ink drawing on cardstock 

Signed lower left “JF Millet” A previously unrecorded compositional study alone (same direction as here) are in the Louvre (Nos. 10361 and 2), as is a 

related to the finshed drawing of 1858 and the later pastel of 1866. Drawn compositional sketch (also the same figure direction, No. 10637). 

on the back of an invitation to a “Conversazione” hosted by the Society for 

Eyre Crowe (1824-1910) was a British-born painter, a pupil of Paul Dela- 

the Encouragement of Art Manufactures & Commerce, at the South Kensroche, 

a cousin of the writer William Thackeray, and a friend of Whistler. 

ington Museum in London, and hand addressed to Mr. Eyre Crowe. 

One presumes that Crowe met Millet in France and offered him the invita- 

The figures are in the direction of the 1858 drawing, which Millet had tion card on which to make the sketch. The card was later carelessly folded 

originally done for a set showing the four times of the day; the 1866 pastel and the vertical crease mark, though somewhat flattened, is still evident. 

reverses the direction of the figures. Two studies of the female peasant 

3 ¼ x 4 


7/8 inches. 905913 

JEAn FrAnCOIS MIllET (1814-1875) 

Jean Francois Millet is the artist who occupies the very core of the Barbizon 

movement. As he no doubt would have wished, his pictures have always 

taken precedence over his life, and the facts of his unremarkable biography 

are not well-known. Born into a moderately successful land-owning family 

in Gruchy in 1814, he went as a youth to study in Cherbourg with a local 

portrait painter and later with Lang1ois, a student of Gros. His last formal 

instruction was in Paris where he worked in the studio of the history painter 

Paul Delaroche from 1837-1840: in 1841 he returned to Cherbourg to set 

himself up as a portrait painter and he married for the first time. Success 

eluded Millet in these early years, as it did through much of his career, and 

his young wife Pauline’s death of consumption in 1844 was probably the 

deciding factor in his move to Le Havre in 1845 and later the same year back 

to Paris in the company of Catherine Lemaire. Catherine was a domestic 

servant who could neither read nor write, but she remained Millet’s 

companion, bearing him nine children between 1846 and 1863: they were 

married in a civil ceremony in 1853, and in a religious one in 1875, seventeen 

days before the artist’s death. 

In Paris, Millet established friendships with men who were to become his 

partners in the movement to change the way the world looked at landscape: 

future colleagues such as Troyon, Diaz, Jacque, Daumier and Rousseau. 

With their help he began to sell a few paintings, and found his first officially 

recognized success. 

Following the Revolution of 1848, Millet became increasingly interested in 

peasant scenes and types that demonstrated a stoic, almost biblical realism. 

Although Millet was not a committed revolutionary, his images from this 

time on reflected a true concern for contemporary problems and became 

increasingly somber. The proceeds from a state commission freed Millet 

to leave Paris in 1849 for Barbizon where he joined his new friends and 

devoted himself to peasant life and rural scenes, During the next few years 

he painted some of his best known images, including Harvesters (1849), The 

Sower (1850) (exhibited in the same Salon with Courbet’s Stonebreakers 

and Burial at Ornans) and Harvesters Resting (1853), but financial success 

did not follow. 

He had, by this time, numerous American admirers and one of them, the 

Boston painter William Morris Hunt, visited Barbizon in 1851, Writing of 

Millet: “I found him working in a cellar, three feet underground, his pictures 

mildewing with the dampness, as there was no floor. I bought as much of his 

work as I could.” This included The Sawer for $60. His lifelong friend and 

supporter Alfred Sensier gave Millet canvas and paint in exchange for works 

of art, and Rousseau purchased several works. Through the 1850s Millet’s 

reputation slowly grew and as his market developed he was finally able to 

feel confident in the path he had chosen. 

The Gleaners and The Angelus (both 1857) and Man with a Hoe (1863) 

demonstrated Millet’s continuing awareness of the plight of the peasant, but 

from the mid-60s onward he focused increasingly upon landscape, and he 

devoted much of himself to the remarkable pastels commissioned by the 

wealthy Parisian architect, Emile Gavet. He became firmly. 

Millet’s greatness lies in his singular ability to exploit his traditional French 

artistic background and values in the service of such untraditional subjects as 

peasant workers and their fields. He endowed these figures and landscapes 

with a solidity and monumentality that guaranteed them a pivotal place in 

the history of art.

099 


The Descent from the Cross: the second plate, 1633 

Engraving with burin 

Signed bottom center. A fine late 17th, or early 18th century impression of the second 

state of five. Based on Rembrandt’s painting for Standholder Fredrick Henry. 

B. 81(II); H. 103; BB. 33-C. 20 ½ x 16 inches. 081908341 


101 


Woman Bathing Her Feet at a Brook, 1658 

Etching on wove paper 

Signed and dated. A strong impression of the only state; 

with extraordinarily large margins. A possible late 

18th/ probable 19th century impression. 

B 200; BB 58-D; H298 

6 ¼ x 4 1/8 inches 

200907947 


100 


The Sleeping Herdsman, 1644 

Etching and drypoint 

A superb and extremely rare, life-time/early 17th century 

impression of the only state; trimmed slightly below and 

with a slight touch of ink heightening. Rare, rare plus works 

of lifetime impressions seldom seen outside of a museum 

print room. B. 189; H. 207; BB. 44-1. 2 ¾ x 2 ¼ inches. 

189901377 


AnOCCHI, AuGuSTO b.1931 

102 

rAnOCCHI, AuGuSTO, b. 1931 

Sacro E Profano-O Viceversa? 

(Sacred and Profane—or vice versa?), 1985 

Acrylic on canvas. 40 x 35 inches. 110124 


Born in 1931 in Urbino, Italy, Augusto Ranocchi received traditional artistic 

training from the Instituto di Belle Arti and the Academia di Belle Arti in 

Rome. Ranocchi worked in Italy as a professor of art and as an artist. In the 

artistic experience of Augusto Ranocchi constant attention is given to the 

value that color assumes in relation to space. It is the leitmotif that carries 

through all his work, from early, youthful works of undeclared naturalistic 

interest created at the end of the forties in Urbino, up to the recent work in 

which the chromatic register finds its emotive connotation, and is placed as a 

depth gauge of interior space. 

In the 1950s and 1960s, Ranocchi won commissions to create great mosaics, 

murals and stained glass widows in the churches of Milan, Verona, Rome, 

Moiano and Nicastro. The theme of love became the dominant trademark of 

his work, influenced undoubtedly by the large works executed by his religious 

clientele. The center of interest is the relationship of man with the dictate 

of faith. In these early years with his painting, Ranocchi experimented with 

synthetic figuration with a rather expressionistic emphasis. His synthetic 

configuration indicated a prevalent orientation towards abstraction. This was 

contradicted, however, by a greater figurative balance in his corpulent nudes 

beginning in the sixties. Ranocchi “models” the forms, resorting to taches of 

colors put on with a spatula or a large brush. 

In the early 1970s, Ranocchi spent time in the United States and had a 

show at the Continental Arts Gallery of Detroit (Michigan.) He continued to 

commissioned works in Italy and Yugoslavia during these years. By the second 

half of the 1970s, Ranocchi’s work takes a more consciously non-figurative 

turn when he realized paintings of large dimensions at Bracciano and Rome. 

In 1980 Ranocchi moved to Los Angeles and the effects of the California 

lifestyle was reflected in his artwork. He developed a dynamic, 

contemporary style of vast, powerful color planes, lyrical gestural strokes and 

strong geometric structure. Cesare Vivaldi wrote of Ranocchi in a catalog for 

a personal show in the US in 1980, “Ranocchi’s painting is lyrical painting and 

at the same time of absolute formal consciousness.” He adds that Ranocchi’s 

experience is particularly centered as “a painter of memory and dream, of 

that which the consciousness registers and reflects most vivaciously.” 

Enrico Crispolti writes in the 2001 book Augusto Ranocchi, “Wherever 

Ranocchi finds himself painting, he does so by bringing himself back to a 

definite measure of involving evocation actualized by perception and sensible 

memory, to which the natural experience appears to be clearly the basis. In 

that coincidence his imaginative fullness lives and in it also distinguishes his 

deepest identity. And there, too, lies the authenticity of his being as a painter, 

exactly within the instinctive awareness of tradition of totality, sensorial 

and pan-like, fulfilling the tradition of painting; of color as a medium of the 

imagination as much as of manipulation: converging satisfactions.” 

Ranocchi does not renounce his desire to look at the universe of things, to 

propose painting as an extreme attempt to re-conquer, for “the practice of 

the imaginary” its value as an ethical project. The colors now re-find their 

transparence and their reflection: they are free screens that articulate space, 

measure the distances without falling into the seduction of representation. 

Major commissions include canvases for the LAX Hilton and Anaheim 

Hilton Hotels, the McDonalds corporate art collection and his work was 

recently acquired for the luxurious Remington Hotel in Houston. Augusto 

Ranocchi is proud to be the most commissioned artist by the Vatican in the 

twentieth century.

103 


Untitled 

Original oil on handcrafted paper. 25 x 39 inches. 109066 


104 


La Felicità del dipingere (The Joy of Painting), 2010 

Mixed media on handcrafted paper. Signed and dated. 28 ¼ x 39 ½ inches. 402616 


105 


Le Couple sous le Rideau, December 1984 

Color lithograph on Arches paper 

Stamped signature “Marc Chagall” lower right; numbered “45/50” lower left 

From the edition of 50. Blindstamp “Lithographie originale Atelier Marc Chagall” 

lower left. Mourlot 1044. 17 ¾ x 14 1/8 inches. 905516 


106 


Daphnis and Chloé: 

Sacrifices Made to the Nymphs, 1961 

Color lithograph on wove paper 

The colors are very fresh and vibrant. From the unsigned edition of 250; there was also a 

signed and numbered edition of 60 with margins. Printed by Verve. Mourlot 330; Cramer 46 

16 ½ x 12 5/8 inches. 908477 


THE STOry OF Daphnis & Chloe 

From 1957 to 1960, Chagall worked on the lithographs for Daphnis and 

Chloe, basing them on paintings he had executed in Greece. Considered by 

many to be one of his most important graphic series, the unrestricted use of 

color combined with romantic symbolism establishes this magnificent set of 

lithographs as a supreme artistic achievement by Chagall at the height of his 

powers. 

The story of Daphnis and Chloe, a pastoral elegy attributed to the Greek 

poet Longus, dates from the second century A.D. It is a classical romance 

involving the adventures of two foundling children raised by adopted parents 

who are humble shepherds in the idyllic setting of the Isle of Lesbos. The 

discovery of the infants who have been left exposed takes place at different 

times, but in 

both circumstances their clothing and rich tokens found with them suggest 

the foundlings may be of noble birth. In each instance the shepherd who 

finds the baby is alone and tempted to steal their treasure and leave them to 

fate, but instead bows to the paternal instinct to nurture and raise the child 

as his own. As Daphnis and Chloe grow to be young adults tending their 

adopted parents’ sheep and goats on the sun-drenched Grecian hillsides and 

pastures, they discover that their friendship is turning to love but in their 

innocence they do not know how to proceed. Together they experience 

many trials and tribulations, protected throughout by the god Pan, before 

finally realizing their true fate. Daphnis and Chloe has served through the 

ages as the inspiration for nearly every love story that has followed including 

Romeo and Juliet.

107 


Daphnis et Chloé: Le Songe du Capitaine Bryaxis, 1961 

Color lithograph on Arches wove paper 

Hand-signed “Marc Chagall” in black ink and numbered “130” on the justification page 

Double page from the folio of 42 lithographs for ‘Daphnis et Chloé’ by Longus. Edited by Tériade, Paris 

with the lithographs printed by Mourlot, Paris. Edition of 250 on Arches wove paper. Sheets printed 

to the edges. From the personal collection of Mira Jacobs, Le Bateau-Lavoir, Paris. Mourlot 328. 

16 ½ x 25 ¼ inches. 905543 


The Medium of Carborundum 

Throughout his life, Miro worked in several printmaking 

processes, including engraving, lithography and etching, 

as well as the use of stencils (called pochoir). He stated 

that printmaking made his paintings richer, and gave him 

new ideas for his work. In 1967, Miro was introduced to 

carborundum (silicon carbide engraving); combining this 

technique with other printmaking processes, he was able 

to produce images that rivaled the original qualities of 

painting. 

Miro continued to explore the carborundum aquatints 

the rest of his life, and in 1970 the Museum of Modern 

Art in New York held an exhibition especially devoted 

to these prints. In his later years, he spent most of his 

time doing etchings, doing large-scale aquatints and 

book illustrations. Much of his work can be found in the 

Guggenheim and Museum of Modern Art in New York. 

During the 1970’s he continued to receive wide acclaim, 

and had major exhibitions in the Musee National d’Art 

Moderne, and other major art institutions in Europe and 

America. In 1980, King Juan Carlos of Spain awarded 

Miro the Gold Medal for Fine Arts. In 1983, the year of 

his 90th birthday (and his death), there were birthday 

celebrations for him in New York and Barcelona. 

108 

MIrÓ, JOAn, 1893-1983 

Poster for Exhibition ‘Miro’: Louisiana, Humlebaek (Denmark), 1974 

Hand-painted original gouache over lithographic stone, Signed, dated, 

“3/X/74”, and annotated, “BAT”with color heightening by Miró, making 

this a rare, completely unique proof. The last proof prior to printing with 

instructions by Miró. In addition 75 lithographs were printed on Arches 

vellum, before lettering, signed and numbered. 3000 copies on ordinary 

paper. Published by Louisiana, Humlebaek. Printed by Arte Adrien Maeght, 

Paris. Maeght 944 

26 1/8 x 19 ½ inches 

907912 


109 

MIrÓ, JOAn, 1893-1983 

Affiche pour le Ballet ‘Lucifer’ (Poster for the Ballet ‘Lucifer’), 1975 


Pencil signed ‘Miro’ lower right, Annotated in pencil lower right, and noted 

‘10/XII/75’ A working proof before lettering of the poster for the Martha 

Graham Ballet in New York City, with hand-coloring, markings and annotations 

for printing. Noted ‘couvrir’ (cover) on two sections; with white areas 

marked out in red which are then covered in the final version. Corrections 

approved and signed by the artist. Total tirage of the final image was 5000 

on ordinary paper, with lettering; 75 signed and numbered copies on Arches; 

and 5 numbered HC copies on Arches. Published by Martha Graham Dance 

Company, New York; Printed Arte Adrien Maeght, Paris. M 1050 

31 x 21 inches. 911405 

Gallery Price: $79,800.00

B arbizon 

110 

DIAz DE lA PEÑA, nArCISSE vIrGIlE, 1807-1876 

Promenade en famille (Family Walk) 

Oil on canvas 

Signed lower left. 12 ¾ x 9 ½ inches. 908213 


111 

DIAz DE lA PEÑA, nArCISSE vIrGIlE, 1807-1876 

Faggot Gathering in the Forest 

Oil on panel 

Signed ‘N. Diaz’ lower left. Provenance: From a private collection, Atlanta, Georgia. 

14 5/8 x 20 ¾ inches. 908005 


DIAz DE lA PEnA, nArCISSE vIrGIlE (1807-1876) 

Diaz was born on the August 21, 1807 in Bordeaux where his Spanish 

parents had taken refuge. Orphaned at the age of 12, Diaz was brought up 

by a pastor living in Meudon and spent his youth roaming about the woods. 

He survived the loss of a leg – the result of a snake bite. Like Renoir and so 

many artists of the 19th century, he began his artistic training as a porcelain 

painter/colorist at the porcelain factory of Jules Dupre’s uncle Arsene Gillet. 

He and Dupre worked together in 1823 and became friends. He also made 

the acquaintance of Constant Troyon. A brief apprenticeship with the 

painter Souchon comprised all his formal training. 

His early paintings catered to the popular taste for 18th century style 

Rococo. Themes of Oriental women, Spanish bathers, Nymphs, and gypsy 

subjects with women depicted in exotic colorful Turkish garb reflected the 

artist’s admiration for Delacroix and his Orientalist followers. Indeed Diaz’s 

first Salon entry in 1831 was titled Scene Amour. From 1835 Diaz visited 

Barbizon regularly spending most summers there. It was in 1837 that he met 

and became inspired by Rousseau and sought to emulate his precision of 

tree trunks. The influence of Rousseau could be seen in Diaz’s Salon entry of 

that year depicting a view of the Fontainbleau Forest. His work as a colorist 

and his ability to render light merged with the founders of the Barbizon 

school and he became known as one of the “Men of 1830.” Diaz, Rousseau 

and their friends had rediscovered nature 

together with Corot and Daubigny. Although the individual methods 

and concepts of the Barbizon painters differed considerably, they had in 

common a complete devotion to nature and a desire to be faithful to their 

observations. Through the 1840’s his figure paintings continued to be 

the major part of his work and are thought to have influenced the female 

subjects of Corot, Renoir, and Monticelli. 

Though figure painting would always remain important for Diaz, it is his 

landscapes of the 1850’s, particularly of Fontainbleau Forest for which the 

artist is most remembered. He excelled in somber woodland interiors in 

which spots of light or strips of sky shining through the trees would create 

dramatic contrasts. His forest interiors are richly painted with warm browns, 

oranges, golds, and silvery tree trunks and branches. Though the artist often 

applied paint loosely with a broad palette knife, his observation of nature 

was never the less keen. He loved color and the rough texture of heavily 

–applied paint. A regular exhibitor at the Salon, in 1848 Diaz won a first 

class medal and in 1849 he received the Legion d’honneur. Diaz reached 

the height of his fame in 1855 at the Exposition Universal. Prior to that 

he was elected a member of the Salon jury winning many medals. Diaz’s 

financial success enabled him to lend a helping hand to his friends when 

in need including Troyon, Rousseau, and Millet. He exhibited rarely after 

the mid century (his last Salon was in 1859), but could usually be found in 

Fontainbleu, Paris and his home in Barbizon.

112 

vIllOn, JACQuES (After Renoir), 1875-1963 

Nu, 1923 

Color Aquatint on Rives paper 

A very fine impression on cream Rives wove with 

wide margins. Annotated in pencil, by Renoir’s 

son, ‘Contrôlé par Pierre Renoir’. Edition number 

‘114/200’ annotated at lower left. Published by 

Bernheim-Jeune, Paris. Edition: 200. De Ginestet 

and Pouillon 637 

23 ¼ x 17 ¼ inches 

905090 


113 

vIllOn, JACQuES (After Edouard Manet), 1875-1963 

Dejeuner sur l’Herbe, 1929 

Color aquatint on Arches paper 

Signed “Jacques Villon” lower right; numbered “153/200” lower left . From the edition of 200; 

with full margins. G./P. 668. 19 ¼ x 24 3/8 inches. 905425 


114 


Daphnis et Chloé: Le Dauphin mort et les trois cents Écus, 1961 


Signed in black ink, and numbered “130” on the justification page 

From the folio of 42 lithographs for ‘Daphnis et Chloé’ by Longus. Edited by Tériade, Paris with the lithographs 

printed by Mourlot, Paris. Edition of 250 on Arches wove paper. Sheets printed to the edges. From the personal 

collection of Mira Jacobs, Le Bateau-Lavoir, Paris. Mourlot 338.16 1/2 x 12 5/8 inches. 905553 


115 


Tête d’homme barbu, 1932 

Gouache, white with grey and black monotype 

An extremely rare impression of this subject; showing painterly values. One of only two impressions in this color combination 

(there were also two with a pure white printed background; there was no edition). Printed by the artist with wide margins. 

Marina Picasso Stamp Verso. Virtually impossible to see outside of a museum collection. 

This monotype was produced by the process of erwinographie, a technique based on the use of a light-sensitive gelatin 

ground onto which a drawing is exposed. The gelatin is then heated to create a hardened surface from which impressions 

can be pulled and individually coloured. 

In her note on the technique, Brigitte Baer describes how on 26 May 1932 Picasso experimented with erwinographie, 

hand-painting the few impressions with greasy printing ink or watercolour thickened with gum arabic. Each impression taken 

is unique and presents many characteristics of an original painting with the hand-applied gouache ground. Described, not 

reproduced, in Baer catalogue. 10 3/8 x 8 ½ inches. 910305 


116 


Deux Femmes Nues. II., 1930 

Original etching on strong wove paper 

Signed “Picasso” in lower margin and numbered “123 - 125.” Unique, signed and numbered by Picasso in yellow crayon or ink. Superb impression 

after the steel-facing plate which allows for extraordinary contrast. From the total edition of 125. Published by Albert Skira in 1931. Printed by Louis 

Fort, Paris. All margins. Bloch 132, Baer 199.b.2. 12 ½ x 9 inches. 908332 


117 

MIrÓ, JOAn, 1893-1983 

La Contre Balancée, 1955 

Color etching and aquatint on Arches 

Pencil signed ‘Miro’ lower right, Numbered ‘2/50’ lower left. 

From the edition of 50, plus hors-commerce, on Arches. 

Published by Maeght, Paris; Printed by Morsang, Paris. D. 754 

45 ¼ x 29 inches 

911402 


118 

MIrÓ, JOAn, 1893-1983 

Le Chef d’Orchestre, 1974 

Color etching and aquatint 

Pencil signed ‘Miro’ lower right, Numbered ‘2/50’ lower left. 

From the edition of 50 plus hors-commerce. Published by 

Maeght, Paris; Printed by Morsang, Paris. D. 654 

45 ¾ x 29 inches 

911401 


119 


La Dame a la Collerette 

(Portrait de Jacqueline a la Fraise), 1962 

Original linocut in brown, black and shades of gray 

Signed in pencil and numbered 35/50. From the edition of 50, 

published by Gallery L. Leiris, Paris. Bloch 1147; Baer 1321 

16 ½ x 24 inches 

700043 


120 


Bouquet pour Jacqueline Picasso, 1966 

Color crayon drawing on cream wove paper, a special 

spontaneous color drawing by Picasso for Jacqueline, 

with the original signed register. 

Signed in crayon lower left, Dated ‘24.4.66’ in the drawing. 

Drawn on a page in a guest register at Jacqueline Picasso’s 

40th birthday party, which took place at Chez Roger restaurant, 

in Antibes, February 24, 1966. 

Certified authentic by Maya Widmaier Picasso, Paris. 

13 x 10 inches. 911438 


121 


“Then he spent the night with her embracing and clipping...”, 1948 


From ‘Four Tales from the Arabian Nights’ (Plate 3). Full Margins. A rare, virtually unobtainable working proof 

aside from the edtion of 90. Printed by Albert Carman, City Island, New York. Mourlot 38. 

14 3/8 x 11 1/8 inches. 905397 


123 


Daphnis and Chloé: Daphnis’ Dream 

and the Nymphs, 1960 


A beautiful, bright and rare working proof, 

aside from the edition of 60. Possibly 

unique. There was also a book edition of 

250. With full margins. Mourlot 325 

16 ¾ x 12 5/8 inches 908548 

Gallery Price: $49,800.00 

122 


Daphnis and Chloe: 

The Meal at Dryas’s House, 1961 


Double page from the folio of 42 lithographs 

illustrating ‘Daphnis et Chloé’ 

by Longus. Edited by Tériade, Paris; 

lithographs printed by Mourlot, Paris. 

Edition of 250 on Arches wove paper, 

total tirage 270 plus proofs. Sheet 

printed to the edges. Mourlot 334. 

16 ½ x 25 ¼ inches. 907128 


124 

rEnOIr, PIErrE AuGuSTE, 1841-1919 

Étude de Visages 

Oil on canvas 

To be included in the Renoir Catalogue Critique being prepared by the Wildenstein Institute from the François Daulte, Durand-Ruel. Venturi, 

Vollard and Wildenstein archives. Rare; seldom seen in this uncut original state. Most such paintings were cut into 4 or 5 subjects and the cut 

works were sold individually; virtually impossible to find a full painting. Provenance: Madeleine Bruno, France (acquired from the artist). By descent 

to previous owner. Madeleine Bruno was one of the models frequently used by Renoir towards the end of his life. 8 x 2 ¾ inches. 905801 


125 


L’Enfant au Biscuit (Jean Renoir), 1899 

Color lithograph on Ingres d’Arches laid paper 

This is a proof of the only state printed in five or six colors 

prior to the edition of 100. Some impressions were printed 

in as many as eight colors. Printed by Auguste Clot, Paris. 

Jean Renoir was the second son of the artist. This subject 

was drawn for inclusion in “L’Album d’Estampes Originales 

de la Galerie Vollard”, 1898, which was never published. 

Stella 31; Delteil 31. 


909238 


126 


L’Enfant au Biscuit (Jean Renoir), 1898-1899 

Lithograph on Ingres d’Arches paper with MBM watermark 

Only state from the edition of 100 plus proofs. This is an 

example printed in black. Printed by Auguste Clot, Paris. 

Provenance: Associated American Artist’s Association, 

New York; Private collection Virginia. Stella 31; Delteil 31 

12 ½ x 10 3/8 inches 

909138 


JEAn-FrAnCOIS rAFFAEllI (1850-1924) 

127 

rAFFAEllI, JEAn-FrAnCOIS, 1850-1924 

Le Village de Pêcheurs, a Cagnes, 1913 

Color etching on Japon paper 

Signed and numbered in pencil lower right, “no. 103 - J.r. Raffaelli”. Second and final state, 

from the edition of 200. Delteil 101. 11 ¾ x 15 ¾ inches. 902122 


Jean François Raffaelli grew up initially studying singing and acting. But at 

the age of twenty began to paint. He was very talented and had immediate 

success. His first teacher was the highly acclaimed painter and instructor 

Gerome. In fact, Raffaelli’s first entry to the salons in 1870 was to become 

one of his most famous and highly accredited works. It was the painting 

“Guests Waiting for the Wedding.” During that exhibition the naturalist 

writers noted him; specifically Emile Zola became an admirer and a 

protagonist of Raffaelli’s. Ironically his formal training actually came after 

he won acclaim in 1870 and even then he only studied formally for three 

months in 1871. 

Raffaelli’s style was clearly different from most of the Impressionist painters 

yet he was invited to participate in the 1880 and 1881 Salons due to the 

sponsorship of Edgar Degas. In fact in 1881 he had more paintings in the 

show than any other painter. 

Although his works in the Impressionist salons aroused the attention of 

critics who showered Raffaelli with much attention and praise, he didn’t 

fare as well with his fellow artists. Gaugin and Guillamin both issued a public 

declaration that if Raffaelli were included in 1882’s exhibition, they would 

not show their work. History may have treated Raffaelli much differently had 

this not taken place! 

Raffaelli’s subject matter is equally as interesting today as it was during 

his lifetime. His philosophical bent and naturalistic tendencies can be 

interpreted to show a highly evolved and quite futuristic thinker. His 

observations of the absinthe drinkers and rag-pickers, chiffonnières as they 

were dubbed at the time, are still extremely poignant today. Raffaelli keenly 

observed life in the suburbs of Paris where he had taken residence. He was 

an ecologist of sorts. He documented various aspects of a changing reality. 

Unlike most other artists of the day, who were observing landscapes and 

city streets, Raffaelli noted the effects of the changing urban landscapes 

and the effects it had on peoples’ lives. Where there had been farms, albeit 

quite barren land due it having been worked so often due to its proximity to 

Paris, there were now urban developments and factories. The Chiffonnière 

who may have been a tenant farmer or even a small landowner was now 

scavenging rags to be gathered from house to house and then sold to be 

recycled into sacks or paper. He keenly portrayed the underside of the 

prosperity gained from the industrial revolution. 

During the 1890’s, at the height of his career, his works enjoyed even 

greater acceptance and brought him increased prosperity, evidenced by his 

light-hearted scenes of Parisian monuments and boulevards. 

By the early 1900s his primary work was printmaking in color. In the 

1890s he had co-founded the French Society of Color Etching with Mary 

Cassatt and Camille Pissarro. He introduced a new technique in printmaking 

whereby up to five plates were used to create a drypoint etching. 

Raffaelli died in 1924 after a long and illustrious career. His paintings hang 

today in major museums throughout the world, reminding us not only of his 

tremendous originality, but also his extraordinary efforts as a color etcher. 

All told Raffaelli executed one hundred and eighty-three original prints. He 

is a great example of the painter-printmaker.

128 

rAFFAEllI, JEAn-FrAnCOIS 

1850-1924 

Le Chiffonnier 

Drypoint and aquatint 

Signed in plate lower left 

Beautiful impression with hand coloring. 

Second state. Delteil 97. 

8 ¾ x 4 ½ inches. 908346 


129 

rAFFAEllI, JEAn-FrAnCOIS 

1850-1924 

La Seine à Paris, 1911 

Color etching 

A trial proof of the third and final state, 

before the edition of 500. Delteil 94. 

14 ¼ x 22 ¾ inches. 902194 


130 


Louis Valtat, c. 1904 


Signed in the plate lower right. Only state. From the total edition of 1,000. 

From “Douze Lithographies Originales de Pierre-Auguste Renoir”, published 

by Ambroise Vollard, Paris. Valtat was a young painter who liked to visit Renoir 

and in his early career, was much influenced by him. Delteil 38; Stella 38 

12 1/2 x 9 1/2 inches. 909463 


131 


Sur la Plage, à Berneval, c. 1892 


Signed in the plate lower right. Very rare and desirable. This is a 

posthumous impression of the third and final state. The third state 

was published in Loys Delteil’s “Le peintre-graveur illustre 

(XIXe et XXe siècles)”, vol. 17, Paris, 1923. Stella 5; Delteil 5. 

4 ½ x 3 inches. 909212 


132 


Femme au cep de vigne, 2e variante, c.1904 

Lithograph 

Signed in stone, lower left. Second state of two. Without the 

notation (“remarque”). Edition: 1-50 on Japan paper, 51-1000 

on vellum paper. Stone effaced. Stella 46 

4 5/8 x 3 ½ inches 

907996 


134 

vIllAIn, GEOrGES-rEné, 1854-1930 

Le repose du berger 

oil on canvas 

signed lower left. 37 x 47 ¼ inches. 910829 


133 

WrIGHT, rObErT W., died 1906 

An Unexpected Encounter, 1882 

oil on canvas 

signed and dated lower right 

14 x 12 1/8 inches 

910792 


135 

COrOT, JEAn bAPTISTE CAMIllE, 1796-1875 

Environs de Rome, étude de montagnes, 19th C 

Oil on canvas laid down on panel 

Signed lower right “Corot” This painting has been examined by Martin Dieterle and will be included in the forthcoming 

‘Sixième Supplément à l’Oeuvre de Corot’ with special mention of the restored state of the painting. A very rare and 

desirable work, as one of the classic early works; great degree of collectability. Early works of this nature are generally 

found in museums. Provenance: The Nelda C. and H.J. Lutcher Stark Foundation. 6 ¼ x 9 inches. 906126 


COrOT, JEAn-bAPTISTE-CAMIllE (1796-1875) 

The son of a Parisian shopkeeper, the young Corot was hired as a salesman 

by a cloth merchant, despite his evident gift for drawing. Clearly lacking an 

aptitude for business, he was already twenty-six when his father gave him an 

allowance so that he could devote himself entirely to his vocation. 

Studying with A. Michallon, with whom he painted his first landscapes in the 

Forest of Fontainebleau, and then with Victor Bertin, he took his first trip to 

Italy in 1825. There he enjoyed the friendship of Caruelle d’Aligny and Edouard 

Bertin who shared his passion for painting from nature. On his return three 

years later, he adopted a pattern of work, which he maintained throughout his 

life, of painting in his Paris studio during the winter and devoting the summer 

to traveling in France, interrupted by frequent visits to Ville d’Avray, Chailly 

and Barbizon. 

The souvenirs which he brought back from his various travels in the French 

provinces and abroad served as an example for many landscape artists, 

particularly for his students, Chintreuil, F.L. Francais and Harpignies. An 

associate of all the Barbizon painters, he became particularly friendly with 

Daubigny and, from the summer of 1852, they often traveled and worked 

together. 

Even if Corot cannot truly be regarded as a painter of the Barbizon School, 

his love for nature, his tireless search to render its slightest nuances, and his 

taste for working en plein air made him the perfect precursor. Ill with gout 

from 1866, Corot nevertheless continued traveling and painting. At his death 

at the age of 78 he was one of the most revered and respected artists in 

France.

136 

OPIE, EDWArD, 1810-1894 

On the Seashore - A Timid Venture 

oil on canvas 

signed lower left diagonally “E. Opie”, 

inscribed with title on a label attached 

to the reverse. Provenance: Exhibited 

at the Royal Academy in London 1871, 

no. 325. 32 x 27 inches 

910820 


137 

ErnAulT, JulES, 19th Century 

The Shepherdess, 1890 

oil on canvas 

signed “Jules Ernault” 

and dated lower right. 

18 3/8 x 15 ¼ inches 

910619 


DuPrE, JulIEn (1851- 1910) 

Julien Dupre was a French artist working in the last half of the 19th century. 

Salon critics rightly perceived Dupre as Jules Breton’s closest follower. 

Through idealization of form, he invested his peasant women with a heroic 

aura, though unlike his predecessor, his figures are usually engaged in vigorous 

action. His landscapes, with their cloudy skies and carried motifs, are also 

much more active. Their high key color and spontaneous brushwork have 

a vivacity and freshness that distinguishes them from the somber calm of 

Breton’s scenes. Dupre’s most enduring and powerful image is that of a single, 

Herculean female, positioned dramatically and elegantly in the foreground 

of the painting, pitching hay. His finely modeled figures pay tribute to his 

academic training, as well as his study of the works of Breton and Bouguereau; 

while his freer handling of the background areas, at times done with a palette 

knife, shows the influence of the Impressionists. Dupre received his artistic 

training in the academic studios of Isidore Pils, Desire-Francois Laug and 

Henri Lehmann. 

138 

DuPrE, JulIEn, 1851-1910 

Young Farmgirl with Cattle 

Oil on Canvas 

Signed lower right and inscribed “á Eduoard bien cordialment” A rare and 

painterly Impressionist style painting, showing the strength and conviction 

of the peasant women as part of nature. 14 ¾ x 21 ½ inches. 911079 


Until now, little has been compiled about the life of this important Realist 

artist who was described in an article in the Magazine of Art (1891) as: “… 

one of the most rising artists of the French School.” Dupre exhibited works 

at every Salon from 1876 until his death in 1910 and earned critical acclaim 

for his depictions of peasant life. He was awarded medals at several Salon 

Exhibitions and received a Gold Medal at the Exposition Universalle in 1889 

for his pictorial representations of the life of the farm worker. 

Dupre was very successful during his lifetime both in Europe and the United 

States. Wealthy American patrons traveled to Paris to acquire his works and 

they became part of the great collections of the 19th century. Many of these 

collections, in turn, would become the cornerstones of our great museums. 

His painting Au pasturage (exhibited at the Paris Salon in 1882) is now in the 

collection of the Washington University of Art, St. Louis and Milking Time, 

a monumental work, is in the collection of The Fine Arts Museums of San 

Francisco.

139 


Gongora - Illustration. Femme Dessinant, 1947 

Original copperplate 

Original rare and unique copper plate made by the 

artist to illustrate the book “Vingt Poems de Gongora.” 

This copper plate is the one used to print the page 

“Illustration. Femme Dessinant,” with the date 29 juin 47 

VI. The copper plate was cancelled by Jacques 

Frelaut on April 15, 1983. Normally not seen outside 

of a museum collection. Bloch 483; Baer 745; 

Cramer no 51/8. 

16 1/8 x 12 1/8 inches 

904245 


140 


Gongora - Illustration. Femme Dessinant, 1947 

Original aquatint on Marais paper with the Gongora 

watermark designed by the artist 

From the edition of 250. Book edition “209/250” 

Bloch 483; Baer 745; Cramer no 51/8 


904246 


141 

Gongora - Texte. Soneto XVII, 1947 

Original copperplate 

Original copper plate made by the artist to illustrate 

the book “Vingt Poems de Gongora.” This copper 

plate is the one used to print the page “Texte. Soneto 

XVII,” with the date 25 juin 47 I. The copper plate was 

cancelled by Jacques Frelaut on April 15, 1983. Bloch 

482; Baer 744; Cramer no 51/7. 

16 1/8 x 12 1/8 inches 

904243 


Gongora 

Picasso had known of Gongora’s poetry as a youth in Spain, and 

rediscovered its power and mystery during his days in Paris. The surrealists 

had adopted Gongora as the father of their new way of writing and thinking. 

Gongora was popular in Spain in the sixteenth century. He was best known 

for his abstract metaphors and strange assembly of words and phrases. 

Certainly, Picasso was drawn to the deeply moving and thoughtful sensibility 

of Gongora’s sonnets. 

Picasso was isolated from the politics of the ending of the war. As peace 

was being restored around the globe, Picasso was reinterpreting the world 

142 


Gongora - Texte. Soneto XVII, 1947 

Original aquatint on Marais paper with the Gongora 

watermark designed by the artist 

From the edition of 250. Book edition “209/250” 

Bloch 482; Baer 744; Cramer no 51/7 


904244 


of art. He had moved to Golfe Juan near Vallauris where he single-handedly 

revived the pottery industry. He painted scores of baked clay objects 

transforming them into seemingly animated things. It was in the same village 

in the south of France that he discovered the multicolored linoleum cut 

process that later reinforced legend. He also returned to lithography in 

Vallauris, creating some of his most impressive images. It was there that he 

created the 20 original aquatint etching for Gongora. In between painting 

whimsical faces and playful fauns onto ceramic plate, jars and vases in the 

courtyard of the Madoura studio in the brilliant Mediterranean sun, he 

painted the Luxurious seductive faces for Gongora.

143 


Femme au Fauteuil, 1949 

Lithograph on Arches wove paper 

Signed “Picasso” in pencil lower right, and numbered in pencil ‘21/50’ lower left. From the edition of 50 from the 

fifth state of seven. Printed by Mourlot, Paris. Bloch 588; Mourlot 137. 28 3/8 x 22 ¼ inches. 908298 


PICASSO, PAblO (1881-1973) Femme au Fauteuil 

Femme au Fauteuil, 1949, is considered Picasso’s graphic masterpiece 

in the medium of lithography. “In November 1948, Picasso purchased an 

elaborately embroidered leather and sheep’s wool coat while in Poland 

attending the communists-sponsored Peace Conference. Upon his return 

from Poland, Picasso felt compelled to create. The combination of the 

newly acquired coat, and an extraordinary antique armchair which occupied 

Picasso’s studio, became the inspiration for the Armchair Woman (femme au 

Fauteuil). Francoise Gilot, Picasso’s lover at the time, was the model for this 

exemplary work.

144 

lAuTrEC, HEnrI DE TOulOuSE, 1864-1901 

Aristide Bruant Dans son Cabaret, 1893 

Color lithograph on wove paper, signed and monogramed on the stone lower left. Wittrock’s edition A, printed by Charles Verneau, 

Paris. With margins. Very rare, condition -C- with the paper and print colors strong, some flaking. Wittrock P 9. 51 ¾ x 38 ¾ inches. 

907570 


145 


Hélène et le chaval de Troie 

(Helen and the Trojan Horse), c. 1974 

Mixed media painting with etching 

Unique mixed media painting with etching. Working 

trial proof with extensive hand painting by Dali. 

This work has been authenticated by Frank Hunter 

of the Dali Archives. Field 72-9, Prestel 714 

16 x 20 inches. 908912 

Gallery Price: $ $198,000.00

“Marie-José en Robe Jaune” is considered 

Matisse’s most important graphic achievement. 

Proofs of this nature are rare and highly 

collectible 

146b 


Marie Jose en Robe Jaune, 1950 

Aquatint on Arches paper 

A rare proof in black outside of 

the edition of 100. Full margins. 

Possibly from a later edition. 

Duthuit 817 

25 ½ x 16 3/8 inches 

905850 


146a 


Marie-José en Robe Jaune, 1950 

Color aquatint on Arches wove paper 

Rare proof aside from the edition of 100. 

Rich and splendid colors, unusually painterly, 

(black, red, yellow, blue and green) with wide 

margins. Possibly from a posthumous edition. 

Duthuit 817 

21 1/8 x 16 3/8 inches 

905623 


147 


L’Homme au Chien (Rue Schoelcher) - 

Man with Dog (Rue Schloelcher), 1915 

Etching on Arches paper 

Signed ‘Picasso’ lower right in red crayon 

The plate was originally drawn in spring of 1915, 

and finished in 1930. This impression is from the 

edition of 60 after steelfacing (c. 1947). Print in 

good condition, with signature still showing red 

and strong. Edition Lucien Vollard-Marcel Lecomte, 

Printed by Macquart, Paris, c 1947. Cubist prints 

by Picasso are rare and highly collectible. 

Bloch 28, Baer 39.III.B.b 

10 7/8 x 8 5/8 inches 

911391 


148 


Portrait de “mousquetaire” triste 

(B. 1623; BA. 1639), 1968 

Original aquatint 

signed in pencil lower right 

numbered 32/50 lower left. F rom the “347” series, 

B. 1623 BA. 1639 

26 ½ x 22 ¼ inches 

910152 


149 

MOurEn, HEnrI, (1844-1926) 

Le repos du troupeau sous les arbres 

(Flock Resting Under the Trees) 

Oil on canvas 

signed lower left. 

40 x 59 ½ inches. 910212 


CHAIGnEAu, JEAn-FErDInAnD (1830-1906) 

Chaigneau attended the Ecole des Beaux-Arts from 1849-1857 as a pupil of 

François Edouard Picot, Jacques Raymond Brascassat, and Jules Coignet, the 

latter of whom was especially responsible for Chaigneau’s turn away from the 

academic, classical tradition of landscape painting. Chaigneau won third place 

in the 1854 Rome Prize Competition in historical landscape painting; the same 

year he was awarded an artistic stipend from his hometown of Bordeaux. In 

1857, when he lost in the annual competitions and his stipend expired, he 

began to turn away from the Academic training he had received. 

He moved to Barbizon in 1858, while also keeping a residence in Paris, and 

began orienting his art toward nature, after coming into contact with Jean 

François Millet and other artists then living and working in Barbizon. His 

landscape subjects, however, also included scenes from Bordelais, the Landes, 

150 

CHAIGnEAu, JEAn FErDInAnD, 1830-1906 

Plaine de Barbizon, après l’ondée 

(Plain of Barbizon, after the Rain) 

Oil on canvas 

signed lower left 

24 x 28 ¾ inches 

910209 


Limousin, and Normandy in addition to scenes from the forest of 

Fontainebleau. Beginning in the late 1860’s, under the artistic influence of the 

Barbizon artist Charles Jacque, Chaigneau developed his well-known fondness 

for painting flocks of sheep, which he had observed in the Chailly Valley region 

near Barbizon. His success in this genre earned him the affectionate nickname 

of “the Raphael of sheep.” 

His works—in oils, watercolors, and engravings—were recognized as early 

as the 1890’s as an original contribution to the development of Impressionism, 

especially for his handling of the effects of light. Chaigneau exhibited at the 

Paris Salon as early as 1848, winning awards in 1855, 1889, and 1900, as well as 

exhibiting at the International Exposition held at Santiago, Chile in 1875, the 

World’s Colombian Exposition, Chicago, 1893, at Barcelona, Spain, in 1880 

and 1888, and at the Societé des Amis des Arts, Bordeaux, from 1851-1903.

JAPy, lOuIS AIME 1840-1916 

151 

JAPy, lOuIS AIME, 1840-1916 

Sheep and Shepherd in a Misty Landscape 

Oil on canvas 

Signed lower right, “Japy” Provenance: M. Newman, London, England. 24 1/8 x 20 inches. 910843 


LOUIS AIME JAPY enjoyed considerable success over a fifty-year career 

as a landscape artist by merging the thematic subjects introduced by the 

first generation of Barbizon Artists – sheep-herding scenes and woodland 

motifs – with the misty atmospheres and idyllic calm associated with Corot’s 

art. A student of François-Louis Français and of Corot, Louis-Aimé Japy 

made his Salon debut in 1864, during the height of the Barbizon movement. 

From his earliest submissions to the Salon during the mid-1860s, Japy sought 

a highly personalized balance between poetic ambiance and observant 

realism in his landscapes of Brittany, Picardy and the Jura Region. In his views 

of the winding rivers north of Paris or shepherds tending flocks on isolated 

Jura plateaus, Japy favored the twilight hour or misty weather conditions 

that allowed him great scope for color manipulation within naturalistic 

landscapes. Critics frequently honored Japy for his ability to retain an air of 

mystery or of feeling in landscape painting, at a time when so many naturalist 

artists were seen to be emphasizing detail over atmosphere. 

Louis-Aime Japy was born at Berne (Doubs) in the French Alps in 1840, 

and throughout his life he returned frequently to the majestic Jura Following 

their example, he also traveled to Italy, so long considered the standard for 

natural beauty, and early in his career he occasionally exhibited paintings of 

Italian themes. It was customary for a young artist, but it was the regions of 

his native Doubs and the Jura that most captured his heart: these regions 

inspired most of his compositions. Japy exhibited his views of the French 

countryside regularly at the Salon, medalling in 1870, and earning a second 

class medal in 1873 and gold medals at both of the Expositions Universelles 

in 1889 and 1900. In 1883 he was made a member of the Société des 

Artistes Français, earning him exemption from all future Salon jury selection 

and the ability to exhibit freely at the Salons. In 1893, he was one of the first 

landscape artists to be honored with a one-man exhibition at the prestigious 

Galerie George Petit, then the most fashionable and progressive gallery in 

Paris. He was recognized again in 1906, when he was elected Chevalier of 

the Légion d’Honneur. He continued to exhibit at the Salon until shortly 

before his death in 1916.

153 

JuTz D. J., KArl 

1873-1915 

The Watermill, c.1900 

Oil on canvas 



910071 


152 

GIllArD GlInDOnI, 

HEnrI, 1852-1913 

Love’s Messenger, 1904 

Oil on canvas 

Signed and dated lower left. 

34 ¼ x 44 ½ inches. 

910794 


lEGAT, lEOn (1829) 

Legat studied paintings under Louis Martinet and debuted at the Paris 

Salon in 1848 and regularly exhibited thereafter until 1891. Legat spent most 

of his time painting in Normandy because of its picturesque outdoor beauty 

as well as its proximity to the city life of Paris. His works are characterized 

155 

bEAuDuIn, JEAn, 1851-1916 

Villegiatures: Environs de Troyes, 

Champagnes, 1903 

Oil on canvas 

signed ‘Jean Beaudin’ lower left, and 

signed again, dated and inscribed ‘1903 

Paris Villegiature’ on the stretcher. 

24 x 29 inches. 910082 


bEAuDuIn, JEAn (1851-1916) 

Born in Belgium in 1851, died in Paris in 1916. He studied at the Academy 

of Beaux-Arts in Anvers. After he completed his studies at the Academy he 

left for Paris and collaborated on various publications, chronicles, such as 

Figaro, a popular magazine of the day. He worked on book illustrations for 

154 

lEGAT, lEOn, b. 1829 

Washerwomen and Fisherman 

by a River, 1866 

Oil on canvas 

Signed and dated lower left 

39 ½ x 52 inches 

909875 


with a light, airy style similar to the Flemish tradition, painting idyllic scenes 

of peasant life such as villages, outdoor fairs, and country inns. The theme of 

the mill appears in his works (The Gravelle Mill near Charenton, The Mills 

of Anglure on the Edges of the Marne). His use of light infuses in a pleasant, 

jovial feel in all his works. Legat also painted with pastels. 

Arman Silvestra and the Countess of Molenes. He is known primarily as a 

genre painter, portrait artist, and as a landscapist. He showed at the Salon of 

French Artists and various other Salons of the time. He also participated at 

exhibitions in France as well as abroad.

156 

KOWAlSKy, lEOPOlD FrAnz, Attributed to, 1856-1931 

A Game of Tennis 

Oil on canvas 

Signed lower left . 35 ¼ x 19 ¼ inches. 909565 


KOWAlSKy, lEOPOlD FrAnCOIS (1856-1931) 

Born December 8, 1856 in Paris, Kowalsky was a landscape, animal, portrait 

painter, draftsman and postimpressionist from the school of Beaux-Arts in 

Paris. 

Kowalsky regularly showed his work around Paris and during the year of 1881 

he became a contributor to the salon of French Artists. In 1890, he obtained 

an honorable mention and he earned a medal in 1891. In 1893 he became a 

member of the salon. Kowalsky settled in Europe during the year 1912 with his 

157 

KOWAlSKy, lEOPOlD FrAnz, Attributed to, 1856-1931 

A Game of Diablo 

Oil on canvas 

Signed lower right. 35 ¼ x 19 ¼ inches. 909564 


wife and daughter to paint many beautiful portraits, where he remained until 

his death. 

His landscapes of the Normandy countryside are of a timeless 

postimpressionism that erects qualities of changing light and reflections. His 

work is especially noted to incorporate within his landscape scenes of his 

family and other familiarities from his life.

158 

FAnTIn-lATOur, I. HEnrI-JEAn-THEODOrE, 1836-1904 

La Toilette 

Oil on canvas 

Signed lower left, “Fantin.” Provenance: W. Scott & Sons, Montreal; Private Colllection, New York. 

Exhibited: Montreal, Museum of Fine Arts, “Canada Collects: European Paintings 1860-1960”. 

This painting will be included in the forthcoming supplement to the Fantin-Latour catalogue raisonne 

of paintings and pastels by Galerie Brame & Lorenceau. 11 ½ x 10 ½ inches. 910911 


159 


Femmes à Leur Toilette, 1956 

Linocut printed in brown on white paper 

Signature stamp lower right, Annotated in pencil, “Linogravure inédit”, lower left. An 

extremely rare proof, one of only four printed in brown. Each proof unique. A total of 

about 14 proofs of various blocks, some rinsed. No edition. Provenance: Arnera; Pablo 

Picasso; by descent to Marina Picasso, Picasso collection oval stamp on verso 

and numbered 52178. Baer 1037. 21 ¾ x 20 3/8 inches. 909669 


161 


Les Vendangeurs 

(The Grape Harvesters), 1959 

Color linocut on Arches, Annotated 

by the printer, Hidalgo Arnéra, ‘7/N’ in 

pencil at the top left and right margins. 

A working proof of the fifth state of five, 

printed in black, dark brown and brown 

over a light brown field. Unrecorded by 

Baer in this form. Annotated with what 

appear to be printing measurements 

“7N”. Bloch 937 Baer 1241.V. 

21 x 25 ¼ inches. 911407 


160 


Les Danseurs au Hibou, 1959 

Color linocut on cream wove Arches 

signed lower right in pencil, 

numbered 4/50 in pencil lower left. 

With full margins; A superb 

impression of this large print, 

with strong colors; 

Bloch 936, Baer 1256 B.a. 

21 x 25 ¼ inches. 910782 


162 


Juif a la Thora et Ange 

(Jewish Man with a Thora and an Angel), 1973 

Watercolor on cream wove paper 

Signed ‘Marc Chagall’ in ink lower left, Dedicated ‘Pour I 

A Neuman amicaleman’ and dated ‘1973’ in ink, lower left 

Watercolor on the dedicated half-title page for ‘Les 

Vitraux de Chagall,’ 1972. Originally from the collection 

of Alfred Neuman, to whom it is dedicated, London and 

St. Paul-de-Vence. The Neuman’s were close friends 

with Chagall and lived nearby in St. Paul-de-Vence. This 

watercolor has been authenticated by the Comité Marc 

Chagall, Paris; Certificate number 2009074, December 

2005. 14 x 10 ½ inches. 911437 


163 


Intimité, July 1969 


Signed lower right, and annotated “H.C.” lower left 

Hors de commerce proof aside from the regular 

edition of 50 and 25 artist’s proofs. Mourlot 571. 

23 ½ x 15 ½ inches 

908915 


164 


L’Envolée Magique, 1980 


Inscribed lower left “épreuve d’exposition hors commerce” A proof aside from the 

edition of 50. Printed by Mourlot, Paris. Mourlot 980. 46 x 29 5/8 inches. 904454 


165 


Alice in Wonderland, 1969 

Suite of 1 engraving and 12 heliogravures on Mandeure, in original portfolio 

Signed on the title page. The complete portfolio of 1 original engraving and 12 heliogravures 

of original gouaches, with original remarques, illustrating Lewis Carroll’s two 

books. Each work has never been framed and is in top condition with colors intact. 

With the signed title page. Published by Maecaenas Press, New York/ W.U.C.U.A. 

Engraving printed by Rigal, heliogravures by Nourisson, and remarques by Rigal. 

911673 


167 


Conquête du Cosmos porcelin plate: DALÍ Martian muni d’un 

double microscope holoelectronique (Martian DALÍ equipped 

with a double holoelectronic microscope), 1984 

transfer printed porcelain plate 

facsimile DALÍ signature lower right, Limoges stamp verso; 

numbered 2988 of an edition of 4000. Print Series, Field 74-12 C. 

8 ¾ inches diameter. 910740 


A series of six plates for the Conquête du Cosmos; The limited 

edition suite is comprised of six porcelain plates of The Conquest 

of the Cosmos. It was published in 1984. The six images, Cosmos 

II, form part of the original portfolio of twelve drypoint etchings, 

created by Dalí in 1974. The porcelain plates have been created 

166 


Conquête du Cosmos porcelin plate: Girafe saturnienne 

(Saturnian Giraffe), 1984 

transfer printed porcelain plate 

facsimile DALÍ signature lower right, Limoges stamp verso; 

numbered 2988 of an edition of 4000. Print Series, Field 74-12 J. 

8 ¾ inches diameter. 910739 


in Limoges, France, famous the world over for the high quality of 

its delicate fine porcelain. Each porcelain bears the signature of 

Salvador DALÍ stamped, as weil as a stamp on the reverse side by 

a French official of the Court attesting to the authenticity of each 

porcelain.

168 


Fountaine Parisienne 

Oil on panel. Signed lower right 13 x 16 ¾ inches. 908170 


169 


At the Cove 

Oil on panel. Signed lower right. 10 5/8 x 17 3/4 inches. 907715 

Gallery Price: $6,000.00

170 


Pink Waterlilies, 2010 

oil on canvas 

signed lower right 


402328S 


172 


Flower Vase with Oranges, 2008 

Oil on canvas 



401784 


171 


Roses in Blue Vase, 2011 

Oil on canvas 



402773 


174 

MIrÓ, JOAn, 1893-1983 

Erik Satie: No. 1, 1969 

Color etching, drypoint and aquatint on watermarked paper 

173 

MIrÓ, JOAn, 1893-1983 

Preface to 52 Posters, 1963 

Color lithograph on Japon paper 

Pencil signed ‘Miro’ lower right, Annotated ‘épr.a.’ 

lower left (artist’s proof). Artist’s proof on Japon 

paper before lettering, aside from the regular 

editions. Total tirage, 125 copies on Arches 

wove in a portfolio of three lithographs and 125 

separate copies on Arches. Published and printed 

by Mourlot, Paris. Lithograph created for the 

portfolio of 52 posters printed by Mourlot, with 

text by Jacques Prévert. M 384; C 84. 

18 3/8 x 15 7/8 inches 

911397 


One of four engravings from the series ‘Poems and Songs,’ a book which was never published. Probable proof aside from the signed 

set. On a double sheet of paper with an “LB” watermark on the facing leaf (lower corner). Published by Louis Broder, Paris. Printed 

by Morsang, Paris. Dupin 522. 6 1/8 x 16 inches. 911463 


175 


Les songes drôlatiques de Pantagruel 

(Pantagruel’s Comical Dreams) - P, 1975 

Color lithograph on Japon paper 

Signed lower right. From the portfolio “Les Songes Drôlatiques 

de Pantagruel”, which consists of 25 lithographs after original 

gouaches. From the total edition of 400. There are 250 prints 

numbered 1/250 - 250/250 on Japon paper with color, 50 

prints numbered 1/50 - 50/50 on Japon paper without color, 

50 EA on Japon with color and 50 EA on Japon without color. 

Authenticated verso by Frank Hunter of the Salvador Dali 

Archives, Ltd. Field 73-7Q. 27 x 19 inches. 909298 


176 


Les songes drôlatiques de Pantagruel 

(Pantagruel’s Comical Dreams) - P, 1975 

Lithograph of gouaches and felt pencil on Japon paper with color 

signed lower right, numbered 164/250 lower left 

Series includes 25 lithographs; Authenticated verso by Frank 

Hunter, 1 May 2009; Fields 73-7P, Prestel 1402 

27 x 19 inches. 910421 


177 


Dawn at Port Lligat 

(Venus with Drawers), 1971 

color lithograph on smooth paper 

signed in plate “DALÍ” and dated 1970 

From edition of 2000, 

as recorded by Albert Field. 

Field 71-8 M.L. 1284 

30 ¼ x 22 ¼ inches 

910679 


178 


Tristan & Iseult: Mad Tristan, 1970 

Original color drypoint on japon nacre, Initialed lower right 

From the complete set of 20 illustrations from Tristan & Iseult. 

Frontispiece signed; each other piece initialed and numbered 

verso 15/125. With full margins. Text written by André Mary, 

New York and Paris, The Artist and Regal Studio. Michler/ 

Löpsinger 406-426 . 

15 ¾ x 10 ½ inches. 

908590 


179 


Nudes by the Ocean 

Oil on canvas 

Signed lower left 


909387 


180 


Reclining Female with Green Pants 

Oil on canvas 


23 ½ x 23 ½ inches 

909454 


From the French language edition 

of the book “Picasso: Toreros,” 

originally titled “A los Toros avec 

Picasso.” One of three lithographs 

and one color lithograph created 

to accompany the text of Jaime 

Sabartés. Printed by Mourlot 

Freres, Paris; edited André Sauret, 

Monte-Carlo. 

181 


A Los Toros: La Pique, 1961 


M 1014; Cramer 113 

8 ¼ x 10 ¼ inches 

911369 


Sold as a Set 

182 


A Los Toros: Le Picador II, 1961 


M 1017; Cramer 113. 

8 ¼ x 10 ¼ inches 

911373 


Sold as a Set

Special set price 

for all four 

Los Toros prints 

$11,800.00 

184 


A Los Toros: Les Banderilles, 1961 


M 1016; Cramer 113 

8 ¼ x 10 ¼ inches 

911374 


Sold as a Set 

183 


A Los Toros: Jeu de la Cape, 1961 


M 1015; Cramer 113 

8 ¼ x 10 ¼ inches 

911370 


Sold as a Set

185 

PISSArrO, H. ClAuDE, b. 1935 

Madame Nadeau au Jardin de Marras 

Pastel on heavy paper 

Signed lower left. Accompanied by a certificate of authenticity which is signed by the artist and dated May 10, 1998. 

14 ½ x 20 inches. 909119 


186 


A la Sortie du Village a Aubert 

Original pastel on Rives d’Arches wove paper, 

Signed lower right ‘H. Claude Pissarro’ with annotation 

verso ‘Le Petit fils’ along with artist’s name again and 

title of the work 

Accompanied by a certificate of authenticity copy 

bearing artist’s signature, thumb print, and 

PRSI Registration #735 9070L. Dated May 8,1999. 

14 5/8 x 19 11/16 inches. 908123 


187 


Domaine Louville dans la Vallée de la Vère 



Accompanied by Certificate 

of Authenticity; dated May 3, 1999. 


908810 


189 

PISSArrO, MAnzAnA, GEOrGES-HEnrI, 

871-1961 

Eh! Bien M. Papillion, quand me ferez vous goûter 

à ce fameux vin de 15 ans de barrique! 

Pencil drawing on ruled-paper from a notebook pad 

Signed lower left, “Manzana” 

8 ½ x 6 ½ inches 

903063 


188 


Calme sur un Lac Aquitain 



Accompanied by Certificate 

of Authenticity; dated May 14, 1999. 


908843 


190 


Hands with Fish, 1953 

Terre de faïence round plate, painted in black, russet and ivory, 

numbered ‘64/100’ verso 

With the “Madoura Plein Feu” and “Empreinte Originale de Picasso” 

stamps verso. In good condition aside from a 1/2 x 7/8 in chip in the 

rim’s underside. A.R. 216. 12 ½ inch diameter. 910328 


192 


Faun’s Head - Serving Plate, March 10, 1984 

Painted and glazed ceramic 

A.R. white earthenware clay, decoration in engobes ad oxides under glaze. 

Inscribed Madoura Plein Feu, Edition Picasso I-122 verso; also inscribed with 

edition “37/300”Featured in Madoura’s “Catalogue of the Edited Ceramic 

Works 1947-1971” Number 51. R. 27. 15 ¼ x 12 ½ inches. 910257 


191 


Face no. 202, 1963 

Ceramic plate 

500 numbered copies produced. Numbered 260/500 on verso. 

Authentic replica white earthenware clay, decoration in engobes and 

enamel under glaze; black, blue, green, red and yellow. Alain Ramie, 

Catalogue of the edited ceramic works, #495. 

9 7/8 inches diameter. 907482 


194 


Avant la Pique. I, 1959 

Color linocut, Inscribed in pencil by the printer, Hidalgo Arnera, “1” 

193 


Portrait d’homme, 16 February 1966 

Colored linocut on fixed velin 

Pencil signed “Picasso” lower right 

Numbered 124 of 150. From the special edition of 150, prior 

to the final proofs and remaining 26 works. Published as a 

supplement for the book Helene Parmelin, Notre Dame de Vie, 

Paris, 1966. Baer 1848 / B Bloch 1230. 

17 1/8 x 14 7/8 inches. 910171 


A working proof printed in black and brown over a light brown background on ‘offset fort’ paper from before the edition of 

50. The second state, in black. 

Baer records only one impression, which was dedicaed to Arnéra; as our impression has not been dedicated at least one 

more impression must have been printed and not seen by Baer. Printed by Imprimerie Arnera, to be published by Galerie 

Louise Leiris. Bloch 946. Baer 1220.II.A. 6 ½ x 8 7/8 inches. 911412 


196 

DurEr, AlbrECHT, 1471-1528 

St. Sebastian at the Tree, 1501 

A very rare engraving on paper, mounted on a second 

sheet, with the bottom left side of the work missing 

(c. 1 ½ x 1/2”). Trimmed within the platemark. B. 55; 

Meder 62; Strauss-plate 33. 4 ½ x 2 5/8 inches. 902904 


195 


Christ Before Pilate, 1508/09 

Woodcut 

signed with Monogram in steps Schoch/Mende/ 

Scherbaum 201. Bartsch 31; Hollstein 140 Meder 140 

5 x 3 ¼ inches. 910485 


197 


The Captivity of Christ, 1510 

From ‘The Large Woodcut Passion.’ With a ‘Flower with 

Triangle’ watermark, from the text edition of 1511. A good but 

slightly uneven impression, trimmed on the edge. 911653 


199 


Coco Medallion 

Bronze medallion 

Signed ‘Renoir’ in the cast, Numbered 

‘347/350’From the posthumous edition 

of 350, created from the original plaster cast. 

Published by Westbank Ent. 

8” diameter. 911622 


198 


Pierre Renoir de Face, c. 1893 

Lithograph on Japan paper 

Signed in brown-red crayon lower right 

Printed in dark olive green part of the partly signed 

and numbered edition of 100 on China paper. 

Delteil 27; Stella 27 


907556 


200 


From the Window - - - the Lake, 1989 

oil on canvas 

56 x 90 inches. 502117 


201 


Untitled 

painting on paper w/inset. 

29 x 41 inches. C106312 


202 


Untitled 

painting on paper. 

29 x 41 inches. C106307 


203 

MIrÓ, JOAn, 1893-1983 

Cartones, 1965 


Signed lower right and inscribed “HC1” lower left. An hors 

commerce impression, aside from the edition of 75. With full 

margins. Printed by Mourlot, Paris. Published by Pierre Matisse, 

New York. A very fine impression with strong colors. Mourlot 

453. 21 ½ x 27 7/8 inches. 908495 


205 

MIrÓ, JOAn, 1893-1983 

Miró Lithographie: IX, 1972 


Double page from “Joan Miro: Lithographs, Vol. I” 

annotated catalog by Fernand Mourlot. English 

language edition: 5000. Book number “3434”. 

12 5/8 x 19 ¼ inches. 905633 


204 

MIrÓ, JOAn, 1893-1983 

Le Lézard aux Plumes d’or, 1967 


Maeght 521. 13 ¾ x 19 ½ inches. 907900 


206 

MIrÓ, JOAn, 1893-1983 

Ubu Roi, 1966 


From the complete portfolio, comprising of 13 lithographs, with accompanying play written by Alfred Jarry. From the total edition of 205; 

180 copies numbered; 25 hors commerce copies reserved for the collaborators, numbered in Roman numerals. All copies are signed by 

Miro, in pencil on the justification page and numbered 84. Printing: Imprimerie Nationale Paris, for text and typography; Mourlot, Paris 

for the lithographs. Lithographs published by Tériade Editeur, Paris. Cramer 107. 16 ¼ x 24 ¾ inches. 907926 


207 

MIrÓ, JOAn, 1893-1983 

Untitled, 1975 


From the book edition of 5000, plate VI from Volume II of “Miro Lithographies”, F. Mourlot and Michel Leiris, Paris, 1975; 

Maeght Editeurs. 12 5/8 x 19 ½ inches. 901310 


208 

TAMAyO, ruFInO, 1899-1991 

Cabeza Sobre Fondo Azul, 1984 

Color mixograph on handmade paper 

Signed lower right in white pencil 

Numbered ‘99/100’, lower left. With full margins. 


909245 


210 


Still Life in Blue 

Oil on canvas 

Signed ‘C. Lacaze’ lower right 

13 ¾ x 10 ¾ inches. 909391 


209 


Reclining Nude with Fruit Bowl 

Oil on canvas 


36 ¼ x 25 ¾ inches. 909174 


211 


Alice in Wonderland: The Mock Turtle’s Story, 1969 

Color heliogravure on Mandeure paper 

Signed in pencil by the artist on the title page attached to the 

“Alice” etching. Field 69-5-J. 15 ¾ x 10 ½ inches. 910952 


From the suite “Alice’s Adventures in Wonderland” Each suite contains 

one original etching and 12 heliogravure illustrations bearing an original 

woodblock remarque. From the edition of 2500, numbered 1 to 2500, 

on Mandeure paper. This is from book number 931. Each suite is signed in 

pencil by the artist on the title page. There is also a deluxe double suite 

edition of 200 containing one suite on Rives paper and one suite on Japon 

Narce. The etching and remarques were printed by Ateliers Rigal, France 

and the 12 illustrations were printed by M. Nourisson, France. Published by 

Maecenas Press - Random House, New York. 

212 


Alice in Wonderland: The Lobster Quadrille, 1969 

Color heliogravure on Mandeure paper 

Signed in pencil by the artist on the title page attached 

to the “Alice” etching. Field 69-5-K. 

15 ¾ x 10 ½ inches. 910953 


213 


The Coiffure, 1890-1891 

Color drypoint, softground and aquatint on laid paper, 

with Arches watermark 

Blindstamp lower right, “Bibliothèque Nacionale/ 

Claude Tchou & Sons/Replique” and annotated in pencil 

lower left, “H.C.”-reserved for Claude Tchou & Sons 

From a set of ten color prints inspired by the 1890 Paris 

exhibition of Japanese woodblock prints. Published 

by the Bibliothèque Nationale, France and printed by 

Claude Tchou & Sons in 1991, to commemorate the 

100 year anniversary of Cassatt’s one-woman exhibition 

at the Galerie Durand-Ruel, Paris. 

Bresskin 152. 14 x 10 1/4 inches. 

904060 

Gallery Price: 5,000.00 

214 


The Lamp, 1890-1891 

Color drypoint, softground and aquatint on laid paper, 

with Arches watermark 

Bearing the blindstamp lower right, “Bibliothèque 

Nationale/Claude Tchou & Sons/Replique” 

From a set of ten color prints inspired by the 1890 

Paris exhibition of Japanese woodblock prints. 

Published by the Bibliothèque Nationale, France and 

printed by Claude Tchou & Sons in 1991, to commemorate 

the 100 year anniversary of Cassatt’s 

one-woman exhibition at the Galerie Durand-Ruel, 

Paris. Bresskin 144 

12 5/8 x 10 inches 

903997 


216 



Lithograph 

Signed in the plate lower right. An original lithograph from 

the book by Robert J. Godet, “L’Age de Soleil”. The signature 

appears in reverse in the the pull. Published by MCML, Paris. 

A variation of Bloch 680. 9 x 7 inches. 911529 


215 

PISSArrO, lélIA, b. 1963 

Three Houses - Winter, 2005 

Hand-colored lithograph on white Arches 

paper. Designated “E.A.” (Epreuve d’artiste) 

lower left. This uneditioned work was created 

by the artist, directly on the lithographic 

stone, at Angeles Press in Santa Monica, CA 

in early August 2005. 10 5/8 x 14 7/8 inches. 

907443 


217 


Chapeau a Fleurs 

Color serigraph poster 

Eight-color hand-pulled serigraph poster made after proofs created 

by Picasso and the Atelier Arnera. After ‘Jacqueline a Chapeau a 

Fleurs II.’ Published by Galerie Michael, Beverly Hills, for “Picasso: 

Rare States / Working Proofs.” 24 x 17 7/8 inches. 911609 


218b 

KAnE, rObErT 

Joker, 1989 

Poster 

Highly collectable commemorative Bob Kane 

poster “Batman: An American Icon / Fiftieth 

Anniversary / July- August 1989 / The Joker.” 

Published by Galerie Michael, Beverly Hills. 

34 x 21 inches. 911570 

Gallery Price: $ 800.00 

218a 

KAnE, rObErT 

Batman and Robin, 1989 

lithograph on paper, plate destroyed. 

Signed & numbered ‘144/300’. An 

extremely rare, highly collectible, original 

color lithograph. From the edition of 

300. Total tirage, 406: 300 edition, 40 

with remarque, 30 Artist Proofs, 30HCs, 

6PPs. Angelus Press. 120203 


218c 

KAnE, rObErT 

Batman, 1989 

Poster 

Bob Kane poster commemorating 

“Batman: An American Icon / Fiftieth 

Anniversary / July, 1989.” Published 

by Galerie Michael, Beverly Hills. 

36 x 24 inches. 911568 

Gallery Price: $ 800.00

T E r M S A n D C O n D I T I O n S O F S A l E 

CO n D ITIOnS OF SAlE 

The following as amended by any posted notices or oral announcements during the sale, constitutes the 

entire terms and conditions on which property listed in the catalogue shall be offered for sale or sold by 

Galerie Michael. 

1) As used here, the term bid price means the lot price to the purchaser at the time the hammer comes 

down. The term purchase price means the aggregate of (a) the bid price, (b) a premium of twelve 

percent (12%) of the bid price and (c) California state sales tax. Sales tax will not be added to any 

ar twork shipped to your out of state residence. 

2) The auction is open to you at no charge and you may enter or leave at any time during the auction. To 

bid in person, you must raise your numbered bid card to signify bids. Only one bid is required to make 

an auction. Galerie Michael guarantees that all ar t sold will be in comparable condition to that shown 

at the previews of the auction. Ar ticles are sold as-is at the time of the sale. Any reframing will be done 

at additional cost to the buyer. A bid by any person shall be deemed conclusive proof that the bidder 

has made himself/herself acquainted with the conditions of sale and agrees to be bound by them. 

3) On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the 

offered lot and will pay the purchase price in full. Because many of the ar tworks sold are fine ar t 

limited-edition prints, the auctioneer reserves the right to sell more than one of each lot during 

the auction. In the case when there is more than one image sold, the auctioneer will decide which 

bidder takes the ar t from the auction. The bidder awarded the ar t may take the ar t upon depar ture. 

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other absentee bids, applicable reserves and bids from the audience. Sale results and selling prices for any lot 

may be obtained by calling your Ar t Consultant during normal business hours.

– I N D E X – 

ARTIST LOT NO. ARTIST LOT NO. 

BEAUDUIN, JEAn 

Villegiatures: Environs de Troyes … 155 

BOGGS, Frank 

Notre Dame 063 

BOGGS, Frank-Will 

La Pont Neuf à Paris 064 

CASSATT, Mary 

Afternoon Tea Party 020 

In the Omnibus 021 

The Coiffure 213 

The Lamp 214 

CHAGALL, Marc 

David and Bathsheba 022 

Jacob’s Blessing 023 

Le Couple sous le Rideau 105 

Daphnis and Chloé: Sacrifices… 106 

Daphnis et Chloé: Le Songe… 107 

Daphnis et Chloé: Le Dauphin mort… 114 

Then he spent the night with her… 121 

Daphnis and Chloe: The Meal… 122 

Daphnis et Chloé: Daphnis’ Dream… 123 

Juif a la Thora et Ange 162 

Intimité 163 

L’Envolée Magique 164 

CHAIGNEAU, JEAn FErDInAnD 

Plaine de Barbizon, après l’ondée 150 

CHERET, JulES 

Le Pays des Fees 088 

Musée Grévin 089 

Pan: A Journal of Satire 090 

Saxoléine: Pétrole de Sûreté 091 

COROT, JEAn bAPTISTE CAMIllE 

Environs de Rome, étude de montagnes 135 

CRAQUEVILLE, WIllIAM 

Lippincott’s Magazine 051 

DALI, Salvador 

Untitled 004 

Untitled 005 

Cyclopean Make-up 006 

Liquid and Gaseous Television 007 

Intra-Uterine Paradesiac Locomotion 008 

The Ten Commandments: 055 

DALÍ 056 

Untitled 071 

Untitled 072 

King of Aragon 073 

Aiyahl: The Wailing Wall 074 

La Joie de vivre 075 

Le caducée de Mars … 076 

Le sang du yin et le yang … 077 

Les Caprices de Goya: Hasta ensordecer 094 

Les Caprices de Goya: Los relojes blandos 095 

Hélène et le chaval de Troie 145 

Alice in Wonderland 165 

Porcelin plate: Girafe… 166 

Porcelin plate: DALÍ Martian muni … 167 

Les songes drôlatiques de Pantagruel 175 

Les songes drôlatiques de Pantagruel 176 

Dawn at Port Lligat 177 

Tristan & Iseult: Mad Tristan 178 

Alice in Wonderland: The Mock Turtle… 211 

Alice in Wonderland: The Lobster … 212 

DIAZ DE LA PEÑA, nArCISSE vIrGIlE, 

Promenade en famille 110 

Faggot Gathering in the Forest 111 

DUPRE, JulIEn 

Young Farmgirl with Cattle 138 

DURER, AlbrECHT 

Christ Before Pilate 195 

St. Sebastian at the Tree 196 

The Captivity of Christ 197 

ERNAULT, JulES, 

The Shepherdess 137 

FANTIN-LATOUR, I. HEnrI-JEAn-THEODOrE 

La Toilette 158 

GILLARD GLINDONI, HEnrI 

Love’s Messenger, 152 

GOYA y luCIEnTES, FrAnCISCO JOSE DE 

Los Caprichos: Ya tienen asiento 068 

Los Proverbios: Renounce the Friend 069 

Los Proverbios: She Who Is Ill Wed 070 

JAPY, lOuIS AIME 

Sheep and Shepherd… 151 

JUTZ D. J., KArl 

The Watermill 153 

KANE, rObErT 

Batman over Gotham 058a 

Batman and Robin 058b 

Batman and Robin 218a 

Joker 218b 

Batman 218c 

KOWALSKY, lEOPOlD FrAnz 

A Game of Tennis 156 

A Game of Diablo 157 

LACAZE, ClAuDE 

Three Standing Nudes 085 

Nude Female at Rest 086 

Nudes by the Ocean 179 

Reclining Female with Green Pants 180 

Reclining Nude with Fruit Bowl 209 

Still Life in Blue 210 

LAUTREC, HEnrI DE TOulOuSE 

Aristide Bruant 144 

LEFEVRE, luCIEn 

Electricine 054 

LEGAT, lEOn 

Washerwomen and Fisherman… 154 

LEGER, FErnAnD 

La Ville - Montparnasse 029 

Cirque - Two Acrobats Performing 030 

Cirque - Clown with Horse 031 

Cirque - Four Acrobats Performing 032 

Cirque - Horse with Masked Figure 033 

LEROUX, ClAuDE 

Autumn on the Quay 018 

LEROUX, ArMAnD HEnrI, 

Les Affiches 019 

Homeward Bound 061 

La fleuriste 062 

Fountaine Parisienne 168 

At the Cove 169 

MANET, EDOuArD 

La Toilette 046 

MATISSE, Henri 

Le Repos du Modele 003 

Pasiphaé 047 

Teeny 048 

Les Fleurs du Mal 049 

Marie-José en robe jaune 146a 

Marie-José en robe jaune 146b 

MILLET, JEAn FrAnCOIS 

Femme vidant un seau 097 

La Méridienne 098 

MIRÓ, JOAn 

Album 21 036 

Album 21 037 

Maravillas con Variacciones acrósticas… 038 

Poster for Exhibition ‘Miro’ 108 

L’Aïeule devant la mer 109 

La Contre Balancée 117

– I N D E X – 

ARTIST LOT NO. ARTIST LOT NO. 

MIRÓ, JOAn 

Le Chef d’Orchestre 118 

Preface to 52 Posters 173 

Erik Satie: No. 1 174 

Cartones 203 

Le Lézard aux Plumes d’or, 204 

Miró Lithographie: IX 205 

Ubu Roi 206 

Untitled 207 

MOUREN, HEnrI 

Le repos du troupeau sous les arbres 149 

NAILLOD, CHArlES 

Femme Assise 087 

OPIE, EDWArD 

On the Seashore 136 

ORVAL, FlOrEnCE vASSEur 

Haystack in Forest 034 

Haystack 035 

PÉAN, rEné 

A La Place Clichy 052 

PICASSO, Pablo 

Colombe Volant (á l’Arc-en-Ciel) 001 

Pour Roby from L’Age de Soleil 002 

Visage de Profil, 024 

La Celestine 025 




Chapeau a Fleurs 057 

Frontispiece: Le Peinture et son Modele 066 

Personnages et Colombe 067 

Portrait de Jacqueline au Chapeau… 078 

Affiche, Avril 1961 079 

Grand Nu dansant 080 

Femme Couronnée de Fleurs Accroupie 081 


Foulard pour le Festival Mondial… 083 

Dove of Peace 084 

Les Trois Baigneuses II 092 

Le modèle étendu 093 

Tête d’homme barbu 115 

Deux Femmes Nues. II 116 

La Dame a la Collerette 119 

Bouquet pour Jacqueline Picasso 120 

Gongora - Illustration. Femme 139 

Gongora - Illustration. Femme 140 

Gongora - Texte 141 

Gongora - Texte 142 

Femme au Fauteuil, 143 

L’Homme au Chien 147 

Portrait de “mousquetaire” triste 148 

Femmes à Leur Toilette 159 

Les Danseurs au Hibou 160 

Les Vendangeurs 161 

A Los Toros: La Pique 181 

A Los Toros: Le Picador II 182 

A Los Toros: Jeu de la Cape 183 

A Los Toros: Les Banderilles 184 

Hands with Fish 190 

Face no. 202 191 

Faun’s Head 192 

Portrait d’homme 193 

Avant la Pique. I 194 


Chapeau a Fleurs 217 

PISSARRO, lélIA 

The House of Yeyette Lebatard- Spring 016 

Three Houses - Winter 215 

PISSARRO, MAnzAnA, GEOrGES-HEnrI 

Quatre Coqs 017 

Eh! Bien M. Papillion … 189 

PISSARRO, PAuléMIlE 

La Cabane des Hogues 5 H 1er Sept 015 

PISSARRO, H. ClAuDE 

Madame Nadeau au Jardin de Marras 185 

A la Sortie du Village a Aubert 186 

Domaine Louville dans la Vallée … 187 

Calme sur un Lac Aquitain 188 

RAFFAELLI, JEAn-FrAnCOIS 

Le Village de Pêcheurs, a Cagnes 127 

Le Chiffonnier 128 

La Seine à Paris 129 

RANOCCHI, AuGuSTO 

Sacro E Profano-O Viceversa? 102 

Untitled 103 

La Felicità del dipingere 104 

From the Window … 200 

Untitled 201 

Untitled 202 

REMBRANDT, HArMEnSz vAn rIJn 

The Hundred Guilder Print 043 

Self Portrait in a Velvet Cap with Plume 044 

The Descent From the Cross 045 

The Descent from the Cross 099 

The Sleeping Herdsman 100 

Woman Bathing Her Feet at a Brook 101 

RENOIR, Alexandre 

Twilight Lily Pads 009 

Trois Amis 010 

La Conversation 011 

Aline et son Chien 012 

L’Homme au Canotier 013 

The Boating Party 014 

Waterlilies at Giverny 039 

Cherry Blossom Tree 040 

Lagoon 041 

Lilies 042 

Pink Waterlilies 170 

Roses in Blue Vase 171 

Flower Vase with Oranges 172 

RENOIR, PIErrE AuGuSTE 

Étude de Visages 124 

L’Enfant au Biscuit 125 

L’Enfant au Biscuit 126 

Louis Valtat, 130 

Sur la Plage, à Berneval, 131 

Femme au cep de vigne, 2e variante 132 

Pierre Renoir de Face, 198 

Coco Medallion 199 

ROBBE, MAnuEl 

L’Eclantante 053 

STOWELL, M. lOuISE 

George Humphrey’s Bookstore 050 

TAMAYO, ruFInO 

Cabeza Sobre Fondo Azul 208 

TROYON, COnSTAnT 

Le poulailler 065 


Descente, Fig.IX 060 

Homme de Muybridge, Fig. CLVI 061 

VILLAIN, GEOrGES-rEné 

Le repose du berger 134 

VILLON, JACQuES 

Nu 112 

Dejeuner sur l’Herbe 113 

WHISTLER, JAMES AbbOTT MCnEIll 

The Punt 096 

WRIGHT, rObErT W. 

An Unexpected Encounter, 133

G A L E R I E M I C H A E L 

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