Modern Art

MODERN ART
Amsterdam
9 June 2015
INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

MODERN BRITISH AND CONTEMPORARY ART DEPARTMENTS
INTERNATIONAL DIRECTORS
Martha Baer
(Post-War and Contemporary Art)
Tel: +1 212 636 2071
Mariolina Bassetti
Tel: +39 06 686 33 30
Giovanna Bertazzoni
(Impressionist/Modern Art)
Tel: +44 (0)20 7389 2542
Olivier Camu
Tel: +44 (0)20 7389 2450
Cyanne Chutkow
Tel: +1 212 636 2089
Brett Gorvy
Tel: +1 212 636 2342
Loic Gouzer
Tel: +1 212 636 2248
Marianne Hoet
Tel: +32 2 289 13 39
Conor Jordan
Tel: +1 212 636 2074
Sharon Kim
Tel: +1 212 636 2068
Brooke Lampley
Tel: +1 212 636 2091
John Lumley
Tel: +44 (0)20 7389 2055
Robert Manley
Tel: +1 212 636 2381
Adrien Meyer
Tel: +1 212 636 2056
Francis Outred
Tel: +44 (0)20 7389 2270
Laura Paulson
Tel: +1 212 636 2134
Jussi Pylkknen
Tel: +44 (0)20 7389 2452
Andreas Rumbler
Tel: +41 (0)44 268 10 17
Jay Vincze
Tel: +44 (0)20 7389 2536
Barrett White
Tel: +1 212 636 2358
HONORARY CHAIRMAN,
AMERICAS
Christopher Burge
Tel: +1 212 636 2910
CHAIRMAN, AMERICAS
Impressionist/Modern Art
Derek Gillman
Tel: +1 212 636 2050
INTERNATIONAL MANAGING
DIRECTORS
Caroline Sayan
Tel: +1 212 636 2289
Post-War and Contemporary Art
Lori Hotz
Tel: +1 212 707 5915
MANAGING DIRECTORS
Impressionist/Modern Art, EMERI
Tara Rastrick
Tel: +44 (0)20 7389 2193
Julie Kim
Tel: +1 212 636 2317
BUSINESS DIRECTORS
Americas
Cara Walsh
Tel: +1 212 484 4849
EMERI
Virginie Melin
Tel: +33 1 40 76 84 32
Post-War and Contemporary Art UK
Zoe Ainscough
Tel: +44 (0)20 7389 2958
SENIOR BUSINESS MANAGERS
Eileen Brankovic
Tel: +1 212 636 2198
BUSINESS MANAGERS
Post-War and Contemporary Art,
Americas
Sarah Wendell
Tel: +1 212 707 5901
Post-War and Contemporary Art, UK
Astrid Mascher
Tel: +44 (0)20 3219 6451
Impressionist/Modern Art, Europe
Aoife Leach
Tel: +44 (0)20 7389 2109
ART ADVISORY ASIAN CLIENTS
Rebecca Wei
Xin Li
Tel: +852 2978 6796
PRIVATE SALES
New York
Adrien Meyer
Tel: +1 212 636 2056
London
Libert Nuti
Tel: +44 (0)20 7389 2441
New York
Stefan Kist, Senior Business Director
Tel: +1 212 636 2205
Post War and Contemporary Art
New York
Alexis Klein
Tel: +1 212 641 3741
London
Beatriz Ordovas
Tel: +44 (0)20 7389 2920
WORLDWIDE
AMSTERDAM
IMPRESSIONIST/MODERN ART
Jetske Homan van der Heide
Odette van Ginkel
Benthe Tupker
Tel: +31 (0)20 575 5281
POST-WAR AND
CONTEMPORARY ART
Peter van der Graaf
Nina Kretzschmar
Elvira Jansen
Tel: +31 (0)20 575 5957
AUSTRIA
Angela Baillou
Tel: +43 1 533 88 12 14
BARCELONA
Carmen Schjaer
Tel: +34 93 487 82 59
BEIJING
Tan Bo
Tel: +86 (0)10 8572 7900
BRUSSELS
Marianne Hoet
Thibault Stockmann
Tel: +32 2 289 13 35
DUSSELDORF
Arno Verkade
Herrad Schorn
Tel: +49 (0)211 491 593 20
GENEVA
Nadja Scribante Amstutz
Eveline de Proyart
Anne Lamuniere
Tel: +41 (0)22 319 17 13
HONG KONG
Eric Chang
Elaine Holt
Jilly Ding
Tel: +852 2978 9985
LONDON (KING STREET)
Giovanna Bertazzoni
Olivier Camu
Jay Vincze
Libert Nuti
Jason Carey
Cornelia Svedman
Michelle McMullan
Adrienne Everwijn-Dumas
Keith Gill
Antoine Lebouteiller
Ottavia Marchitelli
Annie Wallington
Anna Povejsilova
Tel: +44 (0)20 7389 2638
POST-WAR AND
CONTEMPORARY ART
Francis Outred
Edmond Francey
Leonie Moschner
Dina Amin
Darren Leak
Alice de Roquemaurel
Beatriz Ordovas
Rosanna Widen
Leonie Grainger
Katharine Arnold
Tom Best
Cristian Albu
Jacob Uecker
Alexandra Werner
Alessandro Diotallevi
Paola Fendi
Josephine von Perfall
Tel: +44 (0)20 7389 2221
MODERN BRITISH & IRISH ART
Andre Zlatinger
Nick Orchard
Tel: +44 (0)20 7389 2681
LONDON (SOUTH KENSINGTON)
Natalie Radziwil
Imogen Kerr
Albany Bell
Astrid Carbonez
Tel: +44 (0)20 7389 2137
Tel: +44 (0)20 7389 2137
POST-WAR AND
CONTEMPORARY ART
Bianca Chu
Zoe Klemme
Tel: +44 (0)20 7389 2502
MODERN BRITISH & IRISH ART
Angus Granlund
Tel: +44 (0)20 7752 3107
MADRID
Guillermo Cid
Tel: +34 91 532 6627
MILAN
Barbara Guidotti
Elena Zaccarelli
Tel: +39 02 303 283 30
MUNICH
Jutta Nixdorf
Tel: +49 89 2420 9680
NEW YORK
Brooke Lampley
Cyanne Chutkow
Conor Jordan
Derek Gillman
Sharon Kim
Adrien Meyer
Jessica Fertig
David Kleiweg de Zwaan
Morgan Osthimer
Vanessa Fusco
Sarah El-Tamer
Allegra Bettini
Emma Hanley
Alexander Berggruen
Alyssa Ovadis
Isabel Elliman
Tel: +1 212 636 2050
POST-WAR AND
CONTEMPORARY ART
Brett Gorvy
Laura Paulson
Robert Manley
Loic Gouzer
Barrett White
Andy Massad
Jonathan Laib
Martha Baer
Ingrid Dudek
Koji Inoue
Alexis Klein
Sara Friedlander
Jennifer Yum
Amelia Manderscheid
Saara Pritchard
Michael Gumener
Edouard Benveniste
Edward Tang
Ana Maria Celis
Tel: +1 212 636 2100
PARIS
Anika Guntrum
Tudor Davies
Tatiana Ruiz Sanz
Fanny Saulay
Olivia de Fayet
Thomas Morin
Tel: +33 (0)1 40 76 85 91
POST-WAR AND
CONTEMPORARY ART
Edmond Francey
Laetitia Bauduin
Christophe Durand-Ruel
Paul Nyzam
Etienne Sallon
Ekaterina Klimochkina
Tel: +33 (0)1 40 76 84 34
ROME
Mariolina Bassetti
Renato Pennisi
Tel: +39 06 686 33 30
SYDNEY
Ronan Sulich
Tel: +612 93 26 14 22
TEL AVIV
Roni Gilat-Baharaff
Tel: +97 23 695 0695
TOKYO
Chie Banta
Gen Ogo
+ 81 (0)3 6267 1766
ZURICH
Andreas Rumbler
Hans-Peter Keller
Rene Lahn
Philippe David
Jacqueline Riederer
Tel: +41 (0)44 268 10 12
28/04/15
2
Email. First initial followed by last name@christies.com (eg. Martha Baer = mbaer@christies.com)
MODERN ART
Amsterdam
AUCTION
Tuesday 9 June 2015

at 2.00 pm Lots 1-140
Cornelis Schuytstraat 57,
1071 JG Amsterdam
AUCTION CODE AND NUMBER
In sending absentee bids or making

enquiries, this sale should be referred
to as AMS-3056
under the aegis of
Mr M.J. Meijer c.s. Notarissen.
VIEWING
Friday
Saturday
Sunday
Monday
5
6
7
8
June
June
June
June
10.00
10.00
10.00
10.00
am
am
am
am
5.00
5.00
5.00
5.00
pm
pm
pm
pm
AUCTIONEERS
Jop Ubbens and Benthe Tupker

Front cover: Lot 3
Back cover: Lot 46
Inside front cover: Lot 13 & 90
Inside back cover: Lot 6
AUCTION RESULTS
+44 (0)20 7627 2707
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INTERNATIONAL IMPRESSIONIST
AND MODERN ART SPECIALISTS
GLOBAL PRESIDENT
INTERNATIONAL HEAD OF THE DEPARTMENT
Jussi Pylkknen
London
Olivier Camu
Deputy Chairman
Impressionist & Modern
London
Giovanna Bertazzoni
London
Andreas Rumbler
Deputy Chairman
Zurich
John Lumley
Vice Chairman
Europe
Cyanne Chutkow
Deputy Chairman
New York
Christopher Burge
Honorary Chairman
America
Conor Jordan
Deputy Chairman
New York
Derek Gillman
Chairman
The Americas
INTERNATIONAL DIRECTORS AND SENIOR SPECIALISTS
Jay Vincze
International Director
Head of Department
London
Libert Nuti
London
Sharon Kim
New York
Adrien Meyer
New York
Brooke Lampley
New York
Mariolina Bassetti
International Director,
Chairman
Italy

Director, Senior Specialist
Amsterdam
Carmen Schjaer
Director
Barcelona
Thibault Stockmann
Specialist
Brussels
Nadja Scribante
Head of Department
Geneva
Hans Peter Keller

Head of Department
Zurich
Philippe David
Specialist
Zurich
Xin Li
Deputy Chairman Asia
Elaine Holt
Vice President,
Director
Hong Kong
Anika Guntrum
Director
Paris
Tudor Davies
Head of Department
Paris
Tan Bo
Regional Director,
Impressionist &
Modern Art,
Beijing
Renato Pennisi
Senior Specialist
Rome
Roni Gilat-Baharaff
Managing Director
Tel Aviv
Adele Zahn
Business Development
Manager
Zurich
Ksena Apukhtina
Associate Director
Russian and CIS
Business Development
SPECIALISTS AND SERVICES FOR THIS AUCTION

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

Head of Sale
ovanginkel@christies.com
Tel: +31 20 575 5284
EMAIL
SERVICES
First initial followed by

last name @christies.com
(eg. Benthe Tupker =
btupker@christies.com.)
For general enquiries about
this auction, email should
be addressed to the auction
administrator
ABSENTEE BIDS
Benthe Tupker
Specialist
btupker@christies.com
Tel: +31 20 575 5242
Thibault Stockmann
Specialist Business Coordinator
Brussels
tstockmann@christies.com
Tel: +32 22 891 338
Lisa Snijders
Sale Coordinator
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Tel: +31 20 575 5957
Tel: +31 (0)20 575 52 57

Fax: +31 (0)20 575 59 74
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CONDITIONS OF SALE
This auction is subject to

Important Notices,
Conditions of Sale and to Reserves
BUYING AT CHRISTIES
For an overview of the process, see the

Buying at Christies section.
[21]
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COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2001)
l1
PROVENANCE:
CAREL WILLINK (1900-1983)

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

Kunsthandel Lambert Tegenbosch, Heusden aan de Maas.
Acquired from the above by the present owner.
signed and dated Willink 23 (lower left)

watercolour, pencil and collage on paper
27 x 20 cm.
Executed in 1923
Carel Willink came in touch with the constructivist movement in the early
1920s and this infuenced his work: some of his collages from 1922, with
right-angled and linear forms, are reminiscent of the collages by Kurt Schwitters
(1887-1948), who was, in turn, infuenced by the form discipline of Theo
van Doesburg (1883-1931). In 1923 Willink reached the pinnacle of his
constructivist period, with compositions constructed from formal elements and
colour planes with no reference to a reality outside the picture plane.
12,000-16,000
$14,000-17,000
PROVENANCE:
THEO VAN DOESBURG (1883-1931)

Stained-Glass Composition VIII
Acquired by the present owner during the renovation of the Spangen blocks,
Rotterdam, circa 1985.
stained glass
34.5 x 81.5 cm.
Executed in 1918-19
De Stijl, Volume IV, no. 5 (1921), p. 78, (titled Glas-in-lood compositie VII).
S. Polano, Theo van Doesburg. Scritti di arte e di architettura, Rome 1979, pp.
540-41, no. arch 16 (titled Vetrata compositione VII).
E. Hoek (ed.), Theo van Doesburg. Oeuvre catalogus, Utrecht 2000, no. 612.I
(illustration of another window).
15,000-20,000
$17,000-22,000
LITERATURE:
In 1918-1919 Van Doesburg designed the stained glass windows above the
doors of the Rotterdam Spangen housing project - blocks I and V designed by
the architect J.J. Oud.
l!3
MARLOW MOSS (1890-1958)

White, yellow and black
oil and pencil on canvas
54.5 x 55 cm.
Painted in 1947
80,000-120,000
$88,000-130,000
PROVENANCE:
Netty Nijhoff, Biggekerke.

Gimpel & Hanover Galerie, Zrich.
Acquired from the above by the present owner in 1973.
EXHIBITED:
Amsterdam, Stedelijk Museum, Marlow Moss, 30 March - 30 April

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

s-Hertogenbosch 1994, no. S29 (illustrated p. 31).
L. Howard, Marlow Moss (1889-1958), Plymouth 2008, no. 39
(illustrated).
First: single lines split up the canvas so that the composition falls apart into
separate planes and the painting becomes a self-contained unit.
Second: single lines make the composition static. Third: the double-line or
a multiplicity of lines renders a continuity of related and inter-related rhythm
in space possible, which makes the composition dynamic instead of static.
(Marlow Moss in: L. Howard, Marlow Moss (1889-1958), Plymouth 2008, p. 180)
l4
ARMAND BOUTEN (1893-1965)

A couple
painted wood, nails, rope, mirror and beads
66 cm. high
8,000-12,000
$8,800-13,000
EXHIBITED:
Deurne, Museum de Wieger, Armand Bouten x Hanny Korevaar: een

nieuw licht op het Nederlands expressionisme, 25 November 1990 - 13
January 1991, no. 78 (illustrated p. 33).
Groningen, Groninger Museum, Armand Bouten (1893-1965): kunst
maakt zichzelf, 9 November 2008 - 1 March 2009, no. C82 (illustrated
p. 138).
10
l5

Melksters met koeien
signed and dated Armand Bouten.18 (lower right); titled and
dated Melksters met koeien 1918 (on the stretcher)
oil on canvas
98 x 103.5 cm.
Painted in 1918
10,000-15,000
$11,000-16,000
PROVENANCE:
Galerie Maris, Haarlem.

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

nieuw licht op het Nederlands expressionsime, 25 November 1990 - 13 January
1991, no. 7 (illustrated p.19).
Groningen, Groninger Museum, Armand Bouten (1893-1965): kunst maakt
zichzelf, 9 November 2008 - 1 March 2009, no. C10 (illustrated p. 66).
LITERATURE:
A.G. Maris, For me and for you, Ghent 1998, no. 98, p. 207 (illustrated p. 208).
11
l6

Composition with arches
signed and indistinctly dated Willink 20 (lower left)
oil on canvas
66.5 x 106.5 cm.
Painted circa 1920
70,000-90,000

$77,000-98,000
PROVENANCE:
Anonymous sale, Sothebys Mak van Waay, Amsterdam,

14 March 1983, lot 322.
EXHIBITED:
Amsterdam, Gebouw Heystee, Carel Willink, 9-23 February

1924.
Tilburg, Paleis Raadhuis, A.C. Willink, 30 July 19 September 1955, no. 7 (where dated 1924).
Amsterdam, Stedelijk Museum, Carel Willink, 22 September 23 October 1961, no. 3 (where dated 1924).
LITERATURE:
H.L.C. Jaff, Willink, Amsterdam 1986, no. 21,

pp. 11, 202 (illustrated).
12
13
l7

Figures
signed A. Bouten (lower right)
oil on plywood
48 x 46 cm.
Painted circa 1918
3,000-5,000
$3,300-5,500
PROVENANCE:

EXHIBITED:
Deurne, Gemeentemuseum De Wieger, Armand Bouten

x Hanny Korevaar: een nieuw licht op het Nederlands
expressionisme, 25 November 1990 - 13 January 1991,
no. 6 (illustrated p. 17).
Groningen, Groninger Museum, Armand Bouten (18931965): kunst maakt zichzelf, 9 November 2008 - 1 March
2009,
no. C9 (illustrated p. 65).
l8
REIMOND KIMPE (1885-1970)

La Cocotte
signed and dated R. Kimpe 41 (lower right)
oil on canvas
80.5 x 65.5 cm
Painted in 1941
6,000-8,000
$6,600-8,700
PROVENANCE:
Kunsthandel Wending, Amsterdam.

LITERATURE:
A.G. Maris, For me and for you, Ghent 1998, no. 142,
p. 296 (illustrated p. 297).
14
PROPERTY FROM THE COLLECTION OF
HUGO TUTEIN NOLTHENIUS

(1863-1944)
(LOTS 9-33)
Fig. 1
Christies is pleased to offer part of the important collection of Hugo Tutein

Nolthenius.
Tutein Nolthenius was a chemist by training who went into industry and
from 1898 to 1920 was the director of the Calv fne oil factory (NOF) in
Delft. He was a man of many talents, who enjoyed driving cars, skating,
and had a passion for art. He himself was an amateur photographer,
ceramist and glass-painter, but he was also a patron of the arts and one of
the early 20th centurys great Dutch collectors.
Hugo Tutein Nolthenius grew up in a household which appreciated
art, as it had been one of the interests of his banker father. In the early
1880s Hugo attended the Polytecnic School in Delft, and it is likely that
he attended the classes given by the professor of decorative arts Adolf le
Comte, who was an innovator in the feld of ceramics. Later Hugo had his
own kiln and experimented with his nephew Harm Kamerlingh Onnes and
with Bart van der Leck to produce ceramics.
His interest in art even spilt over into his professional life, and in 1894
Tutein Nolthenius commissioned an advertising poster from Jan Toorop,
which advertised Delftsche Slaolie for the NOF Company. This lithograph
is the best known example of Dutch Art Nouveau (Fig. 1).
For his own home in Delft Hugo Tutein Nolthenius commissioned stained
glass windows from Johan Thorn Prikker, as well as portraits of himself and
his sister and brother. In addition to the works he commissioned, Tutein
Nolthenius also collected both Chinese works of art, and work by sculptors
as John Rdecker, Jan Altorf, Lambertus Zijl and Joseph Mendes da Costa,
paintings by Floris Verster, Menso Kamerlingh Onnes, Bart van der Leck,
Hugo Tutein Nolthenius
Jacob Maris, Isaac Israls, Chris Beekman and Vincent van Gogh. Tutein
Nolthenus owned twelve paintings by Van Gogh,The Potato eaters was
among them (now in the Krller-Mller museum, Otterlo).
Hugo Tutein Nolthenius was adviced by Hendricus Petrus Bremmer
(1871-1956), the artist, collector, author, teacher, and the most important
Dutch art advisor and art critic of the frst half of the 20th century. Tutein
Noltenius sister Julie followed Bremmers art classes and so Bremmer
and Tutein Nolthenius made their acquaintance. At a certain point the
collection of Tutein Nolthenius was considered to be so important that
Bremmer organised lectures based upon the collection in 1924-25.
Another known pupil of H.P. Bremmer was zealous collector Helene
Krller-Mller, who bought her frst three paintings by Vincent van Gogh
under Bremmers guidance in 1909. Their alliance resulted in one of the
largest private Dutch collections of modern art, which now forms the core
of the Krller-Mller museum, Otterlo.
Bremmer encouraged and supported many young modern artists during his
life. Both Bart van der Leck and Piet Mondriaan were supported fnancially
and Bremmer would advice his wealthy clientele to purchase work by
artists as Charley Toorop, John Rdecker, Lambertus Zijl, Gino Severini and
Odilon Redon. Other artists were advised by Bremmer on how and what to
paint. Bremmer was extremely infuential, which is refected in many Dutch
public and private collections, such as the collection presented in this sale.
Hugo Tutein Nolthenius was generous with his collection and allowed
objects from it to go on public exhibtion on a number of occasions. In
2008 part of the collection was exhibited in Delft at the Prinsenhof in order
to celebrate both the collector and his remarkable collection.
15
PROPERTY FROM THE COLLECTION OF HUGO TUTEIN NOLTHENIUS (1863-1944)
l9
BART VAN DER LECK (1876-1958)

De Ruiter
photo-lithograph in colours, 1918-19, on wove paper, signed in pen,
with margins, printed by W. Scherjon, Utrecht, the sheet glued down
onto the mount in places, the sheet somewhat time-stained, creasing
in places, glue remnants in lower margin, paper scuffng in lower right
corner, otherwise in good condition
S. 830 x 330 mm.; L. 795 x 285 mm.
4,000-6,000
$4,400-6,500
PROVENANCE:
Hugo Tutein Nolthenius, Delft.

By descent from the above to the present owner.
EXHIBITED:
Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius (1863-1944),

portret van een Delftsch kunstverzamelaar, 13 September - 30 November
2008.
LITERATURE:
W.C. Feltkamp, B.A. van der Leck, leven en werken, Leiden 1956
(illustration of another version p. 61).
D. Dooijes, P. Brattinga, A history of the Dutch poster 1890-1960,
Amsterdam 1968, no. 155 (illustration of another version).
R.W.D. Oxenaar, Bart van der Leck tot 1920, een primitief van de
nieuwe tijd, The Hague 1976, no. 109 (illustration of another version).
A.W. Purvis, Dutch graphic design 1918-1945, New York 1992,
p. 28 (illustration of another version).
Jan Juffermans, Met stille trom, Beeldende kunst en Utrecht sinds 1900,
Utrecht 1996, p. 38. (illustration of another version).
The original painting of the same composition was created in 1918 and
was right away purchased by Helene Krller-Mller for her collection. A
photo-lithographic print was produced in 1919 to be used as a poster (with
two text banners added) for the exhibition of Van der Lecks work Voor de
Kunst (For Art) in Utrecht.
De Ruiter embodies Van der Lecks complete reduction of forms to their
base components. The image of a rider on a horse is depicted by means
of associated fragmented angular shapes whose only context is a blue strip
of line suggesting sky and two red rectangles suggesting a base or ground
for the image.
16
l10
BART VAN DER LECK (1876-1958)

Fish
signed with initials and dated B vd L 36 (on the side)
glazed terracotta
12.5 x 12.5 cm., in the original wooden stand.
Executed in 1936
3,000-5,000
$3,300-5,500
PROVENANCE:

l11
BART VAN DER LECK

(1876-1958)
Untitled
signed and dated BvdL 37 (underneath)
glazed terracotta plate
30 cm. diameter
Executed in 1937
7,000-9,000
$7,700-9,800
PROVENANCE:

Tutein Nolthenius was an enthusiast amateur ceramicist,
who had his own kiln at home, where he would produce
ceramics infuenced by Asian examples. He would also
support and encourage Bart van der Leck in experimenting
with new methods and materials.
In July 1934 Bart van der Leck wrote to Bremmer: From
Nolthenius I received several necessities for the pottery, for
which i am very grateful. He is so amazingly kind! We
discussed that I would not have had the opportunity to do
these things with any other potter. I must add, this is surely
due to his kind cooperation. Now I have to do several
tests and I need some more materials before i can make
something, but that will come (C. Hilhorst, Vriendschap
op afstand. De correspondentie tussen Bart van der Leck
en H.P. Bremmer, Bussum 1999, p. 166).
17
l12
JOHAN COENRAAD ALTORF (1876-1955)

Seated monkey
signed and dated Altorf 1904 (on the back)
bronze with a brown patina
18 cm. high
Conceived and cast in 1904 in a small unknown edition.
7,000-9,000
$7,700-9,800
PROVENANCE:

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

van een Delftsch kunstverzamelaar, 13 September - 30 November 2008.
l13
CHRIS BEEKMAN (1887-1964)

Untitled
signed and dated Christ. B. 19-20. (lower left)
oil on canvas
79.5 x 39.5 cm.
Painted in 1919-20
25,000-35,000
$28,000-38,000
PROVENANCE:

EXHIBITED:

2008.
This abstract work by Chris Beekman is one of the few known non
fgurative paintings by the artist. Beekman met Bart van der Leck for the frst
time in 1915 and followed him in his movement towards abstraction and
in the reduction of a visual reality. Both moved to Het Gooi in 1916. Chris
Beekman met Vilmos Huszar already earlier, when he was still living in The
Hague. Although Beekman never became a member of De Stijl group,
between 1917-1920 his work was based on a geometrical grid, with
primary colours or just black, grey and white. Around 1930 Beekmans
work would be infuenced by his political communist ideas, showing a
return to fguration.
Chris Beekman used the composition of the present lot for an illustration
in the book: C. Beekman, S. Goudsmit, De Gast-vertellers, een serie
pogingen tot een eenigszins fatsoenlijk Cabaret in klein- kwarto, no. 1 kleine
ontdekkingen, Laren 1924, p. 55.
The present lot will be sold with a copy of this book.
18
19
l14
JOHN RDECKER (1921-1956)

Maskerkop
PROVENANCE:
signed with initials and dated J.R. 1928 (on the side)
29 cm. high
Conceived and cast in 1928 in an edition of circa 8.
EXHIBITED:
15,000-20,000
Y. Koopmans, John Rdecker, de droom van het levende beeld, Zwolle

2006, no. Ia-102 (illustrated p. 318).
20
$17,000-22,000

LITERATURE:
l15
JOHAN COENRAAD ALTORF (1876-1955)

AND CHRIS LANOOY (1881-1948)
Elephant
signed, marked, dated and numbered Altorf + Lanooy 1912 ABL 12X
(underneath)
Cast porcelain
22 cm. high
Conceived and cast in 1912 in an edition of 12.
3,000-5,000
$3,300-5,500
PROVENANCE:

EXHIBITED:

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

Chris Lanooij, Vormen uit Vuur 2/21, Amsterdam 1998, p. 11 (illustration of
another cast).
W. Heijbroek, K. Gaillard, Tussen twee vuren, Chris Lanooy 1881-1948,
Zwolle 2002, no. 93 (illustration of another cast p. 66).
In 1910 a collaboration between sculptors J.C. Altorf and Chris Lanooy
started on the initiative of art collector and Maecenas H.P. Bremmer (18711956). The artists started on a series of animal sculptures, experimenting with
different forms of casting clay, including porcelain. The sculptures produced
during this partnership were limited to a maximum edition of twelve and
provided with a specifc mark signifying the collaboration between the three
men. The mark consists of a triangle with the initials A (Altorf), L (Lanooy) and
B (Bremmer) at each corner and the edition of the sculpture placed in the
middle. Bremmer included one piece of each series of sculptures produced
by Altorf and Lanooy in his private collection. How many different sculptures
the artists made is currently unknown, but in a period of a few years at least
fve were conceived: an elephant, an owl, a cockatoo, a seated monkey
and a lying bison.
l16

Seated nude
signed with initials J.R (lower right)
chalk on paper
44.5 x 37 cm.;
and Another work on paper by the same hand depicting a ballerina. (2)
1,000-1,500
$1,100-1,600
PROVENANCE:
Kunsthandel Huinck & Scherjon, Amsterdam.

Acquired from the above by Hugo Tutein Nolthenius, Delft.
(Part lot)
21
17
MENSO KAMERLINGH ONNES (1860-1925)

Indian cress
signed and dated M. Kamerlingh Onnes. 99 (lower left)
watercolour and gouache on paper
46.5 x 32 cm.
Executed in 1899
8,000-12,000
22
$8,800-13,000
PROVENANCE:
Kunsthandel Huinck & Scherjon, Amsterdam.

Acquired from the above by Hugo Tutein Nolthenius, Delft.
EXHIBITED:
Leiden, Stedelijk Museum De Lakenhal, Menso Kamerlingh Onnes,

15 December 1945 - 20 January 1946, no. 77.
18
JAN VOERMAN (1857-1941)

Roode Oost Indische kers
PROVENANCE:
signed with initials and dated J.V. 89 (lower right)

watercolour and gouache on paper
45 x 36 cm.
Executed in June 1889
8,000-12,000

LITERATURE:
$8,800-13,000
A. Verkade-Voerman, Werkcatalogus Jan Voerman, August 1964

(unpublished manuscript).
23
l19
LAMBERTUS ZIJL (1866-1947)

Lady with a beret
signed with initials, numbered and with initials LZ 14/15 NS
(on the back of the bronze base)
bronze with a dark brown patina
19.5 cm. high
Conceived and cast at an unknown date in an edition of 15.
1,500-2,000
$1,700-2,200
PROVENANCE:

EXHIBITED:
Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius

(1863-1944), portret van een Delftsch kunstverzamelaar,
13 September - 30 November 2008.
l20

Bust of H.P. Bremmer
signed with initials and dated LZ 19 (on the back)
12.5 cm. high
Conceived and cast in 1919 in an unknown small edition.
1,000-1,500
$1,100-1,600
PROVENANCE:

EXHIBITED:

portret van een Delftsch kunstverzamelaar, 13 September 30 November 2008.
24
l21

A quiet street in The Hague
EXHIBITED:

2008.
signed and dated Christ B. 1914 (lower right)

oil on canvas
33 x 51 cm.
Painted in 1914
7,000-9,000
PROVENANCE:

$7,700-9,800
In 1913 Beekman went to Paris were he was inspired by the work of

Georges Seurat. After his return in 1914, Beekman focussed on the city
of The Hague in his work, where he resided at the time. He documented
many streets that were still under construction. It has been suggested that
the present lot depicts the Ieplaan, The Hague. In 1914 Beekman made
a lithograph with a similar subject, titled Zonsopgang, now in the KrllerMller museum in Otterlo.
25
l22
RAOUL MARTINEZ (1876-1973)

Flowers in a vase
signed and dated R. Martinez 37 (upper left)
oil on canvas
55 x 46 cm.
Painted in 1937
800-1,200
$880-1,300
PROVENANCE:

l23
JEAN-LOUIS-MARCEL COSSON (1878-1956)

At the opera
signed Cosson (lower right)
oil on panel
33 x 24 cm.
1,000-1,500
PROVENANCE:

26
$1,100-1,600
l24
JAAP NIEWEG (1877-1955)

A still life with fruits and fowers
signed and dated J Nieweg 1922
(lower right)
oil on canvas
79 x 100.5 cm.
Painted in 1922
6,000-8,000
$6,600-8,700
PROVENANCE:

By descent from the above to the present
owner.
25
WILLIAM DEGOUVE DE
NUNCQUES (1867-1935)
Landscape with trees
signed with monogram (lower right)
oil on board
37.5 x 57.5 cm.
2,500-3,500
$2,800-3,800
PROVENANCE:

By descent from the above to the present
owner.
27
l26
l27
l28

Henk Bremmer at the age of 13

Portrait of a girl

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

Henk Bremmer AET.13. (on top of the bronze
base)
31 cm. high
Conceived and cast in 1917 in an unknown
small edition.
dated 1905 (lower right)

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

monogram LZ 4/15 NS
(on the back of the bronze base)
17 cm. high
Conceived and cast at an unknown date in
an edition of 15.
1,000-1,500
800-1,200
2,500-3,500
$1,100-1,600
$880-1,300
$2,800-3,800
PROVENANCE:
PROVENANCE:
PROVENANCE:



EXHIBITED:
EXHIBITED:
EXHIBITED:
Delft, Museum Het Prinsenhof, Hugo Tutein

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


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

1990, no. 255 (illustration of another cast).
R.W.P. de Vries Jr., Lambertus Zijl, Bussum

1946, no. 32 (illustrated).
28
l29

Pink roses
signed with monogram and dated 1951
(lower right)
oil on canvas
60.5 x 70.5 cm.
Painted in 1951
3,000-5,000
$3,300-5,500
PROVENANCE:

l30

Flowers in a Chinese vase
signed with monogram and dated 1953
(lower right)
oil on canvas
40 x 35.5 cm.
Painted in 1953
1,000-1,500
$1,100-1,600
PROVENANCE:

29
l31

Kop van een neger
PROVENANCE:
signed with initials JR (on the back)

stone
30 cm. high
EXHIBITED:
20,000-30,000
LITERATURE:
30
$22,000-33,000

Delft, Museum Het Prinsenhof, Hugo Tutein Nolthenius (1863-1944), portret van een
Delftsch kunstverzamelaar, 13 September - 30 November 2008.
Y. Koopmans, John Rdecker, de droom van het levende beeld, Zwolle 2006, no. Ia-163.
l32

Elephant
signed with initials, numbered and with monogram
LZ 12/15 NS (on the back of the bronze base)
14 cm. high
Conceived and cast in 1916 in an edition of 15.
1,200-1,600
$1,400-1,700
PROVENANCE:

EXHIBITED:

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

(illustrated).
l33

Monkeys
signed with monogram and dated 28 (on the base)
terracotta
18.5 cm. high
Executed in 1928
2,000-3,000
$2,200-3,300
PROVENANCE:

EXHIBITED:

31
l34

Zwoegers
signed and dated Christ. B. 1915.
(lower right)
pencil, ink and gouache on paper
36 x 46 cm.
Executed in 1915
1,500-2,000
$1,700-2,200
EXHIBITED:
Amsterdam, Stedelijk Museum, Nederlandse kring van

tekenaars, 18 January - 13 February 1956.
l35

Horse
painted terracotta
24.5 cm. high
Conceived in 1934.
1,000-1,500
$1,100-1,600
PROVENANCE:
Henri van Abbe, Eindhoven.

By descent from the above to the previous owner.
This work is a preliminary study for the sculptures made
for the entrance of the Van Abbe Museum, Eindhoven.
32
PROPERTY FROM THE ESTATE OF A.J. SOLANO-LUBBERS
!36
LEO GESTEL (1881-1941)

Caricature of the artist in the hospital
signed with initials, dated and indistinctly inscribed LG. Febr 33
Ziekenverpl. Laren (lower right)
pencil, colour crayons and ink on paper
24.5 x 19.5 cm., unframed
Executed in 1933;
and Four other caricatures depicting the artist during hospitalisation
in 1933 and 1936.
(5)
1,500-2,000
$1,700-2,200
PROVENANCE:
From the estate of A.J. Solano-Lubbers, Geneva.
(Part lot)
PROPERTY FROM THE COLLECTION OF DR. J.F.S. ESSER
37

Markt Nijmegen
signed, dated and titled Leo Gestel 08 Markt Nijmegen
(lower left)
chalk, watercolour and colour crayons on paper
26 x 20.5 cm., unframed
Executed in 1908;
and Another work on paper by the same hand depicting a
seated boy
1,500-2,000
(2)
$1,700-2,200
PROVENANCE:
Dr. J.F.S. Esser, Amsterdam.

33
(Part lot)
38
PIET MONDRIAAN (1872-1944)

Head of a girl
with signature Piet Mondriaan (lower centre)
chalk on paper
34 x 21 cm.
Executed circa 1896
5,000-7,000
$5,500-7,600
PROVENANCE:

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

Mondriaan, Breitner, Sluijters e.a, 13 December 2005 - 28
April 2006, no. 55 (illustrated p. 56).
LITERATURE:
R.P. Welsh, Piet Mondrians early career, the naturalistic

periods, New York, 1977, no. 27-28.
R.P. Welsh, Catalogue Raisonn of the Naturalistic works (until
early 1911), Blaricum/Paris 1998, no. A27 (illustrated p. 164).
The signature was added by Dr. J.F.S. Esser.
34
39
PIET MONDRIAAN (1872-1944)

Polder with moored boat near Amsterdam I
signed twice Piet Mondriaan (lower left) and Mondriaan (lower right)
oil on board
34 x 55 cm.
Painted circa 1899-1900
50,000-70,000
$55,000-76,000
PROVENANCE:
Kunsthandel G.J. Nieuwenhuizen Segaar, The Hague.

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

no. 8 (illustrated).
LITERATURE:
M. Seuphor, Piet Mondrian, Life and Work, New York, 1956, no. 124
(illustrated p. 367).
M.G. Ottolenghi, Lopera completa di Mondrian, Milan 1974, no. 15.
R.P. Welsh, Piet Mondrians early career, the naturalistic periods, New York,
R.P. Welsh, Catalogue Raisonn of the Naturalistic works (until early 1911),
Blaricum/Paris 1998, no. A233 (illustrated p. 246).
M. Bax, Complete Mondriaan, Burlington 2001 (illustrated p. 336).
The present lot depicts a small barge, nonetheless equipped with a

sail, located within a waterway presumably near Amsterdam. This
presumption is strengthened by the presence of a rounded tower,
upper right along the horizon, which can be identifed only as that
surmounted by a cupola of the Paleis voor Volksvlijt. Thus the view is
from a canal to the south of Amsterdam looking back to the city, which
explains the right-hand position of the Paleis voor Volksvlijt, located
near the Amstel, at right.
In this painting there is also a smokestack visible at the left along
the horizon. Here, again, one can think only of it as belonging to
the Royal Wax Candle Factory on the Hobbemakade behind the
Rijksmuseum, a building complex and an area well known to the
artist since his 1895 residence on the Ruysdaelkade, the bank of the
Boerenwetering opposite to that of the Hobbemakade.
In reference to this industrial subject and the impressionist style in
which it is executed, one could easily group this painting with similar
ship-oriented subjects executed by the artist during the fnal years
of the nineteenth century. (R.P. Welsh, Catalogue Raisonn of the
Naturalistic works (until early 1911), Blaricum/Paris 1998, p. 246).
35
l40
JEAN POUGNY (1892-1956)

Tte dArlequin
oil on canvas laid down on board
14.5 x 13 cm.;
and Another work on cardboard by the same hand, depicting
an interior.
(2)
3,000-4,000
$3,300-4,400
PROVENANCE:
J. Lwenstein, London.
Anonymous sale, Christies, London, 29 November 1993, lot 56.
LITERATURE:
H. Berninger and J. Cartier, Jean Pougny (Iwan Puni) 1892-1956.

Catalogue de loeuvre Tome 2: Le Pougny Classique: ParisCte dAzur. 1924-1956, Tbingen, 1972-1992, no. 1029
(illustrated p.264).
(Part lot)
l41
RAPHAEL DUBOIS (1888-1960)

Girl with tambourine
signed and dated Raphael Dubois 1914 (lower left)
oil on canvas
92 x 73.5 cm.
Painted in 1914
3,000-5,000
36
$3,300-5,500
l42
JOSEPH FLOCH (1894-1977)

Circus Colosseum
signed and dated Floch.J. 1917 (lower right)
oil on canvas
140 x 125 cm.
Painted in 1917
20,000-30,000
$22,000-33,000
37
l43
KARL SCHMIDT-ROTTLUFF (1884-1976)

Landschaft mit untergehender Sonne
signed S Rottluff (lower right)
ink and watercolour on paper
37 x 50.5 cm.
15,000-20,000
$17,000-22,000
Hermann Gerlinger has confrmed the authenticity of this work.
38
PROPERTY FROM THE TRITON COLLECTION FOUNDATION
l44
HERMANN MAX PECHSTEIN (1881-1955)

Four men in a rowing boat
signed with initials and dated HMP 1920 (lower right)
charcoal, ink and ink wash on paper
26.5 x 37 cm.
Executed in 1920
6,000-8,000
$6,600-8,700
PROVENANCE:
Piccadilly Gallery, London.

Anonymous sale, Sothebys, London, 20 October 1999, lot 123.
Anonymous sale, Christies, London, 5 February 2004, lot 378.
Acquired at the above by the Triton Collection Foundation.
LITERATURE:
S. van Heugten, Avant-gardes, 1870 to the Present, the Collection of the

Triton Foundation, Brussels 2012, p. 557 (illustrated p. 184).
The privately owned Triton Collection Foundation holds one of the most
important collections of the 19th and 20th Century avant-garde art in
private hands worldwide. It comprises a few hundred works from three
centuries of global art from Claude Monet, Pablo Picasso, Georges
Braque and Vincent Van Gogh to Yves Klein, Gerhard Richter, Ellsworth
Kelly, Marina Abramovich, and Ai Weiwei.
Alexander Pechstein has confrmed the authenticity of this work.
39
PROPERTY OF A PRIVATE COLLECTOR
45
MAX SLEVOGT (1868-1932)

Selbstbildnis im Garten
signed and dated Slevogt 10 (lower right)
oil on canvas
101 x 80 cm.
Painted in 1910
150,000-200,000
$170,000-220,000
PROVENANCE:
Acquired directly from the artist by Dr. Carl Steinbart, Berlin.

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

no. 212.
Berlin, Paul Cassirer, Max Slevogt, Ausstellung zum 50. Geburtstag
des Knstlers, November - December 1918, no. 121.
Schaffhausen, Museum zu Allerheiligen, Liebermann, Corinth, Slevogt,
23 April - 24 July 1955, no. 113.
Laren, Singer Museum, Schilderkunst uit La Belle Epoque, 4 July 16 September 1964, no. 73 (illustrated no. 39).
Basel, Kunsthalle, Max Slevogt zum 100 Geburtstag, 22 June - 28 July
1968, no. 85 (illustrated on the cover).
LITERATURE:
K. Scheffer, Max Slevogt in: Kunst und Knstler, XIV, 1916, p. 287
(illustrated).
W. Kurth, Deutsche Malerei im 19. Jahrhundert in: Deutsche Kunst
und Dekoration, XLIII, 1918-19, p. 208 (illustrated).
G. Pauli, Werden und Vergehen des Impressionismus in: Zeitschrift fr
Bildende Kunst, LIV, 1918-19, p. 66 (illustrated).
Anonymous, Max Slevogt in: Kunst fr Alle, XXXVI, 1920-21, p. 84
(illustrated).
H.J. Imiela, Max Slevogt: eine Monographie, Karlsruhe 1968, p. 388.
The authenticity of this work has been confrmed by Bernhard Geil
based on photographs.
40
From 1909 until 1913 Max Slevogt spent the summer months at Godramstein
near Landau in the Palatinate, where his wifes parents lived. Involved in the
Berlin Secession movement with Max Liebermann and Lovis Corinth, life in a
small village in a beautiful natural setting provided a welcome change of scene
for his wife and their two children. Slevogt painted many landscapes in the
garden of the villa and the immediate surroundings in 1909-10. He abandoned
the dark palette he had been taught to use at the art academy in Munich, to
explore under the sway of French Impressionism and infuenced by Vincent van
Gogh. These landscapes are characterized by a summery joie de vivre and are
painted in exquisitely glowing, intense colours.
Since the late 1890s Slevogt had been engaged in an investigation of the
human fgure. Infuences of French artists became visible. In the autumn of 1889,
Paul and Bruno Cassirer organised an exhibition with work by Monet and other
French painters in Berlin, along with some of Slevogts paintings. The freshness
of handling and the vibrancy of the palette were an eye-opener for the artist.
Slevogt was particularly taken by Manet. I admired Manet so much, because,
in him, I found what makes the world so beautiful (op. cit. B. Geil a.o., German
Impressionist Landscape Painting Liebermann-Corinth-Slevogt, Stuttgart 2010).
In Selbstbildnis im Garten the artist is in direct contact with the viewer, with
his ever-present cigar he seems calm and confdent. The work combines the
liveliness of the sun-lit summer landscape and a self portrait of the artist at the
peak of his artistic career.
The frst owner of Selbstbildnis im Garten, Carl Steinbart (1852-1923) was a
banker, art dealer and art collector. He owned one of the largest collections of
Slevogts work, consisting of at least 80 paintings. Slevogt portrayed Steinbart
and his family members several times.
PROPERTY OF A PRIVATE COLLECTOR
46
MAX SLEVOGT (1868-1932)

Gartenecke in der Sonne
signed Slevogt (lower right)
oil on canvas
56.5 x 69 cm.
Painted in 1917
60,000-80,000
$66,000-87,000
PROVENANCE:
Acquired directly from the artist by Dr. Carl Steinbart, Berlin.

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

des Knstlers, November - December 1918, no. 202.
Das Auge ist kein Instrument, kein Spiegel - es ist eine

lebendige Weiterleitung in unserem Organismus.
Es sieht, was es sucht, und was es nicht versteht, sieht es nicht.
(Max Slevogt in: Gemlde, Aquarelle, Zeichnungen, Stuttgart 1992)
The present lot shows a corner in the garden of Neukastel, with fowering
plants and a sunlit garden wall, painted in 1917. Originally owned by
the artists parents-in-law, the Finklers, whose daughter Slevogt had married
in 1898, the property passed to the artist in 1914. In 1917 Slevogt was
forced to stay in Neukastel during World War I. This was distressing for
him, since he had been appointed supervisor of a master-class painting
studio at the Berlin Academy in that same year. He did make good use of
this long stay at Neukastel and was very productive, resulting in a series
of vibrant pictures showing the estate and its gardens.
become worthy of being painted purely due to a specifc light situation,

enabling a detail of the garden to unfurl all its splendor of colors. The piece
of garden has been transformed into a joyously experienced minor miracle
of light, which has offered itself unexpectedly to the artist while the war has
cast its shadow on the outside world. The glowing beauty of an intimate
garden has become for Slevogt a moment of peaceful remoteness that
he has been overjoyed to see, a light impression whose beauty the artist
literally wanted to capture for himself. (B. Geil a.o., German Impressionist
Landscape Painting, Stuttgart 2010, p. 218)
Bernard Geil wrote about Slevogts garden pictures from around 1917:
The choice of motifs in these garden paintings sometimes seems random,
a characteristic very typical of French Impressionism. A modest motif has
The authenticity of this work has been confrmed by Bernhard Geil based
on photographs.
42
43
l47
JOHAN DIJKSTRA (1896-1978)

Haystacks
signed twice Johan Dijkstra (lower left and right)
oil on canvas
50.5 x 70 cm.
6,000-8,000
$6,600-8,700
PROVENANCE:
Acquired from the family of the artist by the present

owner in 2013.
48

Blaricum
signed, dated and titled Leo Gestel Blaricum 39
(on the reverse), with estate stamp, inscribed and
dated Landschap 1939 (on the backing)
oil on board
21 x 27 cm.
Painted in 1939
2,000-3,000
$2,200-3,300
PROVENANCE:
Anonymous sale, Paul Brandt, Amsterdam, 22 May

1962, lot 151.
H.A. Frank, Le Blonay.
EXHIBITED:
Schiedam, Stedelijk Museum, Een huis vol met

Gestels, 16 December 1970 - 11 January 1971.
Deurne, Museum de Wieger, 100 jaar later: 18811981, September 1981 - 1982.
44
l49
JOHAN DIJKSTRA (1896-1978)

Borg Harssens, the village Adorp in the distance
signed Johan Dijkstra (lower left)
oil on canvas
60 x 80 cm.
10,000-15,000
PROVENANCE:
Acquired from the family of the artist by the present owner in 2013.
$11,000-16,000
45
PROPERTY OF A BELGIAN COLLECTOR
50
EMILE CLAUS (1849-1924)

View of the Leie
signed and dated Emile Claus 1923 (lower left); signed
with initials and dated Junij B.C. E.C. (on the reverse)
oil on canvas
114.5 x 157 cm.
Painted in June 1923
70,000-90,000
$77,000-98,000
PROVENANCE:
Anonymous sale, De Vuyst, Lokeren, 13 October 1979, lot 285.

EXHIBITED:
Bern, Exposition de lArt Belge ancien et moderne,

27 March - 7 June 1926, no. 64.
Beauvoorde, Opbouwwerk IJzerstreek, Emile Claus,
17 July - 15 August 1982, no. 67.
His art is sure, clear and

ceaselessly in search of
air, light and life.
(Poet Emile Verhaeren in: World Impressionism: The International Movement, New York 1990 p. 261)
46
47
l51
JAN SLUIJTERS (1881-1957)

De Baarsjes, Amsterdam
signed Jan Sluijters (lower right)
ink on paper
Executed circa 1908
4,000-6,000
$4,400-6,500
PROVENANCE:

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

Breitner, Sluijters e.a, 13 December 2005 - 28 April 2006, no. 85
LITERATURE:
J. Juffermans, N. Bakker, Jan Sluijters, schilder, Amsterdam 1981

Included in the digital Catalogue Raisonn on the artists work by the RKD
- Netherlands Institute for Art History: sluijters.rkdmonographs.nl
l52

colour crayons on paper
Executed circa 1908
3,000-5,000
$3,300-5,500
PROVENANCE:

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

Breitner, Sluijters e.a., 13 December 2005 - 28 April 2006, no. 86.
- Netherlands Institute for Art History: sluijters.rkdmonographs.nl
48
l53

signed with monogram and dated 08 (lower right)
oil on canvas
43 x 34.5 cm.
Painted in 1908
7,000-9,000
$7,700-9,800
PROVENANCE:

Included in the digital Catalogue Raisonn on the artists work
by the RKD - Netherlands Institute for Art History: sluijters.
rkdmonographs.nl
l54

A seated lady reading
signed Jan.Sluijters. (lower right)
pencil and watercolour on paper
1,500-2,000
$1,700-2,200
PROVENANCE:

49
55

Standing nude with raised arm
signed and dated Leo Gestel 31 (lower right)
chalk and pastel on paper
62.5 x 46 cm.
Executed in 1931
2,000-3,000
$2,200-3,300
PROVENANCE:
Anonymous sale, Paul Brandt, Amsterdam, 29 March 1962, lot 254.

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

1970 - 11 January 1971.
l56

Mother and child
signed Jan Sluijters (upper left)
chalk and watercolour on paper
70 x 49.5 cm.
3,000-5,000
$3,300-5,500
PROVENANCE:
Anonymous sale, Van Stockum The Hague, 15 May 1974, lot 111.
Anonymous sale, Christies Amsterdam, 9 June 1998, lot 229.
50
l57
CHARLOTTE VAN PALLANDT (1898-1997)

Vooroverleunend
signed, dated, numbered and with foundry mark v Pallandt 1965
9/10 1999 Binder Bronsgieterij (on the side)
59 cm. high
Conceived in 1965, enlarged circa 1980 and cast in 1999 in an
edition of ten.
15,000-20,000
PROVENANCE:

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

tekeningen, Zwolle 1994, no. 125 (illustration of the smaller version
pp. 57, 135).
$17,000-22,000
51
58

Bloemenstilleven
signed Leo.Gestel. (lower right); signed and titled Leo Gestel Bloemenstilleven (on the reverse)
oil on canvas
73 x 93 cm.
Painted circa 1915
15,000-20,000
52
$17,000-22,000
59

A village road, Bergen
EXHIBITED:
signed and dated Leo Gestel 1912 (lower left)

chalk on paper
75 x 105.5 cm.
Executed in 1912
20,000-30,000
$22,000-33,000
PROVENANCE:
Anonymous sale, Mak van Waay, Amsterdam, 19 June 1962, lot 147.
Schiedam, Stedelijk Museum, Een huis vol Gestels, 16 December 1970 11 January 1971, no. 27.
Deurne, Museum Dinghuis, Leo Gestel, 1 November 1975 - 1 July 1976,
Warmenhuizen, Oude Ursulakerk, Landschappen van Leo Gestel, 19 June 14 August 1977, no. 2.
Haarlem, Frans Hals Museum/Den Bosch, Noord Brabants Museum, Leo Gestel
als Modernist, werk uit de periode 1907-1922, 4 June - 16 October 1983.
Laren, Singer Museum, Leo Gestel, schilder en tekenaar, 28 November 1993 30 January 1994, no. 52.
Bergen, Museum Kranenburgh, Leo Gestel in Bergen, 8 May - 6 October 2002.
LITERATURE:
N.H. Wolf, in: De Kunst, 1913, no. 268 (illustrated p. 376).
53
l60
LOUIS VALTAT (1869-1952)

Paysage, la rivire
PROVENANCE:
signed L. Valtat (lower right)

oil on canvas
54 x 65 cm.
Painted in 1898
20,000-30,000
54
Ambroise Vollard, Paris.

Nathan A. Bernstein Co., New York.
Anonymous sale, Christies, New York, 13 February 1986, lot 29.
LITERATURE:
$22,000-33,000
J. Valtat, Louis Valtat, catalogue de loevre peint, Neuchtel 1977, no.

221 (illustrated p. 25).
61
ARMAND GUILLAUMIN (1841-1927)

La Seine Paris
signed Guillaumin (lower left)
pastel on paper
44.5 x 54.5 cm.
Executed circa 1873
12,000-18,000
The Comit Guillaumin (Dominique Fabiani, Stphanie Chardeau-Botteri,

Jacques de la Braudire) will include this work in their forthcoming second
volume of the Guillaumin catalogue raisonn.
$14,000-20,000
55
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
62
THEO VAN RYSSELBERGHE (1862-1926)

La Tour de Furnes
signed with the monogram (lower right)
oil on canvas
100.5 x 82 cm.
Painted circa 1898
220,000-280,000
$240,000-310,000
PROVENANCE:
Galerie Ariel, Paris.

Acquired from the above by the family of the present owners in
February 1964.
EXHIBITED:
Vienna, Secession, V. Austellung der vereinigten Bildenden Knstler

sterreichs, January - February 1899.
LITERATURE:
G. van Zype, Notice sur Tho Van Rysselberghe, Brussels, 1932,

p. 35 (dated 1897) .
This painting will be included in the forthcoming catalogue raisonn

supplement being published by Ronald Feltkamp.
from around 1888, and for the next decade, he became one of the leading
proponents of this style in Belgium.
This painting will be included in the forthcoming van Rysselberghe catalogue

raisonn prepared by Pascal de Sadeleer and Olivier Bertrand.
By the end of the 19th Century, at the time La Tour de Furnes was painted,
Van Rysselberghe had begun to abandon the rigorously methodical
technique and its strict division of colours, turning instead towards a looser
handling and a less divisionist touch. In La Tour de Furnes, Van Rysselberghe
has still applied colour in accordance to colour harmonies, but these nuances
of colour are conveyed in a more expressive manner, suffusing the scene
with an atmospheric, sensitively conveyed interplay of light and shadows.
The artist wrote in a letter to his friend Paul Signac in 1899, the year after La
Tour de Furnes was painted, I never considered division, or pure pigment,
as an aesthetic principle even less as a philosophy but rather as a means
of expression. As soon as this medium seems incomplete to me I change
my tools (Van Rysselberghe, quoted in Tho van Rysselberghe, exh. cat.,
Brussels, 2006, p. 66).
Painted circa 1898, La Tour de Furnes demonstrates Tho van Rysselberghes

Neo-Impressionist style at a pivotal time during which he was incorporating a
greater level of naturalism into his pointillist technique. In La Tour de Furnes,
Van Rysselberghe has depicted a street scene bathed in a softly glowing
light, overlooked by the majestic church tower in Veurne, a picturesque
market town in Belgium, known as Furnes in French.
At the end of the 1890s, the time that La Tour de Furnes was painted, Van
Rysselberghe had begun to develop a more unique style of Pointillism, using
slightly larger, more loosely applied brushstrokes, as can be seen in the
present painting. This was a contrast to the rigorously methodical technique
that had frst been pioneered by Georges Seurat, and embraced by Paul
Signac in the mid-1880s, in which small brushstrokes of colour were applied
to the canvas in adherence to scientifc laws of colour. Van Rysselberghe
had frst been exposed to Pointillism, often also known as Divisionism, while
he was in Paris in 1886, with his friend, the Belgian poet, Emile Verhaeren.
The two saw Seurats Sunday Afternoon at La Grande Jatte (1884-86, The
Art Institute of Chicago) at the 1886 exhibition of the Socit des Artistes
Indpendants. This work and its radical Neo-Impressionist style made an
indelible impact on Van Rysselberghe and he consequently asked Seurat to
exhibit at the avant-garde Brussels group, Les XX, which Van Rysselberghe,
amongst others, had founded in 1884. Having witnessed French NeoImpressionism, Van Rysselberghe adopted the pointillist technique in his work
56
In a letter dated 8 February 1925 from Van Rysselberghe to Belgian poet

and critic, Andr Fontainas, the artist refers to an important oil, which
depicts the church tower in Veurne, that was exhibited at the Vienna
Secession in 1899; this is most likely the present work (R. Feltkamp, Tho
Van Rysselberghe, 1862-1926, Catalogue Raisonn, Brussels, 2003, p.
320). The inclusion of this work in that seminal exhibition has also been
confrmed from the personal and unpublished artists notebooks in the
possession of Pascal de Sadeleer and Olivier Bertrand. The Secessionists,
a group of artists including Gustav Klimt, Koloman Moser and Oskar
Kokoschka, greatly admired Van Rysselberghes style and technique,
particularly the highly decorative surface of his works, and invited him to
exhibit with them at the close of the 19th Century.
57
l63
FRED CARASSO (1899-1969)

Three women
signed and dated F Carasso 1958 (on a foot)
61 cm. high (excl. wooden base)
Conceived and cast in 1958 in an unknown small edition.
6,000-8,000
58
$6,600-8,700
PROPERTY FROM A PRIVATE COLLECTION
l!64
JACQUES LIPCHITZ (1891-1973)

Exodus
signed, numbered and marked with the thumbprint
J.Lipchitz 1/7 (on the side underneath)
bronze with brown patina
55.5 cm. high
Conceived in 1947 and cast in an edition of 7
18,000-22,000
$20,000-24,000
PROVENANCE:
Acquired by the present owner in the 1980s.

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

Catalogue Raisonn, vol.II, The American Years 1941-1973,
London 2000, no. 414, (another cast illustrated p. 42).
59
l65
GEER VAN VELDE (1898-1977)

Village
signed G van Velde (lower left); signed
G. v. Velde (on the reverse)
oil on canvas
45 x 65.5 cm.
Painted circa 1925
6,000-8,000
$6,600-8,700
PROVENANCE:
Galerie dEendt, Amsterdam.

Anonymous sale, Christies, Amsterdam,
2 December 1997, lot 233.
Kunsthandel Simonis & Buunk, Ede.
LITERATURE:
E. Slagter, Geer van Velde en het licht, Zwolle

1998, p. 40 (illustrated).
R.M. Mason, S. Ramond, Bram en Geer van
Velde, Deux peintres, un nom, Paris 2010,
no. 32 (illustrated pp. 47, 294).
l66

Untitled
signed with initials GvV (lower right)
oil on canvas
40.5 x 60.5 cm.
8,000-12,000
$8,800-13,000
PROVENANCE:
Mr. de Lange, Amsterdam.

Kunsthandel Simonis & Buunk, Ede.
60
l67

Untitled
signed with initials GvV (lower right)
oil on canvas
81 x 99.5 cm.
15,000-20,000
$17,000-22,000
PROVENANCE:
P.A. Regnault, Amsterdam.
61
l68
GEORGE COLLIGNON
(1923 - 2002)
Cobra
signed Collignon (lower right); signed, dated and
titled Collignon 49 Cobra (on the reverse)
oil on canvas
130 x 89 cm.
Painted in 1949
6,000-8,000
$6,500-8,800
PROVENANCE:
Acquired directly from the artist by the present owner,

circa 1992.
EXHIBITED:
Ostend, Provinciaal Museum voor Moderne Kunst,

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

1946-1966, Tielt 1990, no. 11 (illustrated p. 31).
62
l69
FRIEDA HUNZIKER
(1908-1966)
Stuiters
signed F. Hunziker (on the stretcher)
oil on canvas
75 x 100 cm.
5,000-7,000
$5,500-7,600
PROVENANCE:
From the family of the artist.

EXHIBITED:
Amstelveen, Cobra Museum voor Moderne Kunst,

Frieda Hunziker, 4 March - 30 April 2000,
l70
FRIEDA HUNZIKER
(1908-1966)
Golf
oil on canvas
80 x 100 cm.
Painted in 1965
4,000-6,000
$4,400-6,500
PROVENANCE:

EXHIBITED:
Amstelveen, Cobra Museum voor Moderne Kunst,

Frieda Hunziker, 4 March - 30 April 2000,
70 no lot
63
l71
ERNST VAN LEYDEN (1892-1969)

A self portrait of the painter and his family
oil on canvas laid down on plywood
166.5 x 122 cm.
Painted in 1946
5,000-7,000
$5,500-7,600
PROVENANCE:
R. van Leyden, La Bardelle.

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

kunstenaarspaar, 16 October 1999 - 9 January 2000 (illustrated p. 105).
The Hague, Gemeentemuseum, Liefde! Kunst! Passie!, 21 February 1 June 2009.
LITERATURE:
A.G. Maris, For me and for you, Ghent 1998, no. 3, p. 18 (illustrated p.
19).
Dick Adelaar (a.o.), Ernst van Leyden, Ghent 1999 (illustrated p. 105).
l72
SIMONE HERMAN (B. 1905)

Untitled
signed and dated Simone Herman 38. (lower right)
oil on canvas
92 x 65 cm.
Painted in 1938
3,000-5,000
$3,300-5,500
LITERATURE:
A.G. Maris, For me and for you, Ghent 1998, no. 128, p. 268
64
l73
KARIN VAN LEYDEN

(1906-1977)
Untitled
signed and dated Karin 54 (lower left);
signed Karin van Leyden (on the reverse)
oil on canvas
102 x 137 cm.
Painted in 1954
2,000-3,000
$2,200-3,300
PROVENANCE:
Acquired directly from the artists family by

Kunsthandel Willem Kerseboom, Bergen.
l74
SIMONE HERMAN (B. 1905)

Cranes
signed and dated Simone Herman 39
(lower right)
oil on canvas
97 x 130 cm.
Painted in 1939
3,000-5,000
$3,300-5,500
PROVENANCE:

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

no. 114, p. 240 (illustrated p. 241).
65
PROPERTY FROM THE COLLECTION OF EMIEL DE HANTSETTERS
l75
GUY VANDENBRANDEN (1926-2014)

Untitled
with the artists label (on the reverse)
oil on board
122 x 91 cm.
2,000-3,000
$2,200-3,300
PROPERTY FROM THE COLLECTION OF EMIEL DE HANTSETTERS
l76
GUY VANDENBRANDEN (1926-2014)

Untitled
with the signed and dated artists label GvdB 1972 (on the
reverse)
oil on board
73 x 61 cm.
Painted in 1972
1,500-2,000
66
$1,700-2,200
l77
JOOST BALJEU (1925-1991)

Kindergarten serie nr. 5- synth. constructie w IX
signed Joost Baljeu (on the artists label on the reverse) and inscribed
with dedication to Arnold Herstand in friendship Amsterdam May
1967 (on the reverse)
perspex on board
30 x 30 cm.
Conceived in 1959 and executed in 1967
7,000-9,000
PROVENANCE:
Arnold Herstand, New York.

$7,700-9,800
67
78
TINUS VAN DOORN (1905-1940)

Woman with parrot
signed with monogram and dated 52 (lower right)
oil on canvas
120.5 x 100 cm.
Painted in 1952
8,000-12,000
68
$8,800-13,000
PROVENANCE:
Galerie Thom Mercuur, Franeker.

LITERATURE:
A.G. Maris, For you and for me, Ghent 1998, no. 101, p. 213
l79
WIM BOSMA (1902-1985)

Havenbeeld
PROVENANCE:
signed and dated Bosma 1935 (lower right)

oil on canvas
120 x 100 cm.
Painted in 1935
22,000-26,000
$24,000-28,000
Anonymous sale, Christies, Amsterdam, 2 December 2008, lot 84.

Acquired at the above sale by the present owner.
EXHIBITED:
Arnhem, Museum voor Moderne Kunst Arnhem/Paris, Institut Nerlandais,

Magie en Zakelijkheid. Realistische Schilderkunst in Nederland 19251945, 13 November 1999 - 28 May 2000, no. 16 (illustrated p. 123).
Rotterdam, Kunsthal Rotterdam, Panorama Rotterdam, 8 September 2001
- 6 January 2002.
69
l80

Preparatory study for The Hermit (self portrait)
signed and dated Willink 38 (upper right)
oil on canvas
26.5 x 22.5 cm.
Painted in 1938
12,000-16,000
$14,000-17,000
PROVENANCE:
Anonymous sale, Christies, Amsterdam, 25 November 2003, lot 182.

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

H.L.C. Jaff, Willink, Amsterdam 1980, no. 179 (illustrated p. 221).
l81
TOON KELDER (1894-1973)

Portrait of Jan Toorop
signed and dated Toon Kelder f 25 (lower left)
oil on canvas
98.5 x 81 cm.
Painted in 1925
3,000-5,000
$3,300-5,500
PROVENANCE:
P. Boendermaker, Bergen/Amsterdam.
Anonymous sale, Sothebys Mak van Waay, Amsterdam, 24 October
1983, lot 152.
70
l82
CHARLEY TOOROP (1891-1955)

Takken met vruchten, herfst
signed C Toorop (lower left); signed, dated and titled Charley
Toorop 1935 Takken met vruchten, herfst (on the reverse)
oil on canvas
60 x 80 cm.
Painted in 1935
30,000-50,000
$33,000-55,000
PROVENANCE:
Acquired directly from the artist by the sculptor John Rdecker.

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

Leiden, Stedelijk Museum De Lakenhal, Charley Toorop, 20 December
1935 - 12 January 1936, no. 9.

Utrecht, Vereniging voor de Kunst, C.Toorop en E. Fernhout, 1936, no. 9.
The Hague, Kunsthandel Nieuwenhuizen Segaar, Drie generaties, 30 March 1 May 1937, no. 5 (illustrated).
Amsterdam, Stedelijk Museum, Zomertentoonstelling Universiteits-Lustrum,
1937, no. 63.
The Hague, Gemeentemuseum, Gerijpte kunst, 12 October - 17 November
1946, no. 181.
The Hague, Gemeentemuseum/ Amsterdam, Stedelijk Museum/ Eindhoven,
Van Abbe Museum, Charley Toorop, 18 April - 25 November 1951, no. 81.
New York, Hammer Galleries, Charley Toorop, 1952, no. 17.
The Hague, Galerie Nova Spectra, Herdenkingstentoonstelling Charley
Toorop bij haar 75ste geboortejaar, 1891-1955, 8 - 30 October 1966.
LITERATURE:
A.M. Hammacher, Charley Toorop, Rotterdam 1952, no. 160.

N.J. Brederoo, Charley Toorop, leven en werken, Epe 1982, no. 355
71
PROPERTY OF A PRIVATE COLLECTION
l83
CONSTANTIN TERECHKOVITCH
(1902-1978)
A summer bouquet
signed and dated C. Terechkovitch 60 (upper left)
oil on canvas
81 x 65 cm.
Painted in 1960
3,000-5,000
$3,300-5,500
PROVENANCE:
Mr. Herpain, Brussels.

Galerie Paul Ptrids, Paris.
M. Krebs, Brussels.
EXHIBITED:
Paris, Galerie Paul Ptrids, Terechkovitch, Exposition doeuvres

rcentes, 25 October - 12 November 1960, (illustrated).
France Terechkovitch has confrmed the authenticity of this work.
l84
83
WILLEM PAERELS (1878-1962)

Woman at the beach
signed and dated W.M. Paerels 1915 (lower left)
oil on canvas
50.5 x 40 cm.
Painted in 1915
5,000-7,000
$5,500-7,600
l85
WILLEM PAERELS (1878-1962)

La Kermesse
signed Paerels (lower right)
oil on canvas
100 x 80 cm.
Painted in 1909
40,000-60,000
$44,000-65,000
PROVENANCE:
F. Van Haelen, Brussels.

Van Weyenbergh, Brussels.
M. Hayez, Sint-Pieters-Leeuw.
EXHIBITED:
84
72
Brussels, Palais des Beaux-Arts, Willem Paerels, 17 September 1 October 1968, no. 6 (illustrated).
Brussels, Palais des Beaux-Arts/Laren, Singer Museum, Willem
Paerels, 1878 - 1962, 3 March - 11 June 1978, no. 13
(illustrated).
85
73
l86
JAMES ENSOR (1860-1949)

Le Flacon bleu
signed and dated Ensor 80 (lower right); signed, dated and titled
James Ensor Le Flacon bleu. 1880 (on the stretcher)
oil on canvas
47 x 53 cm.
Painted in 1880
60,000-80,000
$66,000-87,000
PROVENANCE:
Augusta Boogaerts, Brussels.

Acquired from the above by the present owner circa 1940.
EXHIBITED:
Brussels, Palais des Beaux-Arts, James Ensor, 19 January - 17 February

1929, no. 29.
Paris, Muse National dArt Moderne, James Ensor, February - April 1954,
no. 11.
Ostend, Stedelijk Museum voor Schone Kunsten, James Ensor, 12 June 15 September 1960, no. 15 (illustrated).
Basel, Kunsthalle/Mnster, Landesmuseum, James Ensor, 15 June - 4 August
1963, no. 11 (illustrated p. 19).
Brussels, Galerie Isy Brachot, Ensor: dans les collections prives, 10
December 1965 - 25 January 1966, no. 6.
Paris, Muse de lOrangerie, LArt famand dEnsor Permeke, 20 February
- 20 April 1970, no. 42.
Chicago, Art Institute/New York, Guggenheim Museum, Ensor, 6
November 1976 - 9 January 1977, no. 5 (illustrated p. 53).
Brussels, Palais des Beaux Arts, Lart en Belgique, 1880-1950, Hommage
Luc et Paul Haesaerts, 27 June - 23 August 1978, no. 30 (illustrated p. 82).
LITERATURE:
P. Haesaerts, James Ensor, Brussels 1957, (illustrated p. 49).

T. Kiefer, J. Ensor, Recklinghausen, 1976, (illustrated p. 19).
74
X. Tricot, James Ensor, Catalogue Raisonn of the Paintings, London 1992,

no. 124, (illustrated p. 103).
X. Tricot, James Ensor, Catalogue Raisonn of the Paintings, Brussels 2009,
no 145, (illustrated p. 257).
In 1877 James Ensor enrolled at the Acadmie Royale des Beaux-Arts in
Brussels, where he stayed for three years before he left because he felt his
work did not get the recognition it deserved. In the years just after Ensor left
the academy he painted several still lifes that depict different ingredients for
meals, placed on wooden tables in the kitchen: fruit, vegetables, fsh, meat
and poultry were the main focus in these paintings.
The present lot was painted in 1880. The composition is formed by a blue
bottle on the left, a featherless chicken in the middle with its head falling
slightly over the edge of the table and a copper pan on the right, turned
upside down. The composition of the still life is kept simple, the precise form
and identity of the objects is neglected to put emphasis on the intricate play
of light and dark and the subtlety of the colours used in this painting. This
particular composition, featuring the striking blue bottle, was painted by
Ensor four times over the course of forty-fve years and clearly shows Ensors
development as a painter. While the early versions are subtle in colour, the
last painting in this series, painted in 1925, is flled with the bright colours
typical of Ensors later style (X. Tricot, James Ensor, Catalogue Raisonn of
the Paintings, Brussels 2009, no. 144, 453, 540).
75
87
GUSTAVE DE SMET
(1877-1943)
Trees in a landscape
signed Gust. De Smet (lower left)
oil on board
31.5 x 38 cm.
4,000-6,000
$4,400-6,500
Mr Piet Boyens has kindly confrmed that

authenticity of the present lot.
l88
CONSTANT PERMEKE
(1886-1952)
Seascape
signed Permeke (lower left)
oil on canvas
60.5 x 75 cm.
8,000-12,000
76
$8,800-13,000
l!89
JEAN BRUSSELMANS (1884-1953)

Voetbrug
signed and dated Jean Brusselmans. 1933. (lower right)
oil on canvas
90 x 100 cm.
Painted in 1933
20,000-30,000
The present lot depicts a bridge in the city of Anderlecht,

Belgium. Brusselmans made several paintings and etchings
with the same subject (R.L. Delevoy, Jean Brusselmans, Brussels
1972).
$22,000-33,000
77
PROPERTY OF A PRIVATE EUROPEAN COLLECTOR
l90
PAUL DELVAUX (1897-1994)

Les Soeurs
signed, dated, titled and inscribed Les Soeurs Furnes, 22-9-71 P.
Delvaux (lower right)
watercolour and ink on paper
102.5 x 69 cm.
Executed in 1971
120,000-160,000
$140,000-170,000
PROVENANCE:
Galerie Isy Brachot, Brussels.

Galerie Willy DHuysser, Brussels.
Anonymous sale, Christies, London, 22 March 1983, lot 153.
Margo Feiden Galleries, New York.
EXHIBITED:
Ferrara, Gallerie Civiche dArte Moderna, Palazzo dei Diamanti,

Paul Delvaux, 20 April - 22 July 1986.
Bielefeld, Kunsthalle Bielefeld, Paul Delvaux, 22 October 2006
21 January 2007, (illustrated p. 106).
Sint-Idesbald, Delvaux Museum, Odysse dun rve, 31 March 2007
6 January 2008.
Regarding the nudes in his work Delvaux explained that they participate
purely as a presence without any particular role. They form part of the
pictorial structure, the aim of which is purely poetic they are active only
in the lyrical sense; they have no mission in the picture beyond that of
the poetic (Delvaux quoted in J. Meuris, Paul Delvaux: Sept Dialogues,
Brussels, 1987, pp. 22 & 58). The essential mystery of the female nude
and the trains, trams and stations, we see so often in his work, was one
that never tired him. In the present lot Delvauxs focus is entirely on the two
female nudes with no background. But these elements, so essential to his
painting, held little or no symbolic value, he felt. They were ultimately only
pictorial tools by which he sought to generate the specifc atmosphere of
poetic mystery that he wanted his art to convey. Painting is not only the
pleasure of putting colours on canvas he once asserted, it is also the
expression of a poetic feelingWhat interests me is plastic expression,
the rediscovery of poetry in painting, which had been lost for centuries
(Delvaux quoted in Paul Delvaux 1897-1994, exh. cat., Royal Museums
of Fine Art, Brussels, p. 21).
78
In this large work on paper we see two beautifully executed women

holding hands. The sheet is monumental of size which makes the work,
because of its incredible detail, all the more impressive. The face of the
woman on the right is not entirely visible. It almost appears as if she is
whispering something in the ear of her friend. It looks like we are part of
an intimate moment. The lesbian theme was recurring in Delvauxs oeuvre
from the 1930s on. It has been suggested that Delvaux used it to convey
his disappointment with his heterosexual relationships, since he was not
particularly succesful with women. A dominant mother, a deep love for a
woman his parents did not approve of and a failed marriage might have
made him explore, artistically, the love between two people of the same
sex. It could also be the reason why Delvaux was so taken with the theme
women in general. They are the mysterious creatures appearing in almost
every work he made. Mysterious and sexual perhaps, but never in contact
with the viewer. The nudes always seem occupied with themselves or each
other and make no eye contact, like in the present lot.
79
PROPERTY OF A PRIVATE COLLECTION
l91
PAUL DELVAUX (1897-1994)

Seated nude
signed with initials and dated PD 31 (lower left)
chalk and pencil on paper
27 x 17 cm.
Executed in 1931
2,500-3,500
$2,800-3,800
PROVENANCE:
Acquired by the parents of the present owner between 1960-75.
l92
REN MAGRITTE (1898-1967)

Seated lady
signed and dated Ren Magritte 1920. (lower left)
chalk on paper
33.5 x 24 cm.
Executed in 1920
10,000-15,000
$11,000-16,000
PROVENANCE:
Pierre-Louis Flouquet, Brussels.

Fernand Verhesen, Brussels.
LITERATURE:
S. Whitfeld, Ren Magritte, newly discovered works, Catalogue Raisonn

VI, Brussels 2012, no. 45 (illustrated p. 69).
80
l93
LEON SPILLIAERT (1881-1946)

Arbres au crpuscule jaune et vol doiseaux II
signed and dated L. Spilliaert 1919 (lower left)
pencil, chalk, watercolour and pastel on paper
49.5 x 59 cm.
Executed in 1919
20,000-30,000
This work will be included in the forthcoming catalogue raisonn currently

being prepared by Anne Adriaens-Pannier.
$22,000-33,000
81
94
RIK WOUTERS (1882-1916)

La Femme la blouse jaune
inscribed with authentifcation No 43 Femme la blouse jaune
t peint par Rik Wouters 1911 Boitsfort Mme Vve R Wouters (on
the reverse)
oil on canvas
65.5 x 54.5 cm.
Painted in 1911
200,000-300,000
$220,000-330,000
PROVENANCE:
Nel Wouters, Overijse.

Galerie Robert Finck, Brussels.
Acquired from the above by the family of the present owner in 1973.
EXHIBITED:
Charleroi, Salle de la Bourse, Cercle Artistique et Littraire, XXIme salon,

15 - 31 March 1947, no. 9.
Antwerp, Koninklijke Museum voor Schone Kunsten, Rik Wouters,
5 - 27 April 1947, no. 51.
Brussels, Galerie Breughel, Rik Wouters, 18 - 30 September 1954, no. 4.
Brussels, Palais des Beaux-Arts, Rik Wouters, 1962.
Brussels, Palais des Beaux-Arts, Lart en Belgique, 1880-1950, Hommage
Luc et Paul Haesaerts, 27 June - 23 August 1978,
no. 103, (illustrated p. 126).
LITERATURE:
R. Avermaete, Rik Wouters, Brussels 1986, p. 205.

O. Bertrand, Rik Wouters, Antwerp 1995, no. 57 (illustrated).
Executed in 1911, La Femme la blouse jaune is one of the paintings

by Rik Wouters that show his ability and interest for capturing impressions,
rather than making realistic images. We see a pretty young woman posing
in a summer hat and a blouse, bathed in a surrounding of vibrant colours.
Only an impression of the woman can be seen, a swift moment where
she is an expression of light and colour. The visual experience is key in
Wouters paintings. The life-likeness of the work is not expressed by many
details, but rather by the indeterminacy of the suggestion, combined with
many different visual sensations.
The portraits and interiors painted by Wouters in 1911 and 1912
demonstrate his talent for combining the three-dimensional with the twodimensional surface of the painting. He fnds solutions in simple colour
contrasts and a few distinct contours. He achieves a certain expressionism
in his forms by using a painters knife (spatula) in addition to a brush.
Wouters was a great admirer of James Ensor, who was a master of the
knife. His love for Ensors refned colourist effects and forms expresses itself
in the present lot, where the pleads, the fabric and even the expression
on the face of the woman are the result of Wouters exquisite handling
of a knife and coarse brushstrokes (H. Todts, Rik Wouters. Des origines
loeuvre, exh. cat., Brussels 2002, p. 36).
82
The use of a knife is a clear expression of Wouters extreme spontaneity.

Wouters did not start a work from a scheduled plan. His widow Nel wrote
about his working process in 1944: Rik never knows beforehand what
he is going to paint and nothing is planned in advance. (...) For him a
painting is the personal life around him, the intimacy of his interior. (...)
Again, he never plans a picture (G. Audinet, Rik Wouters. Des origines
loeuvre, exh. cat., Brussels 2002, p. 218). Wouters truly dreaded
working on the same picture again after a frst session, and this may
explain the sketch-like appearance of many of his works including La
Femme la Blouse jaune. Sudden moments, impressions, or incidences of
light could bring him to a ceaseless and enthusiastic creativity that forced
him to paint. Especially the frst sessions were lengthy and time-consuming,
and drove Nel to desperation sometimes.
The combination of impressionism and expressionism in Wouters paintings,
which can also be seen in this work, makes it especially diffcult to label his
style. Infuenced by James Ensor and from 1909 on by Czanne, Wouters
developed a very individual and infuential style of painting, which was
later adopted as Brabants fauvisme. Nevertheless, there has never been
consensus of opinion among contemporaries and even among later critics,
concerning the name of this style and its place in the canon of art history.
83
l95
MAURICE BRIANCHON (1899-1979)

A beach scene in Carnac
signed Brianchon (lower left); inscribed and dated Carnac 1961
(on the stretcher)
oil on canvas
61 x 61 cm.
Painted in 1961
6,000-8,000
$6,600-8,700
PROVENANCE:
Galerie des Chaudronniers, Genve.

Waterhouse & Dodd, London/New York.
Kunsthandel Rob Noortman, Maastricht.
EXHIBITED:
Bevaix, Galerie Pro Arte, Matres de la ralit potique et de la tradition

Franaise, 15 April - 20 May 1973, no. 9 (illustrated).
LITERATURE:
P.A. Brianchon, O. Daulte and M. Dupertuis, Maurice Brianchon,

catalogue de loeuvre peint, Lausanne 2008, no. 617 (illustrated p. 280).
l96
95
KEES VERWEY (1900-1995)

A still life with fowers
signed and dated Kees Verwey 68 (lower left)
watercolour on paper
50.5 x 41.5 cm.
Executed in 1968
2,000-3,000
$2,200-3,300
l97
FERDINAND ERFMANN (1901-1968)

Two girls on bicycles
signed and dated Erfmann 1936 (lower right)
oil on canvas
99 x 65 cm.
Painted in 1936
20,000-30,000
$22,000-33,000
PROVENANCE:
C. van Geest, Amsterdam.

Galerie Mokum, Amsterdam.
Galerie Michael Hasenclever, Munich.
EXHIBITED:
Breda, Cultureel Centrum de Beyerd, Ferdinand Erfmann, 22 March 21 April 1974, no. 23.
LITERATURE:
96
84
H. Romijn Meijer, L. Tegenbosch, Ferdinand Erfmann, Amsterdam 1973,

no. 23, p. 18 (illustrated).
85
97
98
JAN TOOROP (1858-1928)

Portrait of pastor Van Straelen
signed, dated and inscribed Jan Toorop 1902 Pastoor van Straelen
Katwijk a/d Rijn (upper right)
pencil, colour crayon and chalk on paper
Executed in 1902
2,500-3,500
$2,800-3,800
PROVENANCE:
Mr. Mesdag, Hilversum.

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

To be included in the Catalogue Raisonn on the artists work, currently
being prepared by G.W.C. van Wezel.
99

A head of a Spakenburger (recto); a study of
a head (verso)
with the estate stamp (lower right); with the estate stamp (on the
reverse)
gouache on cardboard
72 x 51.5 cm.
2,000-3,000
$2,200-3,300
PROVENANCE:

Anonymous sale, Christies, Amsterdam, 10 June 1999, lot 172.
86
l100
WILLEM VAN LEUSDEN (1886-1974)

Le moulin passionn II
signed W.v.Leusden (lower right); signed, dated and titled
Wv Leusden Le moulin passionn 1937 (on the stretcher)
oil on canvas
157 x 127 cm.
Painted in 1937
4,000-6,000
$4,400-6,500
LITERATURE:
D. Adelaar, J. van Asperen, M. Roding, Willem van Leusden,

Essays over een verhard romanticus, Utrecht 1990, no. 195
Almost the entirety of the painting is flled with the wooden interior
of a windmill, however the attention of the viewer is drawn to the
painter and his model in the lower left corner. It seems like a regular
painting in painting scene, but in reality there is something else
happening. The painter and his model are shocked when they
discover that the painting came to life and the boy who is pictured
tries to escape out of the painting. We see the painter throwing his
arms in the air in dismay.
This painting is meant to show the relationship and the boundaries
between art and reality (D. Adelaar, J. van Asperen, M. Roding,
Willem van Leusden, Essays over een verhard romanticus, Utrecht
1990, pp. 154-158).
101
FERDINAND HART NIBBRIG

(1866-1915)
The garden
signed Hart. Nibbrig (lower right)
oil on canvas laid down on plywood
40 x 56 cm.
2,000-3,000
$2,200-3,300
87
l102
KEES VAN DONGEN (1877-1968)

Les cavalires au bois
PROVENANCE:
signed van Dongen. (lower right)

watercolour, pastel and gouache on paper
30.5 x 46.5 cm.
To be included in the forthcoming Kees Van Dongen catalogue critique

of paintings and drawings being prepared by Jacques Chalom Des
Cordes under the sponsorship of the Wildenstein Institute.
15,000-20,000
88
$17,000-22,000
Anonymous sale, Galliera Paris, 16 June 1964, lot 113.
l103
IGOR MITORAJ (1944-2014)

Luci di Nara
signed and numbered Mitoraj (on the reverse)
82 cm. high (incl. the bronze base)
Conceived in 1998 and cast in an edition of eight.
35,000-45,000
$39,000-49,000
LITERATURE:
J. Russel-Taylor, Igor Mitoraj, escultures, Barcelona 1994,

p. 39 (illustration of another cast).
89
l104
CONSTANT PERMEKE
(1886-1952)
Landscape with a horse
signed Permeke (lower left)
oil on canvas
55 x 70 cm.
6,000-8,000
$6,600-8,700
l105
TOON KELDER (1894-1973)

Card players
signed Toon Kelder (lower left)
oil on canvas
130.5 x 169 cm.
5,000-7,000
$5,500-7,600
PROVENANCE:
W.F. Selderbeek, Amsterdam.
90
l!106
ADRIAAN LUBBERS (1892-1954)

The Hudson River, New York
signed Adriaan Lubbers (lower centre); signed twice and titled Adriaan
Lubbers Hudson River New York (on the reverse and on the stretcher)
oil on canvas
65 x 81 cm.
10,000-15,000
$11,000-16,000
91
l!107

The Sky Ride, World Fair, Chicago
signed Adriaan Lubbers (lower right)
oil on canvas
76.5 x 60.5 cm.
Painted in 1933
4,000-6,000
$4,400-6,500
The present lot shows the legendary Sky Ride, built especially
for the World Fair of Chicago in 1933-34. It was the largest
and most prominent structure at the World Fair and had a
capacity to transport 5,000 people an hour. In the upper right
corner of this painting we can also see a zeppelin. This was
the German built Graf Zeppelin which circled lake Michigan
during the fair.
l!108

A mountainous landscape, Eisenstein,
Germany
signed and dated Adriaan Lubbers 1923 (lower right)
oil on canvas, unframed
66 x 90.5 cm.
Painted in 1923
2,000-3,000
92
$2,200-3,300
l109
HARMEN MEURS (1891-1964)

Les Remorqueurs, Marseille
signed Harmen Meurs (lower left); signed and
titled Harmen Meurs Les Remorqueurs (Marseille)
(on the reverse)
oil on canvas
60 x 73.5 cm.
Painted circa 1927
4,000-6,000
$4,400-6,500
PROVENANCE:
Anonymous sale, Sothebys, Amsterdam,

3 December 2001, lot 207.
l110
PIET VAN DER HEM (1885-1961)

The entertaining clown
signed P.v.d. Hem (lower right)
oil on canvas
52.5 x 41.5 cm.
7,000-9,000
$7,700-9,800
93
l112
JOHAN VAN HELL (1889-1952)

Rassen (Ober bedient twee nouveau-riche
fguren)
signed and dated Johan van Hell 1932
(lower right)
oil on canvas
95.5 x 70.5 cm.
Painted in 1932
30,000-50,000
$33,000-55,000
PROVENANCE:
L. Auerhaan, Amsterdam, 1976.

Galerie Thom Mercuur, Franeker.
Galerie Michael Hasenclever, Munich.
EXHIBITED:
l111

Portrait of the sculptor C. Schrikker
signed and dated AC Willink juni 1919 (upper left)
oil on canvas laid down on canvas
51.5 x 37 cm.
Painted in 1919
4,000-6,000
$4,400-6,500
PROVENANCE:
C. Schrikker, Laren.
Kunsthandel Gebroeders Koch, Amsterdam.
Anonymous sale, Christies, Amsterdam, 3 June 2003, lot 203.
LITERATURE:
W. Kramer, Willink, The Hague, 1973, (illustrated p. 10).

H.L.C. Jaff, Willink, Amsterdam 1980, no. 10 (illustrated p. 201).
94
Amsterdam, Stedelijk Museum, De Brug, 14 January 1933, no. 51.

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

25 March 1933.
L. Haks, G. Maris, Lexicon of foreign artists who visualized
Indonesia 1600-1950, Utrecht 1995,
p. 484.
K. Hofman, Johan van Hell: oprecht bewogen, Amsterdam 1995,
p. 21.
C. Blotkamp, Magie en Zakelijkheid. Realistische Schilderkunst in
Nederland 1925-1945, Zwolle 1999, pp. 171-172.
C. Roodenburg, Van Hell, Warnsveld 2005, no. S100 (illustrated
p. 91) and no. 94 (illustrated p. 66).
95
l113

Standing nude
PROVENANCE:
S. Nienhuis, Amsterdam.
C.J.M. Verbeek, s-Hertogenbosch.
Kunstgalerij Albricht, Oosterbeek.
Anonymous sale, Christies, Amsterdam 9 June 1998, lot 228.
Acquired at the above sale by Kunsthandel Loek Brons, Amsterdam.
signed Jan Sluijters (upper left)

oil on canvas
100 x 80.5 cm.
Painted circa 1930
25,000-35,000
96
$28,000-38,000
- Netherlands Institute for Art History: sluijters.rkdmonographs.nl.
114

A landscape, Mallorca
PROVENANCE:

oil on canvas
40.5 x 49 cm.
Painted in 1914
30,000-50,000
Kunsthandel M.L. de Boer, Amsterdam.

Acquired from the above by the present owner circa 1965.
$33,000-55,000
97
115
JAN MANKES (1889-1920)

Lijster tussen bloesem
signed J Mankes (lower right)
oil on canvas
25.5 x 20.5 cm.
Painted in 1912
50,000-70,000
$55,000-76,000
PROVENANCE:
G.A. van Rede, Rotterdam, 1927.

J.A.A.M. van Es, Wassenaar, 1950.
EXHIBITED:
Utrecht, Utrechtsche Kunsthandel, Eere-tentoonstelling Jan Mankes,

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

p. 59.
A. Plasschaert, J. Havelaar & A. Mankes-Zernike, Jan Mankes,
Wassenaar 1927, p. 56.
A. Mankes-Zernike, R.N. Roland Holst, Jan Mankes, Wassenaar
1927, p. 57.
A. Ottevanger (a.o.), Jan Mankes 1889-1920, Zwolle 2007, no.
80 (illustrated p. 191).
Jan de Lange, Jan Mankes, een kunstenaarsleven in brieven 19101920, Zwolle 2013, p. 262.
98
After the retirement of his father, in 1909, Jan Mankes left Delft for the rustic
countryside of Friesland in the north of The Netherlands.
Here Mankes had more room for his animals, which were his favourite subject
to paint. He worked with small animals like rabbits, goats and mice. However,
he specifcally loved birds. Owls, crows and the thrush, probably sent to Mankes
by his maecenas A.A.M. Pauwels, who would supply him with all the materials,
including animals, he would need.
Mankes was especially confdent about this present lot Lijster tussen bloesem. In
February 1912 he wrote a letter to A.A.M. Pauwels: Het deed me bijzonder
plezier dat er weer wat bij verkocht is, temeer daar we daar sterk aan twijfelen,
wie weet, komt het nog niet heel goed als de zaak nog wat open blijft, de lijster
zal wel die zijn met de witte bloesems, stellig een der mooiste dingen, wat t
zelfportret is zullen we nog wel hooren. (op.cit. J. De Lange, Jan Mankes: een
kunstenaarsleven in brieven, Zwolle 2013, p. 262)
The thinly painted canvas with its transparent layers and the oblong format refects
Mankes interest in Japanese art. His inspiration came from the Gowanbook
he recieved from a friend in The Hague. The little booklet contained a few
reproductions of Japanese prints and drawings. It stimulated Mankes symbolistic
phase, in which he focused more on inner thruth and ideal beauty than the
technique that was truest to nature. The three values Mankes pursued in his work:
beauty, purity and simplicity, can therefore be recognised in the Lijster tussen
bloesem, where the bird is the ultimate example of Mankes characteristic style.
99
l116
DIRK SMORENBERG
(1883-1960)
Water lilies at the Loosdrechtse
Plassen
signed D. Smorenberg. (lower right)
oil on canvas
50 x 60.5 cm.
2,500-3,500
$2,800-3,800
l117
DIRK SMORENBERG
(1883-1960)
The Loosdrechtse Plassen
signed D. Smorenberg. (lower right)
oil on canvas, unframed
55 x 80.5 cm.
2,000-3,000
100
$2,200-3,300
l118
ADRIAAN HERMAN GOUWE

(1875-1965)
Ploughing
signed A.H. Gouwe. (lower left)
oil on canvas
40 x 86 cm.
Painted circa 1915
7,000-9,000
$7,700-9,800
PROVENANCE:
Acquired directly from the artist by the grandmother of

the present owner.
l119
SAL MEIJER (1877-1965)

Farm in Blaricum
signed Sal Meijer (lower right)
oil on plywood
39.5 x 49.5 cm.
4,000-6,000
$4,400-6,500
PROVENANCE:
Galerie Mokum, Amsterdam.

101
120
EXHIBITED:

A self portrait
chalk on paper
43.5 x 35.5 cm.
Executed in 1913
5,000-7,000
$5,500-7,600
PROVENANCE:
Mrs. A. Gestel - Overtoom, Blaricum.

Anonymous sale, Paul Brandt, Amsterdam, 2 June - 5 June 1981,
lot 1704.
Kunsthandel Monet, Amsterdam.
Kunsthandel Willem Rueb, Amsterdam.
Anonymous sale, Christies, Amsterdam 20 November 2000, lot 221.
102
The Hague, Kunstzaal Schller en Eissenloeffel, Tentoonstelling van Schilderijen en

Teekeningen van Leo Gestel, March - April 1913, no. 70 (illustrated).
Deurne, Museum Dinghuis, Leo Gestel 1881-1941, 1 September 1975 - 7 January
Warmenhuizen, Oude Ursulakerk, Tentoonstelling landschappen van Leo Gestel,
19 June - 14 August 1977, no. 1 (illustrated).
Woerden, Gemeentemuseum Woerden, Tentoonstelling werken Leo Gestel,
17 November - 29 December 1979, no. 37 (illustrated).
Deurne, Museum De Wieger, Honderd jaar later, 1881-1981, 1981 - 1982.
The Hague, Kunsthandel Ivo Bouwman, Leo Gestel, 3 October - 2 November 1981,
Haarlem, Frans Halsmuseum/ Den Bosch, Noordbrabants Museum, Leo Gestel
als modernist; werk uit de periode 1907-1922, 4 June - 16 October 1983, no. 31
(illustrated).
LITERATURE:
N.H. Wolf, in: De Kunst, 1913, no. 268 (illustrated p. 369).

A.B. Loosjes-Terpstra, Moderne kunst in Nederland 1900-1914, Utrecht 1987, p. 143.
A. Venema, De Bergense School, Baarn 1976 (illustrated p. 65).
M. van Noort, Gestel in Bergen, Zwolle 2002 (illustrated p. 30).
121

Chatting ladies
signed Leo Gestel (lower right)
chalk on paper
44 x 54 cm.
Executed circa 1905
10,000-15,000
$11,000-16,000
PROVENANCE:

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

p. 32).
122 no lot
103
123
124
MOISSEY KOGAN (1879-1943)

Seated nude
MOISSEY KOGAN (1879-1943)

Standing nude
bronze relief with a black patina

36.5 x 27.5 cm.
bronze relief with a brown patina

26.5 x 10 cm.
3,000-5,000
104
$3,300-5,500
2,000-3,000
$2,200-3,300
PROVENANCE:
PROVENANCE:
F.J. Sandbergen, his sale, Christies, Amsterdam, 19 March 1985,

lot 685.
F.J. Sandbergen, his sale, Christies, Amsterdam, 19 March

1985, lot 270.
l125
SERGE CHARCHOUNE
(1888-1976)
Untitled
signed and dated Charchoune 44
(lower right)
oil on board
33 x 55 cm.
Painted in 1944
5,000-7,000
$5,500-7,600
PROVENANCE:
Klasema Art, Wouwse Plantage.
l126
PABLO PICASSO (1881-1973)

Wood-owl in lines (Alain Rami 121)
glazed white ceramic vase, painted in brown and black, 1951 , from
the edition of 300, with the MADOURA and EDITION PICASSO
pottery stamps and marks on the base, apparently in very good condition
30 cm. high
Conceived in 1951 and executed in an edition of 300.
5,000-7,000
$5,500-7,600
LITERATURE:
A. Rami, Picasso, Catalogue of the Edited Ceramic Works, 1947-1971,

Madoura 1988, no. 121 (another version illustrated p. 70).
l127

Dove Subject (A.R. 435)
glazed white earthenware vase painted in blue, 1959, numbered
361/500, inscribed R. 128, with the MADOURA PLEIN FEU stamp
and EDITION PICASSO pottery stamp and mark on the underside, in
very good condition
15.5 cm. high
Conceived in 1959 and executed in an edition of 500.
1,500-2,000
$1,700-2,200
105
l128
GEORGE COLLIGNON
(1923 - 2002)
Icone or Argent
signed Collignon (lower left); signed twice,
dated and titled Collignon 72 Icone or
argent (on the reverse)
oil and gold paint on canvas
81 x 100 cm.
Painted in 1972
3,000-5,000
$3,300-5,500
PROVENANCE:
Acquired directly from the artist by the present

owner, circa 1992.
l129
ANS MARKUS (B. 1947)

Godshuizen
signed Ans Markus (lower left)
oil on canvas
Painted in 1996
3,000-5,000
$3,300-5,500
PROVENANCE:
Acquired directly from the artist circa 1996 by

the present owner.
LITERATURE:
A. Frenkel, Tot op de huid, 25 jaar Ans Markus,

Amsterdam 2003, p. 180 (illustrated).
106
l130
HENK HELMANTEL (B. 1945)

A still life with eggs, a jug and a milk churn on a table
signed and dated H.F.N Helmantel 1970 (lower right); signed, dated
and numbered twice H.F.N. Helmantel 14 oct. 1970 no. 20 no 1 N.P
(on the reverse)
oil on board
122.5 x 100 cm.
Painted in 1970
25,000-35,000
PROVENANCE:
Anonymous sale, Christies Amsterdam, 9 June 1998, lot 263.

$28,000-38,000
107
l131
MAURITS CORNELIS ESCHER

(1898-1972)
Butterfies (B. 369)
wood engraving, 1950, on thin wove paper, signed
in pencil and inscribed eigen druk with margins, the full
sheet is laid down on cardboard, paper losses along
the edges, minor retouching in the extreme right edge
of the print, thin lines of discoloration visible in the
upper and lower margins, few soft spots of foxing in
places, otherwise in good condition
S. 340 x 310 mm.; B. 277 x 257 mm.
4,000-6,000
$4,400-6,500
PROVENANCE:
Acquired by the family of the present owner circa 1960.
l!132
MAURITS CORNELIS ESCHER

(1898-1972)
Other World (B. 348)
woodcut and wood engraving printed in colours,
1947, on laid Japan, signed in pencil (strengthened),
inscribed eigen druk, with margins, the sheet loose,
attached with papertape to the mount at upper corners,
slightly timestained, the left edge unevenly cut, fresh
colours, otherwise in very good condition, unframed
B. 317 x 260 mm.; S. 395 x 317 mm.
8,000-12,000
$8,800-13,000
PROVENANCE:
Acquired directly from the artist by Irwin Hersey, New York.

Albert Abrams, New York.
108
l133
MAURITS CORNELIS ESCHER (1898-1972)

Day and Night (B. 303)
woodcut, printed from two blocks in black and grey, 1938, on
Japan, signed in pencil, inscribed eigen druk, with wide margins,
sheet glued to the passepartout along the edges, sheet somewhat
timestained, soft horizontal marks visible in the upper left part of
the sheet, the extreme edges with tears and paper losses, these
covered by the passepartout, few lesser defects, otherwise in
good condition, framed
B. 387 x 675 mm.; S. 503 x 782 mm.
12,000-16,000
$13,000-17,600
PROVENANCE:
Acquired from the artist by the family of the present owner.
134 no lot
109
135
CZESLAW MYSTKOWSKI (1898-1938)

Portrait of a Balinese girl
signed and inscribed C. Mystkowski -Bali- (lower left)
oil on panel
24 x 24.5 cm.
2,000-3,000
$2,200-3,300
PROVENANCE:

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

(1600-1950), Utrecht 1995, no. 230 (illustrated p. 481).
l136
PIET OUBORG (1893-1956)

Portrait of an Indonesian lady
signed with initials PO (upper right)
oil on panel
33 x 25.5 cm.
1,500-2,000
$1,700-2,200
PROVENANCE:
137
THEO MEIER (1908-1982)

Working the sawah
signed and dated Theo Meier 46 (lower right)
oil on canvas
85 x 73.5 cm.
Painted in 1946
20,000-30,000
110
$22,000-33,000
111
138
112
l138
RUDOLF BONNET (1895-1978)

The seashell divers
signed R. Bonnet (lower right)
pastel on paper
65 x 50 cm.
Executed in 1948
10,000-15,000
$11,000-16,000
PROVENANCE:
Gifted by the artist to the father of the present owner in 1949.
l!139
GERARD PIETER ADOLFS (1897-1968)

Kemphanenfokker, Madoera
signed Adolfs (lower centre); signed, dated, numbered and
titled Adolfs 58 no 462 Kemphanenfokker Madoera (on
the reverse)
oil on canvas
65 x 50 cm., unframed
Painted in 1958
3,000-5,000
$3,300-5,500
139
l140
GERARD PIETER ADOLFS (1897-1968)

Cockfght Adoean Djago, Bali
signed Adolfs (lower left); signed, dated, numbered, titled
and inscribed Adolfs 58-59 no 560 Bali Cockfght Adoean
Djago (on the reverse)
oil on canvas
Painted in 1958-59
5,000-7,000
$5,500-7,600
PROVENANCE:
Acquired by the family of the present owner in 1963.
END OF SALE
140
113
INDEX
A
Adolfs, G.P., 139, 140

Altorf, J.C., 12
Hart Nibbrig, F., 101

Hell, J. van, 112
Helmantel, H., 130
Hem, P. van der, 110
Herman, S., 72, 74
Hunziker, F., 69, 70
Paerels, W., 84, 85

Pallandt, C. van, 57
Pechstein, H. M., 44
Permeke, C., 88, 104
Picasso, P., 126, 127
Pougny, J., 40
Kamerlingh Onnes, M., 17

Kelder, T., 81, 105
Kimpe, R., 8
Kogan, M, 123, 124
Rdecker, J., 14, 16, 31, 35

Rysselberghe, Th. van, 62
B
Baljeu, J., 77
Beekman, C., 13, 21, 34
Bonnet, R., 138
Bosma, W., 79
Bouten, A., 4, 5, 7
Brianchon, M., 95
Brusselmans, J., 89
C
Carasso, F., 63
Charchoune, S., 125
Claus, E., 50
Collignon, G., 68, 128
Cosson, J., 23
D
Degouve de Nuncques, W., 25
Delvaux, P., 90, 91
Dijkstra, J., 47, 49
Doesburg, T. van, 2
Dongen, K. van, 102
Doorn, T. van, 78
Dubois, R., 41
L
Lanooy, C., 15
Leck, B. van der, 9, 10, 11
Leusden, W. van, 100
Leyden, E. van, 71
Leyden, K. van, 73
Lipchitz, L., 64
Lubbers, A., 106, 107, 108
S
Schmidt-Rottluff, K., 43
Slevogt, M., 45, 46
Sluijters, J., 51, 52, 53, 54, 56,
113
Smet, G. De, 87
Smorenberg, D., 116, 117
Spilliaert, L., 93
T
Terechkovitch, C., 83
Toorop, C., 82
Toorop, J., 98
Floch, J., 42
Magritte, R., 92
Mankes, J., 115
Markus, A., 129
Martinez, R., 22
Meier, T., 137
Meijer, S., 119
Meurs, H., 109
Mitoraj, Igor, 103
Mondriaan, P., 38, 39
Moss, M., 3
Mystkowski, C., 135
Gestel, L., 36, 37, 48, 55, 58,

59, 99, 114, 120, 121
Gouwe, A. H., 118
Guillaumin, A., 61
Nieweg, J., 24, 29, 30, 33
Zijl, L., 19, 20, 26, 27, 28, 32
E
Ensor, J., 86
Erfmann, F., 97
Escher, M.C., 131, 132, 133
O
Ouborg, P., 136
V
Valtat, L., 60
Vandenbranden, G., 75, 76
Velde, G. van, 65, 66, 67
Verwey, K., 96
Voerman, J., 18
W
Willink, C., 1, 6, 80, 111
Wouters, R., 94
IMPORTANT NOTICES
SYMBOLS USED IN THE CATALOGUE
ALL DIMENSIONS ARE APPROXIMATE
Picture lots are sold framed, unless otherwise stated.

Measurements: height precedes width.
Lot offered without reserve. This lot will be sold

to the highest bidder regardless of the pre-sale
estimate printed in the catalogue.
For each Lot the Buyers Premium is calculated

as 37.75% of the Hammer Price up to a value
of 30,000, plus 31.7% of the Hammer Price
between 30,001 and 1,200,000, plus 22.02%
of any amount in excess of 1,200,000.
+ 21% VAT applies to both the Hammer Price

and the Buyers Premium. The Buyers Premium
is calculated for each lot as 51.25% of the
Hammer Price up to a value of 30,000, plus
45.2% of the Hammer Price between 30,001
and 1,200,000, plus 35.52% of any amount in
excess of 1,200,000.
On occasion, Christies has a direct financial
interest in lots consigned for sale which may
include guaranteeing a minimum price or
making an advance to the consignor that is
secured solely by consigned property.
This lot is owned in whole or in part by Christies.

~ Import restrictions may apply or a CITES
Licence might be required as this lot contains
material from endangered species.
ARTISTS RESALE RIGHT REGULATIONS
(DROIT DE SUITE/VOLGRECHT)
If a lot is affected by this right it will be identified
with the symbol next to the lot number. The
buyer agrees to pay to Christies an amount
equal to the resale royalty. Resale royalty applies
where the price realised (Hammer and premium)
is 3,000 Euro or more. The amount cannot be
more than 12,500 Euro per lot. The amount is
calculated as follows:

Royalty: For the portion of the Hammer Price

and Premium (ex VAT in Euro)
4.00%
3.00%
1.00%
0.50%
0.25%
up to 50,000
between 50,000.01 and 200,000
between 200,000.01 and 350,000
between 350,000.01 and 500,000
in excess of 500,000
IMPORTANT NOTICES
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which it
owns in whole or in part. Such property is identified in the
catalogue with the symbol next to its lot number.
On occasion, Christies has a direct financial interest in
lots consigned for sale, which may include guaranteeing
a minimum price or making an advance to the consignor
that is secured solely by consigned property. Where
Christies holds such financial interest on its own we
identify such lots with the symbol next to the lot number.
Where Christies has financed all or part of such interest
through a third party the lots are identified in the catalogue
with the symbol u. When a third party agrees to finance
all or part of Christies interest in a lot, it takes on all
or part of the risk of the lot not being sold, and will be
remunerated in exchange for accepting this risk based on
a fixed fee if the third party is the successful bidder or on
the final hammer price in the event that the third party
is not the successful bidder. The third party may also bid
for the lot. Where it does so, and is the successful bidder,
the remuneration may be netted against the final purchase
price. If the lot is not sold, the third party may incur a
loss. Please see http://www.christies.com/financialinterest/ for a more detailed explanation of minimum price
guarantees and third party financing arrangements.
Where Christies has an ownership or financial interest in
every lot in the catalogue, Christies will not designate each
lot with a symbol, but will state its interest in the front of
the catalogue.
CONDITION REPORTS
Christies catalogues include references to condition only
in descriptions of multiple works (such as prints, books
and wine). For all other property, only alterations or
replacement components are listed. Please contact the
Specialist Department for a condition report on a particular
lot. Condition reports are provided as a service to interested
clients. Prospective Buyers should note that descriptions of
property are not warranties and that each lot is sold as is.
PROPERTY INCORPORATING MATERIALS

FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective of
percentage) endangered and other protected species of
wildlife are marked with the symbol ~ in the catalogue.
Such material includes, among other things, ivory,
tortoiseshell, crocodile skin, rhinoceros horn, whale
bone and certain species of coral, together with Brazilian
rosewood. Prospective purchasers are advised that several
countries prohibit altogether the importation of property
containing such materials, and that other countries
require a permit (e.g., a CITES permit) from the relevant
regulatory agencies in the countries of exportation as well
as importation. Accordingly, clients should familiarise
themselves with the relevant customs laws and regulations
prior to bidding on any property with wildlife material if
they intend to import the property into another country.
Please note that it is the clients responsibility to determine
and satisfy the requirements of any applicable laws or
regulations applying to the export or import of property
containing endangered and other protected wildlife material.
The inability of a client to export or import property
containing endangered and other protected wildlife material
is not a basis for cancellation or rescission of the sale. Please
note also that lots containing potentially regulated wildlife
material are marked as a convenience to our clients, but
Christies does not accept liability for errors or for failing to
mark lots containing protected or regulated species.
...HOME JAMES!
As an additional service to Buyers, Christies can arrange
delivery for purchased lots via Crown Fine Art within the
Netherlands.
The charges per delivery (i.e. one or multiple lots shipped
to the same address) are as follows:
Deliveries within postal code areas starting with 10 or 11:
For small items (i.e. those that can be carried by one
person): 85 (incl. VAT) per delivery.
For large items (i.e. those that require two persons):
150 (incl. VAT) per delivery.
Deliveries to all other areas in the Netherlands:
For small items: 150 (incl. VAT) per delivery
For large items: 250 (incl. VAT) per delivery
Full payment of the purchased lots is required before actual
delivery can take place.
It is the clients responsibility to ensure that they arrange
adequate insurance cover for their property. If required,
Crown Fine Art can arrange insurance and will be pleased
to provide a quotation on request. For items that need to
be hoisted up, please ask for a separate quotation.
Please contact Crown Fine Art at +31 (0)20 658 33 80, if
you are interested in the above service, and if you would
like to discuss further details such as time of delivery and
insurance cover. Deliveries will be within one week after
payment of the purchased lots (and transport charges) has
been received, in a time slot of 2 hours.
COLLECTION AND STORAGE CHARGES

To avoid further transport with the risks involved,
buyers are urgently requested to pay and collect their
paid purchases at Christies where lots are available for
collection on any weekday from 09:00 am to 05:00 pm.
Please note that at our discretion some lots may be moved
immediately after the sale to our third party storage
facility at Crown Fine Arts, Gyroscoopweg 19, 1042 AC
Amsterdam,
Tel +31(0)20 658 33 80 or Fax +31(0)20 658 33 99.
These lots will be marked with a red square.
From the moment of transfer, Crown Fine Arts general
terms and conditions will apply. A copy of these terms and
conditions can be requested from Crown Fine Art.
Crown Fine Arts warehouse is open for collection on
every weekday between 8.00 a.m. and 5.00 p.m.
Transfer and storage charges to the transporters will be
payable by the Buyer from the 29th of June 2015 to
Crown Fine Art.
Please note storage charges, if applicable, will be calculated
as follows:
* A fixed administration fee of 11 per lot (with a
maximum of 33 per buyer) excl. VAT.
* Storage charges of 3.25 per day for larger lots and 2.25
per day for smaller lots excl. VAT.
In accordance with Christies Conditions of Sale (Section
B.9) printed at the back of this catalogue, the risk of loss
or damage to purchased Lots shall be borne by the Buyer
from the moment when the Buyers bid is accepted as the
highest bid by Christies at the auction. This means that
Buyers have a legal obligation to pay for their purchases
in full in accordance with the conditions of business, even
if the Lots are subsequently lost or damaged. Buyers are
advised to arrange their own insurance cover as soon as
practicable after the sale.
30/09/14
115
EXPLANATION OF CATALOGUING PRACTICE

PICTURES, DRAWINGS,
PRINTS AND MINIATURES
The following expressions with their accompanying explanations are used by Christies as standard
cataloguing practice. Our use of these expressions
does not take account of the condition of the lot or
of the extent of any restoration.
Buyers are recommended to inspect the property
themselves. Written condition reports are usually
available on request.
Name(s) or Recognised Designation of an Artist
without any Qualification
In our opinion a work by the artist.
* Attributed to
In our opinion probably a work by the artist in
whole or in part.
* Studio of / Workshop of
In our opinion a work executed in the studio or
workshop of the artist, possibly under his supervision.
* Circle of
In our opinion a work of the period of the artist and
showing his influence.
* Follower of
In our opinion a work executed in the artists style
but not necessarily by a pupil.
* Manner of
In our opinion a work executed in the artists style
but of a later date.
* After
In our opinion a copy (of any date) of a work of
the artist.
Signed /Dated / Inscribed
In our opinion the work has been signed/dated/
inscribed by the artist.
With signature / With date /
With inscription
In our opinion the signature/date/inscription
appears to be by a hand other than that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate
date when prefixed with circa) on which the matrix
was worked and not necessarily the date when the
impression was printed or published. Measurements
are taken where possible, from the platemark (P),
otherwise they record the size of the sheet (S) or the
borderline of the subject (L).
* This term and its definition in this explanation
of Cataloguing Practice are a qualified statement as
to authorship. While the use of this term is based
upon careful study and represents the opinion of
specialists, Christies and the consignor assume no
risk, liability and responsibility for the authenticity
of authorship of any lot in this catalogue described
by this term.
116
BUYING AT CHRISTIES
CONDITIONS OF SALE
ABSENTEE BIDS
Christies Conditions of Sale and limited warranty are set

out later in this catalogue. Bidders are strongly encouraged
to read these as they set out the terms on which property is
bought at auction.
Absentee bids are written instructions from prospective buyers

directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies staff will attempt to
execute an absentee bid at the lowest possible price taking into
account the reserve price. Absentee bids submitted on no
reserve lots will, in the absence of a higher bid, be executed
at approximately 50% of the low pre sale estimate or at the
amount of the bid if it is less than 50% of the low pre-sale
estimate.The auctioneer may execute absentee bids directly
from the rostrum, clearly identifying these as absentee bids,
book bids, order bids or commission bids. Absentee
Bids Forms are available in this catalogue, at any Christies
location, or online at christies.com.
Absentee bids must be received at least 24 hours before the
auction begins.
ESTIMATES
Estimates are based upon prices recently paid at auction
for comparable property, condition, rarity, quality and
provenance. Estimates are subject to revision. Buyers
should not rely upon estimates as a representation or
prediction of actual selling prices. Estimates do not include
the buyers premium or VAT. Where Estimate on
Request appears, please contact the Specialist Department
for further information.
RESERVES
The reserve is the confidential minimum price the
consignor will accept and will not exceed the low
pre-sale estimate. Lots that are not subject to a reserve are
identified by the symbol next to the lot number
BUYERS PREMIUM
Christies charges a premium to the buyer on the Hammer
Price of each lot sold at the following rates:
30.25% of the Hammer Price of each lot up to and
including 30,000, plus 24.2% of the Hammer Price
between 30,001 and 1,200,000, plus 14.52% of any
amount in excess of 1,200,000. Buyers premium is
calculated on the basis of each lot individually.
PRE-AUCTION VIEWING
Pre-auction viewings are open to the public free of
charge. Christies specialists are available to give advice and
condition reports at viewings or by appointment.
BIDDER REGISTRATION
Prospective buyers who have not previously bid or
consigned with Christies should bring:
Individuals: government-issued photo identification (such
as a driving licence, national identity card, or passport)
and, if not shown on the ID document, proof of current
address, for example a utility bill or bank statement.
Corporate clients: a certificate of incorporation or if
located in the Netherlands original excerpt of Chamber of
Commerce not older than 4 weeks.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at +31 (0)20 575 52 11 for advice on the
information you should supply.
A financial reference in the form of a recent bank statement
or a reference from your bank. Christies can supply a form of
wording for the bank reference if necessary.
Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies should bring
identification documents not only for themselves but also for
the party on whose behalf they are bidding, together with a
signed letter of authorisation from that party.
To allow sufficient time to process the information, new
clients are encouraged to register at least 48 hours in
advance of a sale.
Prospective buyers should register for a numbered bidding
paddle at least 30 minutes before the auction. Clients who
have not made a purchase from any Christies office within
the last two years and those wishing to spend more than
on previous occasions, will be asked to supply a new bank
reference. For assistance with references, please contact
Christies Credit Department at +31 (0)20 575 52 11.
REGISTERING TO BID ON SOMEONE

ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to
act on the clients behalf. Please note that Christies does
not accept payments from third parties. Christies can only
accept payment from the client, and not from the person
bidding on their behalf.
BIDDING
The auctioneer accepts bids from those present in the
saleroom, from telephone bidders, or by absentee written
bids left with Christies in advance of the auction. The
auctioneer may also execute bids on behalf of the seller
up to the amount of the reserve. The auctioneer will not
specifically identify bids placed on behalf of the seller.
Under no circumstances will the auctioneer place any bid
on behalf of the seller at or above the reserve. Bid steps
are shown on the Absentee Bids Form at the back of this
catalogue.
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated
below 2,200. Arrangements must be confirmed with
the Bid Department at least 24 hours prior to the auction
at +31 (0)20 575 59 50. Fax: +31 (0)20 575 59 74.
Arrangements to bid in languages other than Dutch and
English must be made well in advance of the sale date.
Telephone bids may be recorded. By bidding on the
telephone, prospective purchasers consent to the recording
of their conversation.
AUCTIONEERS DISCRETION
The auctioneer can, acting reasonably: (a) refuse any bid; (b)
move the bidding backwards or forwards in any way he or she
may decide or change the bidding order; (c) withdraw or divide
any lot; (d) combine any two or more lots; (e) in the case of
a mistake (whether or not made by Christies) or a dispute as
to the successful bidder (whether during or after the auction,
including after the fall of the hammer) restart or continue the
bidding, cancel the sale of the lot or resell or reoffer a lot. If any
dispute arises after the auction the auctioneers decision is final.
SUCCESSFUL BIDS
The fall of the auctioneers hammer indicates the final bid,
at which time the buyer assumes full responsibility for the
lot. The results of absentee bids will be mailed after the
auction. Successful bidders will pay the price of the final
bid plus premium plus any applicable VAT.
PAYMENT
Buyers are expected to pay for purchases immediately after
the auction. Payment can be made in cash, or by bank transfer
in Euros to Christies Stichting Derdengelden: ABN AMRO
Bank (BIC/SWIFT code ABNANL2A), Apollolaan 171,
1077 AS Amsterdam. Account No. 54.76.17.100; IBAN:
NL79ABNA0547617100. By credit card in person at our
cashiers counter (fax or mail transactions are not possible);
Eurocard Mastercard, VISA, American Express (please note a
surcharge will apply).
It is Christies Company Policy not to accept any payments
in cash or cash equivalents of more than 7,500 or the
equivalent value in another currency per annum globally.
All cash payments made at Christies Amsterdam will require
formal identification. If you are active as a private person, this
identification may be a valid passport, European identity card
or driving licence. If you act on behalf of one or more other
persons, identification as above is required for this or those
person(s) in addition to your personal identification. If you act
on behalf of a company, please bring an original extract of the
registration with the Chamber of Commerce (not older than
three months) of your company in addition to your personal
identification.
Source: Dutch Law Mention Unusual Transactions and
Dutch Law Identification Service rendering.
Cheques and drafts should be made payable to Christies
Amsterdam B.V. Only Certified Bank Cheques i.e. those
cheques that are drawn on the bank, can be accepted as form
of payment in cases of immediate collection. Identification
as above may be required and a limit may apply. For further
information call the Cashier at +31 (0)20 575 52 11.
Please note that Christies will not accept payments for
purchased Lots from any party other than the buyer, unless
otherwise agreed between the buyer and Christies prior to
the sale.
LOCAL TAXES AND VAT

If a Lot is marked + or !, it will have a special VAT
status and will be subject to higher rates as follows:
! : Lot is imported from outside the EU. For each Lot the
Buyers Premium is calculated as 37.75% of the Hammer
Price up to a value of 30,000, plus 31.7% of the Hammer
Price between 30,001 and 1,200,000, plus 22.02% of any
amount in excess of 1,200,000.
+ : 21% VAT applies to both the Hammer Price and the

Buyers Premium. The Buyers Premium is calculated for
each lot as 51.25% of the Hammer Price up to a value
of 30,000, plus 45.2% of the Hammer Price between
30,001 and 1,200,000, plus 35.52% of any amount in
excess of 1,200,000.
VAT
REFUNDS FOR BUYERS OUTSIDE THE EU
VAT charged on both the Hammer Price and the Premium
may be refunded provided the following conditions are met:
- Property must be exported from the EU within 2 months
of the date of the sale.
- Christies must be provided with proof of export bearing
the original customs stamp from the point of export from the
EU. Netherlands tax authorities will not accept photocopies.
- The purchase invoice must be addressed to a party resident
outside of the EU.
Christies remains liable to account for VAT on all Lots
unless the conditions listed above are satisfied. Therefore
Buyers will generally be asked to initially deposit all amounts
of VAT invoiced. To apply for a refund the appropriate
export evidence must be sent to Christies accounts
department clearly marked VAT REFUND. There will
be an administration charge of 35 payable to Christies for
this service.
An immediate refund of VAT is possible if shipping is
arranged by Christies within 2 months of the date of the sale.
SHIPPING
A shipping form is enclosed with each invoice to buyers
outside of the Netherlands. It is the buyers responsibility
to pick up purchases or make all shipping arrangements.
After payment has been made in full, Christies can arrange
property packing and shipping at the buyers request and
expense. Buyers should request an estimate for any large
items or property of high value that require professional
packing. For more information please contact the Shipping
Department at +31 (0)20 575 52 52.
INSURANCE AND STORAGE

Buyers are advised to arrange their own insurance cover as
soon as practicable after the sale.
Please note that (subject to availability of space at
our premises) all uncollected purchases may be transferred
to third party storage at your expense if you fail to arrange
timely collection or to issue instructions for shipping.
VAT
BUYERS FROM WITHIN THE EU
Buyers who are resident outside The Netherlands, but within
the EU, and who have obtained a valid VAT identification
number that has been made known to Christies before or
immediately after the sale, and who furthermore comply with
all other conditions specified by Christies, will be eligible
for a VAT rate of 0 %. The buyer guarantees to Christies
the correctness of all information provided. Lots that are sold
in accordance with the above shall be ineligible to be resold
under the Margin Scheme.
EXPORT/IMPORT PERMIT
Overseas buyers are advised to familiarise themselves with any
restrictions or licence requirements relating to their intended
purchases. In case of doubt, buyers are advised to consult their
local customs authority or a reputable international shipper.
Export licences in the Netherlands can usually be obtained
within two to four weeks. Sellers and Buyers are advised
that the Ministry of Education, Culture and Sciences may
designate cultural objects as protected cultural objects, in
which case restrictions with regard to the exportation and
transfer of title of these objects apply. Sellers and Buyers
are further advised that certain objects may fall within the
scope of EU-regulation no 3911/92, as a consequence of
which an export licence from the Ministry of Education,
Culture and Sciences may be required if the objects are to
be exported to a country outside of the EU.
An export licence issued by the Ministry of Agriculture,
Nature and Food Quality, Department CITES will
be required for the export of any item made of, or
incorporating (irrespective of percentage) animal material
such as ivory, whalebone, tortoiseshell, rhinoceros horn
etc. and this generally takes up to 8 weeks. Clients are
advised to check with the regulating body in the country
of importation regarding items within this category - some
countries have an absolute ban on the importation of
certain materials.
22/04/15
117
CONDITIONS OF SALE
The following Conditions of Sale apply to the legal
relationship between Christies Amsterdam B.V.
(hereinafter: Christies) and the participants in the
auctions held by Christies and related activities. By
participating in the auction, the persons who bid at
the auctions held by Christies (hereinafter: Intending
Buyer(s)) accept the applicability of these Conditions
of Sale. Christies therefore request Intending Buyers
to read carefully both the Conditions of Sale and the
definitions of some of the terms used in the catalogue.
For ease of reference, the Conditions of Sale are
divided into sections: Section A gives a background to
some of the terms used in the Conditions generally;
section B to (Intending) Buyers; and section C
contains some general provisions.
at Christies, the purchase agreement between the

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

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

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

1. THE BUYER
(a) The Buyer is the person accepted as the highest
bidder by Christies acting as agents for the Seller. The
decision whether or not to accept a bid shall be made
by Christies. Subject to the provisions of the section
marked Auctioneers Discretion set out in the Buying
118
3. DESCRIPTIONS IN THE CATALOGUE AND

VIDEO IMAGES
(a) All statements of Christies in the catalogue and
condition reports as to the (presumptive) designer,
author, writer, origin, date, age, genuineness, source,
provenance, condition or estimated Hammer Price
of any Lot are statements of opinion only and
shall never imply any guarantee by Christies. All
illustrations in the catalogue serve merely as guidance
for Intending Buyers; they do not provide any
decisive information as to pattern, colours and degree
of damage of any Lot.
(b) Lots may be in imperfect condition. The absence
of any reference in the catalogue to defects in a Lot
does not imply that such Lot is free from defects, nor
does reference to particular defects imply the absence
of others.
(c) Intending Buyers will have to form an opinion
regarding the matters discussed in paragraph (a)
and paragraph (b) above by personal inspection or
otherwise during the previews.
(d) Without prejudice to the provisions in paragraph

(a) and paragraph (b) above, neither Christies nor their
employees or representatives give any guarantee as to
the correctness or completeness of any information
supplied either verbally or in writing about any Lot.
(e) If within one year after the auction the Buyer
proves that a Lot bought by him is a Forgery, the sale
of the Lot shall be cancelled and the Purchase Price
shall be refunded by Christies to the Buyer. The
Buyer should note that this refund can be obtained
only if the following conditions are met:
(i) the Buyer has notified Christies in writing
within one year from the date of the auction that
in his view the Lot is a Forgery;
(ii) the Buyer has within fourteen days after the date
of the notification referred to hereabove under
(i) returned the Lot to Christies in the same
condition as it were in when the Buyer took
delivery of the Lot; and
(iii) the Buyer has at latest upon return of the Lot
produced evidence satisfactory to Christies
that the Lot is a Forgery and that he is able to
transfer the title to Christies, free from any third
party claims.
The right to a refund as contained in this paragraph
shall not exist if either (a) the catalogue description
at the auction date corresponded to the generally
accepted opinion of scholars or experts at that time, or
fairly indicated that there was a conflict of opinions; or
(b) it can be demonstrated that a Lot is a Forgery only
by means of either a scientific process not generally
accepted for use until after publication of the catalogue
or a process which at the date of the auction was
unreasonably expensive or impracticable or likely to
have caused damage to the Lot.
In no circumstance shall Christies be obliged to pay
the Buyer any more than the Purchase Price for the
Lot. The Buyer shall have no claim for interest.
Christies shall be entitled to rely on any scientific or
other process to establish that the Lot is not a Forgery,
whether or not such process was used or in use at the
date of the auction.
The right to a refund as contained in this paragraph is
not capable of being transferred and is solely for the
benefit of the Buyer.
The right to a refund as contained in this paragraph
does not apply to coins, medals and jewellery.
(f) At some auctions there will be a video screen.
Mistakes may occur in its operation, and Christies
shall not be liable to the Intending Buyer regarding
either the correspondence of the image to the
Lot being sold or the quality of the image as a
reproduction of the original.
4. STANDARD CHARGES FOR PURCHASERS
(a) Buyers Premium
Christies charges a Buyers Premium calculated at
30.25% of the Hammer Price for each lot up to and
including 30,000, plus 24.2% of the Hammer Price
between 30,001 and 1,200,000, plus 14.52% of
any amount in excess of 1,20,000. Buyers Premium
is calculated on this basis for each lot individually.
The Buyers Premium does not include shipping or
storage charges. These will be charged separately if
shipping or storage is requested by the Buyer.
(b) Artists Resale Right Regulations (Droit de Suite/
Volgrecht):
If the Artists Resale Right Regulations apply to the lot
the buyer also agrees to pay to us an amount equal to
the resale royalty provided for in those Regulations.
Lots affected are identified with the symbol next to
the lot number.
15/02/13
5. V.A.T.
If a Lot is not marked + or ! in the catalogue,
Christies will offer such Lot for sale under the
Margin Scheme.
If a Lot is marked + or !, it will have a special
V.A.T. status and will be subject to higher rates
as follows:
!: Lot is imported from outside the EU. For each
Lot the Buyers Premium is calculated as 37.75% of
the Hammer Price up to a value of 30,000, plus
31.7% of the Hammer Price between 30,001 and
1,200,000, plus 22.02% of any amount in excess of
1,200,000.
+: 21% V.A.T. applies to both the Hammer Price
and the Buyers Premium. The Buyers Premium is
calculated for each lot as 51.25% of the Hammer Price
up to a value of 30,000, plus 45.2% of the Hammer
Price between 30,001 and 1,200,000, plus 35.52%
of any amount in excess of 1,200,000. The Buyer
must furnish Christies with all relevant information
concerning his V.A.T. position. The Buyer warrants
this information to be correct.
Changes in the V.A.T. status of a Lot may be
communicated by a sale room notice.
6. REGISTRATION OF BIDDERS
Prospective buyers who have not previously bid or
consigned with Christies should bring:
Individuals: government-issued photo identification
(such as a driving licence, national identity card, or
passport) and, if not shown on the ID document,
proof of current address, for example a utility bill or
bank statement.
Corporate clients: a photocopy of the company
register or if located in the Netherlands an original
excerpt of Chamber of Commerce not older than
4 weeks.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies
Credit Department at +31 (0)20 575 52 11 for advice
on the information you should supply.
A financial reference in the form of a recent bank
statement or a reference from your bank. Christies
can supply a form of wording for the bank reference
if necessary.
Persons registering to bid on behalf of someone who
has not previously bid or consigned with Christies
should bring identification documents not only for
themselves but also for the party on whose behalf
they are bidding, together with a signed letter of
authorisation from that party.
To allow sufficient time to process the information,
new clients are encouraged to register at least 48 hours
in advance of a sale.
Prospective buyers should register for a numbered
bidding paddle at least 30 minutes before the auction.
Clients who have not made a purchase from any
Christies office within the last two years and those
wishing to spend more than on previous occasions, will
be asked to supply a new bank reference. For assistance
with references, please contact Christies Credit
Department at +31 (0)20 575 52 11.
7. PAYMENT
The Buyer shall pay the Purchase Price to Christies
within seven days after the auction, failing which he
shall be in default. The Buyer shall owe interest on the
Purchase Price to Christies at a rate equal to the legal
interest plus two percentage points from the moment
he is in default. The Purchase Price includes V.A.T.
The Buyer shall pay the Purchase Price in full even if
a subsequent V.A.T. refund may be granted.
Christies does not accept payment from third parties.
This also applies to agents.
8. RELEASE OF LOTS
(a) Without prejudice to the provision of article
B.2.(a), the title to the objects belonging to the Lot
shall not pass to the Buyer until he has fully paid the
Purchase Price as well as any and all other moneys due
from the Buyer to Christies as a result of any other
purchase agreements. Until such time, Christies shall
have a lien (retentierecht) on the objects belonging
to the Lot.
(b) The Buyer must take away the Lot(s) purchased by
him at his expense within seven days of the auction,
failing which he shall be in default. The period of
seven days mentioned here may be deviated from in
the auction catalogue.
(c) The Buyer shall be liable for the costs of removal,
storage or other costs of any Lot which has not been
taken away by him within the period referred to
in paragraph (b) above. Christies shall have a lien
(retentierecht) on the Lot in respect of said costs.
(d) The Buyer may request Christies to pack a
purchased Lot or to cause the same to be packed. Such
packing shall be done entirely at the discretion of
Christies and at the expense and risk of the Buyer.
(e) Christies does not provide a packing, postal or
delivery service. Christies can suggest the names of
companies that provide these services if requested
to do so. However Christies does not accept
responsibility for any loss or damage which may occur
during packing, storage or transportation of the Lot(s).
(f) Collection of purchases
Christies shall be entitled to retain items sold
until all amounts due to Christies, or to Christies
International plc, or to any of its affiliates, subsidiaries
or parent companies worldwide, have been received
in full in good cleared funds or until the buyer has
performed any other outstanding obligations as we,
in our sole discretion, shall require, including, for
the avoidance of doubt, completing any anti-money
laundering or anti-terrorism financing checks we may
require to our satisfaction. In the event a buyer fails to
complete any anti-money laundering or anti-terrorism
financing checks to our satisfaction, Christies shall be
entitled to cancel the sale and to take any other actions
that are required or permitted under applicable law.
Subject to this, the buyer shall collect purchased lots
within seven calendar days from the date of the sale
unless otherwise agreed between us and the buyer.
9. RISK OF PURCHASED LOTS
The risk of loss or damage to purchased Lots shall
be borne by the Buyer from the moment when the
Buyers bid is accepted as the highest bid by Christies
at the auction. This means that Buyers have a legal
obligation to pay their purchases in full, even if the
Lots are subsequently lost or damaged.
10. DEFAULT OF THE BUYER
(a) If the Buyer is in default, Christies shall be
authorised to sell the Lot(s) purchased by the Buyer
without further notice, either by private or by public
sale. The Buyer shall continue to be liable for the part
of the Purchase Price remaining unpaid after such sale,
while the Buyer shall never be entitled to any surplus
proceeds which may be realised upon re-auctioning.
(b) If, as a result of the Buyers default, Christies are
sued by the Seller or by third parties or if any property
belonging to Christies or the sold Lot(s) is/are seized
by the Seller or by third parties, or if Christies suffer
damage or incur expenses in any other way as a result
of the Buyers default, Christies shall be entitled
to recover from the Buyer all damage suffered and
expenses incurred by Christies as a result thereof.
Christies shall moreover be authorised to disclose the
identity of the Buyer to the Seller or to the said third
parties if the Buyer is in default.
(c) If the Buyer is in default, Christies may reject at

any future auction any bids made by the Buyer.
11. LIABILITY
(a) Without prejudice to the provisions set forth
elsewhere in these Conditions of Sale, Christies are
liable for damage suffered by the Buyer only, if the
occurrence of the damage is the consequence of gross
negligence or intent of Christies or their employees or
representatives.
(b) In the cases referred to in paragraph (a) above the
extent of the liability of Christies for damage suffered
by the Buyer shall be limited to the amount of the
Buyers premium.
(c) The limitation of liability as contained in this
article may also be invoked by the employees and
representatives of Christies.
12. EXPIRATION
(a) The right of the Buyer to annul, rescind or
cancel the purchase agreement or to cause same to
be annulled or rescinded shall expire after one year
from the day on which the purchase agreement is
concluded. If the Buyer decides to exercise any of the
rights set forth above, he shall be obliged to deliver the
objects belonging to the purchased Lot to Christies
forthwith, in the same condition that they were in
when the Buyer took delivery of them, without
prejudice to the provisions of Article B.3.(e) in case
the Lot is claimed to be a Forgery.
(b) The annulment, nullification, rescission or
cancellation of the purchase agreement shall not affect
the Buyers obligation to pay the Buyers premium and
to reimburse the expenses incurred by Christies.
C. GENERAL PROVISIONS (APPLICABLE TO
BOTH BUYERS AND SELLERS)
1. Neither Christies nor their employees nor their
representatives are liable for any damage suffered by
the Seller or the Buyer, as the case may be, as a result
of default of the Buyer or the Seller, respectively.
2. Christies are authorised, without reason given, to
refuse any person admission to the auction premises
and the auction, and also to exclude any person from
making bids for a Lot.
3. Christies are authorised to combine several Lots,
to combine different objects from one and the same
Seller into one Lot, to refuse any bid, to continue the
bidding, to withdraw or to divide a Lot, and in the
event of a dispute about the bidding to put up the Lot
for sale once again immediately.
4. All notifications and communications to Christies
shall be made in writing.
5. The legal relationship between Christies and the
Buyer shall be governed by Netherlands law.
6. Any dispute between Christies and the Buyer
shall be adjudicated by the competent court of
Amsterdam, on the understanding that a Buyer who
is a natural person and who is not acting in pursuance
of a profession or a sale shall have the right, within
a period of 32 days after Christies have invoked this
clause against him in writing, to choose to have the
dispute adjudicated by the court that has jurisdiction
by law.
7. This text is a translation in the English language of
the Dutch Conditions of Sale. The Dutch text shall
be the authentic text in all cases. A copy of the Dutch
text is on public display at our sale premises and is
available on request.
8. The copyright in all images, illustrations and
written material, relating to a Lot is and shall remain
at all times the property of Christies and shall not be
used by the Buyer nor anyone else without the prior
written consent of Christies.
15/02/13
119
WORLDWIDE SALEROOMS AND EUROPEAN OFFICES

AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
+43 (0)1 533 881214

Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova
+91 (98) 1032 2399

Sanjay Sharma
SPAIN
BARCELONA
ISRAEL
TEL AVIV
+34 (0)93 487 8259

Carmen Schjaer
+972 (0)3 695 0695

Roni Gilat-Baharaff
MADRID
+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
PARIS
+33 (0)1 40 76 85 85
GERMANY
DSSELDORF
+49 (0)21 14 91 59 352

Arno Verkade
FRANKFURT
+49 (0)173 317 3975

Anja Schaller
(Consultant)
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
ITALY
MILAN
+39 02 303 2831

ROME
+39 06 686 3333

Marina Cicogna
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+31 (0)20 57 55 255

NORWAY
OSLO
+47 975 800 78

Katinka Traaseth
(Consultant)
PEOPLES REPUBLIC
OF CHINA
BEIJING
+86 (0)10 8572 7900

HONG KONG
+852 2760 1766

SHANGHAI
+86 86 (0)21 6355 1766

Jinqing Cai
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
SWEDEN
STOCKHOLM
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)
SWITZERLAND
GENEVA
+41 (0)22 319 1766

Eveline de Proyart
ZURICH
+41 (0)44 268 1010

Dr. Bertold Mueller
TURKEY
ISTANBUL
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
UNITED ARAB EMIRATES
DUBAI
+971 (0)4 425 5647
+44 (0)20 7839 9060
+44 (0)20 7930 6074

NORTH AND
NORTHEAST
+44 (0)20 7752 3004

Thomas Scott
NORTHWEST AND
WALES
+44 (0)20 7752 3004

Jane Blood
SOUTH
+44 (0)1730 814 300

Mark Wrey
SCOTLAND
+44 (0)131 225 4756

Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN
+44 (0)20 7389 2032

CHANNEL ISLANDS
+44 (0)1534 485 988

Melissa Bonn
(Consultant)
IRELAND
+353 (0)59 86 24996

Christine Ryall
(Consultant)
UNITED STATES
NEW YORK
+1 212 636 2000
PORTUGAL
LISBON
+351 919 317 233

Mafalda Pereira
Coutinho
(Consultant)
ENQ UI RI ES Call the Saleroom or Office

For a complete salerooms & offices listing go to christies.com
E MA I L info@christies.com
14/04/15
120
CHRISTIES SPECIALIST DEPARTMENTS AND SERVICES

DEPARTMENTS
AMERICAN FURNITURE
NY: +1 212 636 2230

AMERICAN INDIAN ART
NY: +1 212 606 0536
IMPRESSIONIST AND
NINETEENTH CENTURY
PICTURES
AMS: +31 (0)20 575 52 82

KS: +44 (0)20 7389 2452
SK: +44 (0)20 7752 3253
AMERICAN PICTURES
INDIAN
CONTEMPORARY ART
NY: +1 212 636 2140
KS: +44 (0)20 7389 2700
ANGLO-INDIAN ART
INDIAN, HIMALAYAN,
SOUTHEAST ASIAN
KS: +44 (0)20 7389 2570

ANTIQUITIES
AMS: +31 (0)20 575 52 20
SK: +44 (0)20 7752 3018
INTERIORS
ARMS AND ARMOUR
SK: +44 (0)20 7389 2236

NY: +1 212 636 2032
KS: +44 (0)20 7389 2020

AUSTRALIAN PICTURES
KS: +44 (0)20 7389 2040

BOOKS AND
MANUSCRIPTS
KS: +44 (0)20 7389 2158

SK: +44 (0)20 7752 3203
BRITISH & IRISH ART
ISLAMIC WORKS OF ART
KS: +44 (0)20 7389 2370

SK: +44 (0)20 7752 3239
JAPANESE WORKS OF ART
AMS: +31 (0)20 575 52 05

JEWELLERY
AMS: +31 (0)20 575 59 15
OLD MASTER PICTURES
AUCTION SERVICES
AMS: +31 (0)20 575 59 58
CORPORATE COLLECTIONS
ORIENTAL CERAMICS
AND WORKS OF ART
PHOTOGRAPHS
Tel: +44 (0)1798 344440

Fax: +44 (0)1798 344442
Email:
norchard @christies.com
SK: +44 (0)20 7389 2292
FINANCIAL SERVICES
POPULAR
ENTERTAINMENT
Tel: +44 (0)20 7389 2317

Fax: +44 (0)20 7389 2204
Email:
nmcallen@christies.com
SK: +44 (0)20 7752 3235
SK: +44 (0)20 7752 3275

POST WAR ART
AMS: +31 (0)20 575 52 82

KS: +44 (0)20 7389 2450
SK: +44 (0)20 7752 3210
HERITAGE AND TAXATION
POSTERS
HOUSE SALES
SK: +44 (0)20 7752 3208

PRINTS
AMS: +31 (0)20 575 52 86

KS: +44 (0)20 7389 2266
RUSSIAN WORKS OF ART
SCULPTURE
PRIVATE SALES
AMS: +31 (0)20 575 52 82
KS: +44 (0)20 7389 2331
US: +1 212 636 2034

Fax: +1 212 636 2035
Email:
jplacent@christies.com
SPORTING MEMORABILIA
VALUATIONS
SCIENTIFIC INSTRUMENTS
BRITISH ART ON PAPER
NY: +1 212 636 2150
KS: +44 (0)20 7389 2278

SK: +44 (0)20 7752 3293
NY: +1 212 606 0565
MARITIME MODELS,
INSTRUMENTS AND
EPHEMERA
BRITISH PICTURES
1500-1850
SK: +44 (0)20 7752 3119
SK: +44 (0)20 7752 3007
KS: +44 (0)20 7389 2945
MARITIME PICTURES
CAMERAS AND
OPTICAL TOYS
AMS: +31 (0)20 575 52 80

SK: +44 (0)20 7752 3284
NY: +1 212 707 5949
TOPOGRAPHICAL
PICTURES
SK: +44 (0)20 7752 3279
MECHANICAL MUSIC
AMS: +31 (0)20 575 52 80

KS: +44 (0)20 7389 2040
SK: +44 (0)20 7752 3291
CARPETS
SK: +44 (0)20 7752 3278
TOYS
AMS: +31 (0)20 575 52 22
MINIATURES
SK: +44 (0)20 7752 3274
CHINESE WORKS OF ART
AMS: +31 (0)20 575 52 05
KS: +44 (0)20 7389 2347

SK: +44 (0)20 7752 3177
TRIBAL AND PRECOLUMBIAN ART
CLOCKS
MODERN DESIGN
PAR: +33 (0)140 768 386
AMS: +31 (0)20 575 52 22
AMS: +31 (0)20 575 52 67

SK: +44 (0)20 7389 2142
TWENTIETH CENTURY
BRITISH ART
AMS: +31 (0)20 575 52 82

KS: +44 (0)20 7389 2920
SK: +44 (0)20 7752 3313
MOTOR CARS
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KS: +44 (0)20 7389 2699
AMS: +31 (0)20 575 59 15
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KEY TO ABBREVIATIONS
AMS:
Amsterdam
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
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06/04/11
121
we are delighted to announce the

recent private sale of this rare klimt
to a major international museum.
GUSTAV KLIMT (18621918)
Medizin (Kompositionsentwurf) Medicine (Concept), 1897

Purchased privately by The Israel Museum, 2014
Christies Private Sales offers

a personalised alternative to auction.
Please contact us for more details.
122
Contact Americas
Contact Europe
Adrien Meyer
ameyer@christies.com
+1 212 636 2056
Libert Nuti
lnuti@christies.com
+44 (0) 20 7389 2441
HENDRIK WILLEM MESDAG (GRONINGEN 1831-1915 THE HAGUE)

Zeilende bomschuiten; return of the feet, Scheveningen
signed and dated HW Mesdag 1896 (lower left); and remnance of a signature and date (lower right)
oil on canvas 63 x 84 cm.
Painted in 1896
80,000120,000
Old Master & 19th Century Art

including Dutch Impressionism
Amsterdam 23-24 June 2015

Viewing
Contact
19-22 June
Cornelis Schuytstraat 57
1071 JG Amsterdam
Sarah de Clercq
sdeclercq@christies.com
+31 (0)20 575 52 81
christies.com
Impressionist/Modern Day Sale

London, King Street 24th June 2015
Viewing
Contact
1823 June
Keith Gill
kgill@christies.com
+44 (0) 20 7389 2175
RAOUL DUFY (1877-1953)

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

Trois poissons sur fond gris (A.R. 396)
engraved terracotta plate
Diameter 41.2 cm.
Conceived on 11 April 1957 and executed in a numbered edition of 175
10,000 15,000
JEAN-PIERRE CASSIGNEUL (B. 1935)

Devant la mer
signed `Cassigneul (lower left); inscribed `Devant la mer (on the reverse)
oil on canvas
27 x 22 cm.
Painted in 1973
15,000 20,000
Picasso Ceramics
London, South Kensington 25 June 2015
Impressionist/Modern
London, South Kensington 26 June 2015
Viewing
Contact
2024 June
85 Old Brompton Road
London SW7 3LD
Imogen Kerr
ikerr@christies.com
+44 (0)20 7752 3177
christies.com
Made in Holland
from golden age to dutch design
Amsterdam 6 October 2015
JAN SCHOONHOVEN (1914-1994);

ARMANDO (B. 1929) AND
HENK PEETERS (1925-2013)
Triptiek Nul
(i) painted tinplates and nails on
chipwood laid down on plywood
Executed in 1962
(ii) painted corrugated cardboard
on chipwood laid down on plywood
Executed in 1964
(iii) feathers on cotton laid down
on plywood
Overall: 90 x 40 cm.
60,000-80,00
Invitation to consign
We are now accepting consignments of Dutch
paintings and decorative works of art, silver,
Delft, photography and design from the 16th
to the 21st century.
Contact
Benthe Tupker
+31 (0)20 5755 957
btupker@christies.com
MODERN ART
TUESDAY 9 JUNE 2015 AT 2.00 PM
Cornelis Schuytstraat 57, 1071 JG Amsterdam
ABSENTEE BIDS FORM

CHRISTIES AMSTERDAM
CODE NAME: AMS

SALE NUMBER: 3056
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taxexemption certificate. Invoices cannot be changed after
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BID ONLINE FOR THIS SALE AT CHRISTIES.COM
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The auctioneer may vary the increments during the
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Auction Results: +44 (0)20 7627 2707
Please also refer to the information contained in Buying at

Christies at the back of this catalogue.
I request Christies to bid on the following lots up to the maximum
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approximately 50% of the low pre-sale estimate or at the amount
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sent to you on the following business day after the sale.
Please contact the Telephone Bid office at least 24 hours in advance
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23/04/13
127
IMPRESSIONIST AND MODERN
expert knowledge beautifully presented
Code
A194
L194
L3
N194
P194
K194
K5
C110
Subscription Title
Impressionist and Modern
Modern Art
Impressionist and Modern Art
(includes German, Austrian and Surrealist Art)
Modern British and Irish Art
Impressionist & Modern Art
Modern British and Irish Art
Swiss Art
Paintings, sculpture and works on paper by the most important artists of the late 19th century through the mid-20th century, including Czanne, Matisse, Monet, Picasso, van Gogh and all those who
forged artistic movements such as Fauvism, Cubism and Surrealism.
Paintings, sculpture and works on paper by Swiss artists from the
early 19th to the late 20th century.
Location
Issues
UKPrice
US$Price
EURPrice
Amsterdam
King Street
2
5
27
143
44
238
40
219
King Street
New York
Paris
South Kensington
South Kensington
Zurich
4
4
2
3
4
2
95
141
38
43
57
48
152
228
61
71
95
76
144
213
57
66
87
72
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128
CHRISTIES
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Stephen Brooks, Global Chief Operating
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Loc Brivezac, Gilles Erulin, Gilles Pagniez,
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Sophie Carter, Company Secretary
CHRISTIES EXECUTIVE
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Jussi Pylkknen, Global President
Stephen Brooks, Global Chief Operating
Officer
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Pedro Girao, Chairman,
Patricia Barbizet, Arpad Busson, Loula Chandris,
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I. D. Frstin zu Frstenberg, Laurence Graff,
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CHRISTIES AMSTERDAM B.V.

Jop Ubbens, Chairman;
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Senior Director
Jetske Homan van der Heide;
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AMSTERDAM BASED CERTIFIED
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Victor Bouman; Sarah de Clercq;
Odette van Ginkel; Jetske Homan van der Heide;
Jop Ubbens.
23/04/13
Copyright, Christies Amsterdam B.V. (2015)
129
130
CORNELIS SCHUYTSTRAAT 57 1071 JG AMSTERDAM

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MODERN ART

INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

Tuesday 9 June 2015

In sending absentee bids or making

Jop Ubbens and Benthe Tupker

Browse this auction and view real-time

These auctions feature

Bid live in Christies salerooms worldwide

View catalogues and leave bids online

INTERNATIONAL HEAD OF THE DEPARTMENT

INTERNATIONAL DIRECTORS AND SENIOR SPECIALISTS

Jetske Homan van der Heide

Hans Peter Keller

SPECIALISTS AND SERVICES FOR THIS AUCTION

Jetske Homan van der Heide

Odette van Ginkel

First initial followed by

Tel: +31 (0)20 575 52 57

Tel: +31 (0)20 575 59 50

+44 (0)20 7839 9060

Tel: +31 (0)20 575 52 55

Tel: +31 (0)20 575 52 11

Tel: +31 (0)20 575 52 52

This auction is subject to

For an overview of the process, see the

CAREL WILLINK (1900-1983)

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

signed and dated Willink 23 (lower left)

THEO VAN DOESBURG (1883-1931)

MARLOW MOSS (1890-1958)

Netty Nijhoff, Biggekerke.

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

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

ARMAND BOUTEN (1893-1965)

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

ARMAND BOUTEN (1893-1965)

Galerie Maris, Haarlem.

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

CAREL WILLINK (1900-1983)

Anonymous sale, Sothebys Mak van Waay, Amsterdam,

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

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

ARMAND BOUTEN (1893-1965)

Galerie Maris, Haarlem.

Deurne, Gemeentemuseum De Wieger, Armand Bouten

REIMOND KIMPE (1885-1970)

Kunsthandel Wending, Amsterdam.

PROPERTY FROM THE COLLECTION OF

HUGO TUTEIN NOLTHENIUS

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

Hugo Tutein Nolthenius

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

BART VAN DER LECK (1876-1958)

Hugo Tutein Nolthenius, Delft.

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

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

BART VAN DER LECK (1876-1958)

Hugo Tutein Nolthenius, Delft.

BART VAN DER LECK

Hugo Tutein Nolthenius, Delft.

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

JOHAN COENRAAD ALTORF (1876-1955)

Hugo Tutein Nolthenius, Delft.

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