Minotaure à la coupe et son amie, 1933-34

Etching, 1933-4
On heavy wove paper, plate size: 87 x 145 mm, sheet size: 227 x 315 mm; with full margins.
Signed in pencil, inscribed 'Pour Lacourière' and '2e E. no 2/4'

PROVENANCE
Roger Lacourière, Paris
Sotheby's, London, 6 October 1976, Lot 90
Private Collection
Christie's, New York, 6 November 1996, Lot 331
There acquired by a Private Collection, Switzerland
By descent until 2020

PRICE
Please contact me

LITERATURE
Bernhard Geiser et Brigitte Baer, Picasso Peintre-Graveur, 373 II/II

One of Picasso's rarest prints. Dedicated by the artist to Roger Lacourière, printer of the Suite Vollard. This is the only known proof of this state, although, judging from the inscription in the lower left, there seem to have been originally 4 proofs. There is one proof of the first state in the Museé Picasso, Paris (MP 2406).

Femme regardant par la fenêtre, 1959
linocut in colors on "Arches"-paper, signed in pencil, a proof apart from the numbered edition of 50
plate: 53,3 x 64,0 cm, sheet: 62 x 75 cm

Catalogue raisonée: Bloch 925; Geiser-Baer 1249

Price: Please contact me

Sculpteur et modèle se regardant dans un miroir calé sur un autoportrait sculpté, 1933

Price: Please contact me

Etching on Montval laid paper with the Picasso watermark, plate: 36,6 x 29,6 cm, sheet: 44,5 x 34,1 cm

Signed in pencil: Picasso

From the total edition of 310, plate 69 from the Vollard suite, printed by Lacourière, Paris, published by Vollard, Paris

Catalogue raisonée:

Bloch 178; Baer 331 Bd.

Le Repos du sculpteur et le modèle au masque
from the "Suite Vollard"
27 March 1933
Etching on paper by „Vergé de Montval“ with watermark „Picasso“, Platesize: 26,7 x 19,4 cm, sheetsize: 44,5 x 34,0 cm
Edition of 260

Catalogue raisonné:
Bloch 159; Baer 312/B.d.

PROVENANCE:
Ambroise Vollard, Saint-Denis, 1865-1939, Versailles
His estate
Henri Marie Petiet, Saint-Prix, Seine-et-Oise, 1894-1980
His estate (with the dry stamp, Lugt 5462)

Price: Please contact me

Le Repos du sculpteur devant des chevaux et un taureau
from the "Suite Vollard"
31 March 1933

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 19,4 x 26,7 cm  
Bloch 166; Baer 319/B.d.
Edition of 260

Price: Please contact me

PROVENANCE
Ambroise Vollard, Saint-Denis, 1865-1939, Versailles
His estate
Henri Marie Petiet, Saint-Prix, Seine-et-Oise, 1894-1980
His estate (with the dry stamp, Lugt 5462)

Minotaure aveugle guidé par une petite Fille au Pigeon, 1934

From La Suite Vollard

Etching and aquatint, on Montval paper with watermark Vollard

Signed lower right in pencil by the artist: Picasso

Plate: 226 x 313 mm; sheet: 340 cm x 450 mm.

From the edition of 260 (there was also an edition of 50 with wider margins)

Catalogue raisonné:
Georges Bloch, Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié, Nr. 224
Bernhard Geiser et Brigitte Baer, Picasso Peintre-Graveur, Nr. 436/B/d

Price: Please contact me

Fugue 17
1968
Oil on canvas, 145 x 97 cm

Price: 24.000 Euro plus VAT

Yoshio Yoshida: An Exciting Rediscovery between Tokyo and Düsseldorf.

The Japanese painter Yoshio Yoshida is an exciting rediscovery. This exhibition features two of his early paintings from 1968, created during his time in Paris. Since 1971, the Tokyo-born artist has lived in Germany. His works are in prestigious collections, including MoMA in New York, the Lenbachhaus and Villa Stuck in Munich, the Von der Heydt-Museum in Wuppertal, and the Kunstpalast Düsseldorf.

Yoshio Yoshida was born in Tokyo in 1940 and studied at the Tokyo School of Fine Arts from 1956 to 1959. In 1969, he moved to Paris to study at the Académie Julian and the École des Beaux-Arts. By 1971, he had relocated to Germany, where he was represented for many years by Galerie Buchholz in Munich. His participation in documenta in Kassel in 1977 marked a significant milestone, followed by solo exhibitions at the Von der Heydt-Museum in Wuppertal and the Pfalzgalerie Kaiserslautern. Yoshida's work has been regularly showcased in solo exhibitions at numerous municipal galleries throughout the Ruhr region. He has also been featured in group exhibitions in Japan, including the Tokyo Municipal Museum and Yokohama Municipal Gallery, and in Germany at venues such as Villa Stuck, Haus der Kunst, and Kunstverein in Munich. In addition Yoshida participates at the Große Kunstausstellung in Düsseldorf since 1980.

Fugue No. 17 and No. 19 are part of a series created in 1968. These works blend traditional and modern elements from European and Japanese art, reflecting Yoshida's unique style.
In his works, Yoshio Yoshida seamlessly combines classical techniques of Japanese painting to achieve a bird's eye view and a flat representation of the scene, while using realistic Western painting techniques to depict individual motifs. The stylized cloud forms from Hokusai's "Red Fuji" are harmonized with the two-dimensional composition of the Cubist style. Forms are constructed from planes, with individual motifs sculpturally defined using shading techniques and in turn brought together by lines, such as the isobars from a weather map, to form a uniform pictorial composition.

Fugue 19
1968
Oil on canvas, 145 x 97 cm

Price: 24.000 Euro plus VAT

Yoshio Yoshida: An Exciting Rediscovery between Tokyo and Düsseldorf.

The Japanese painter Yoshio Yoshida is an exciting rediscovery. This exhibition features two of his early paintings from 1968, created during his time in Paris. Since 1971, the Tokyo-born artist has lived in Germany. His works are in prestigious collections, including MoMA in New York, the Lenbachhaus and Villa Stuck in Munich, the Von der Heydt-Museum in Wuppertal, and the Kunstpalast Düsseldorf.

Yoshio Yoshida was born in Tokyo in 1940 and studied at the Tokyo School of Fine Arts from 1956 to 1959. In 1969, he moved to Paris to study at the Académie Julian and the École des Beaux-Arts. By 1971, he had relocated to Germany, where he was represented for many years by Galerie Buchholz in Munich. His participation in documenta in Kassel in 1977 marked a significant milestone, followed by solo exhibitions at the Von der Heydt-Museum in Wuppertal and the Pfalzgalerie Kaiserslautern. Yoshida's work has been regularly showcased in solo exhibitions at numerous municipal galleries throughout the Ruhr region. He has also been featured in group exhibitions in Japan, including the Tokyo Municipal Museum and Yokohama Municipal Gallery, and in Germany at venues such as Villa Stuck, Haus der Kunst, and Kunstverein in Munich. In addition Yoshida participates at the Große Kunstausstellung in Düsseldorf since 1980.

Fugue No. 17 and No. 19 are part of a series created in 1968. These works blend traditional and modern elements from European and Japanese art, reflecting Yoshida's unique style.
In his works, Yoshio Yoshida seamlessly combines pictorial elements in colors and forms, creating a diverse and ever-changing world. He employs classical techniques of Japanese painting to achieve a bird's eye view and a flat representation of the scene, while using realistic Western painting techniques to depict individual motifs. The stylized cloud forms from Hokusai's "Red Fuji" are harmonized with the two-dimensional composition of the Cubist style. Forms are constructed from planes, with individual motifs sculpturally defined using shading techniques and in turn brought together by lines, such as the isobars from a weather map, to form a uniform pictorial composition.

Self-Portrait with Saskia
1636
Etching, 12 x 11 cm

The New Hollstein (Hinterding/Rutgers) 158/II (v. IV); White/Boon 19/II (v. III)

Price: Please contact me

An interior with elegant figures playing cards and merry-making
Oil on panel
37,9 x 47,2 cm

PROVENANCE
Sir Berkeley Digby George Sheffield, 6th Bt. (1876-1946), Normanby Park, Scunthorpe, Lincolnshire
Christie's, London, 16 July 1943, lot 102, when offered as a pair (75 gns. to Soldman)
Dr. Georg Schäfer-Stiftung (1896-1975), Schweinfurt (according to a label on the reverse)
Auction Neumeister, Munich, 27 February 1999, lot 13 (84,000 DM)
Auction Hampel, Munich, 23 September 2005, Lot 190 (EUR 52.000)
Christies, London, 4 December 2013, Lot 190 (GBP 32.500)
There acquired by Marco Pesarese, Munich
Sold in 2014 to a private collection

PRICE
Please contact me

Cat dressage

Oil on panel, 40 x 31 cm

To be offered by Artcurial in a future sale.

The Young Christ adored by Saint John the Baptist

signed lower left with the artist's device of a winged serpent with elevated wings, and dated: 1534

oil on panel, 35.2 x 23.2 cm.; 13⅞ x 9⅛ in.

Price: Please contact me

Provenance
(probably collection M. Benito Garriga, Madrid)
(probably his sale Hotel Drouot, Paris, 24 March 1890, Lot 2)
Edward R. Bacon (1848–1915), New York
Albert Keller (1879–1939), New York, by 1928
Mr and Mrs Drury W. Cooper, New Jersey, by circa 1935–40
Thence by descent to John M. Cooper (b. 1939), Princeton
By whom anonymously sold, New York, Sotheby's, 12 January 1995, lot 10
Where acquired for a private collection, USA
Whence sold (‘Property from an American Private Collection’), New York, Sotheby's, 28 January 2016, lot 14 (sold for 850,000 USD)
There acquired by a private collector
Sotheby's, London, 8 December 2021, Lot 3, withdrawn as the consignment agreement was never signed by the owner
Hampel auctions, Munich, 29 June 2023, Lot 178 (sold for 971,000 Euro)

Catalogue raisonée
Max J. Friedländer und Jakob Rosenberg: Die Gemälde von Lucas Cranach, Berlin 1932, no. 184. Max J. Friedländer und Jakob Rosenberg: Die Gemälde von Lucas Cranach, Basel und Stuttgart 1979, no. 222.

Exhibited
Düsseldorf, Museum Kunstpalast, Lucas Cranach der Altere: Meister, Marke, Moderne, 8. April – 30 Juli 2017, no. 82.

Literature
Memorial Catalogue of Paintings by old and modern masters collected by Edward R. Bacon, New York 1919, S. 187, no. 241
Memorial Art Gallery, Rochester, New York 1921 (collectin Edward R. Bacon), no. 19
Babette Hartwieg und Dietmar Lüdke, Vier gotische Tafeln aus dem Leben Johannes' des Täufers, Staatliche Kunsthalle Karlsruhe 1994, p. 21/22, ill. 14.
Daniel Görres, in: Gunnar Heydenreich, Daniel Görres und Beat Wismer, Lucas Cranach der Ältere: Meister, Marke, Moderne, München 2017, p. 174, no. 82 und ill. p. 175

Silence, 1997
Acrylic and oil color on canvas
60 × 55 cm

Price: Please contact me

Provenance
Galerie Zink, Regensburg, 1997

Catalogue raisonée
No. YNF7772

Self-Portrait with Saskia
1636
Etching, 12 x 11 cm

The New Hollstein (Hinterding/Rutgers) 158/II (v. IV); White/Boon 19/II (v. III)

Price: Please contact me

The Descent from the Cross by Torchlight
Etching and drypoint
1654
Plate: 21 x 16,3 cm
Sheet: 21,9 x 17 cm
The New Hollstein (Hinterding/Rutgers) 286/I (of IV)
White/Boon 83

Price: Please contact me

PROVENANCE
Wilhelm Eduard Drugulin (1825 – Leipzig – 1879), Lugt 2612
Sotheby, Wilkinson and Hodge, London, 11 June 1866, lot 1360
Dr. August Sträter (1810 – Aix-la-Chapelle  – 1897), Lugt 787
H.G. Gutekunst, Stuttgart, 18 May 1898, lot 719: „Impression of extraordinary beauty, with rich burr, in perfect condition, with margins. From the Drugulin collection. Very rare“.
There acquired by Keppel.
Atherton Curtis ( New York 1863 – Paris 1943), Lugt 94
Gutekunst und Klipstein, Bern, 28 April 1955, lot 94: „Impression of extraordinary beauty, with rich burr, especially in Christ's beard and to the back of the man supporting the corpse; deep black impression on white paper, thereby particularly favourably emphasizing the character of a night scene. In excellent condition, with at least 3 mm margins all around the platemark“.
There acquired by Dr. Louis Karl (owner of Karl & Faber), Munich.
Private collection „P“, not listed in Lugt.

Femme regardant par la fenêtre, 1959
linocut in colors on "Arches"-paper, signed in pencil, a proof apart from the numbered edition of 50
plate: 53,3 x 64,0 cm, sheet: 62 x 75 cm

Catalogue raisonée: Bloch 925; Geiser-Baer 1249

Price: Please contact me

Sculpteur et modèle se regardant dans un miroir calé sur un autoportrait sculpté, 1933

Price: Please contact me

Etching on Montval laid paper with the Picasso watermark, plate: 36,6 x 29,6 cm, sheet: 44,5 x 34,1 cm

Signed in pencil: Picasso

From the total edition of 310, plate 69 from the Vollard suite, printed by Lacourière, Paris, published by Vollard, Paris

Catalogue raisonée:

Bloch 178; Baer 331 Bd.

Portrait of a dwarf (Karl Mader)

1928

oil on canvas, 63,5 x 50 cm

Price: Please contact me

Provenance:
The artist, until 1996
Marie-Louise von Motesiczky Trust, London
from whom acquired in 2010 through Galerie St. Etienne, New York, by a private collector
from whom acquired in 2019 through Fischer Kunsthandel, Berlin, by a private collector

Exhibited:
Vienna, Austria, Wiener Secession, Marie-Louise Motesiczky, 1966, no. 4, illus.
Linz, Austria, Neue Galerie der Stadt Linz, Marie-Louise Motesiczky, 1966, no. 4, illus.
Munich, Germany, Galerie Günther Franke, Marie-Louise Motesiczky, 1967, no. 4, illus.
Bremen, Germany, Kunsthalle Bremen, Marie-Louise Motesiczky, 1968, no. 4, illus.
London, United Kingdom, Goethe-Institut, Marie-Louise Motesiczky. Paintings Vienna 1925 - London 1985, 1985, no. 11, illus. p. 67
Cambridge, United Kingdom, The Fitzwilliam Museum, Marie-Louise Motesiczky. Paintings Vienna 1925 - London 1985, 1986, The Fitzwilliam Museum, no. 11, illus. p. 67
Dublin, Ireland, Royal Hospital Kilmainham, Marie-Louise Motesiczky with 'Figurative Image', 1988, no. 3
Vienna, Austria, Österreichische Galerie, Oberes Belvedere, Marie-Louise Motesiczky, 1994, no. 7, illus.
Manchester, United Kingdom, Manchester City Art Galleries, Marie-Louise Motesiczky. Paintings 1925-93, 1994, , no. 6
Vienna, Austria, Kunstforum Bank Austria, Neue Sachlichkeit, 1995, no. 47, p. 308, illus.
Vienna, Austria, Kunstforum, Jahrhundert der Frauen. Vom Impressionismus zur Gegenwart. Österreich 1870 bis heute, 1999, no. 126, p. 138, illus.
Liverpool, United Kingdom, Marie-Louise von Motesiczky 1906 - 1996. The painter, Tate Liverpool, 2006, no. 13, illus. p. 71
Frankfurt am Main, Germany, Museum Giersch, Marie-Louise von Motesiczky, 2006, no. 13, illus. p. 71
Vienna, Austria, Wien Museum, Who is Marie-Louise von Motesiczky? Malerin zwischen Wien und London, 2007, no. 13, illus. p. 71
Passau, Germany, Museum Moderner Kunst, Marie-Louise von Motesiczky. Eine Retrospektive, 2007, no. 13, illus. p. 71
Southampton, United Kingdom, City Art Gallery, Marie-Louise von Motesiczky, 2007, no. 13, illus. p. 71

Literature:
Elisabeth Freundlich, "Trotz alledem ein guter Ort". 'Die Wiener Secession stellt Bilder von Marie-Louise Motesiczky aus' , Mannheimer Morgen, 25 May 1966, n.p.
Grete Helfgott, 'Bilder von Menschen und Schicksalen', Arbeiter-Zeitung (Vienna) 13 May 1966, n.p., illus.
Johann Muschik, 'Auf Stippvisite in Wien. Marie-Louise Motesiczky zeigt Bilder aus 40 Schaffensjahren', Neues Österreich, 22 May 1966, n.p.
Claus Pack, 'Jubiläum und Besuch' , Die Furche, vol. 22, no. 20, 14 May 1966, n.p.
Benno Reifenberg, 'Marie-Louise Motesiczky', in Marie-Louise Motesiczky, exh. cat. Wiener Secession, Vienna1966, n.p.; also published in exh. cats. Linz 1966, Munich 1967, Bremen 1968 all n.p.; repr. in Marie-Louise von Motesiczky, exh. cat. Österreichische Galerie, Oberes Belvedere, Vienna 1994, p. 11
Hilde Spiel, 'Die Malerin Marie-Louise Motesiczky. Eine Ausstellung in der Wiener Secession' , Frankfurter Allgemeine Zeitung, 19 May 1966, n.p.
Harald Sterk, 'Das Zwischenspiel der Neuen Galerie' , Die Zukunft, no. 11, 1966, p. 25
Larry Berryman, 'Marie-Louise von Motesiczky', Arts Review, 6 December 1985, p. 628
William Feaver, 'Paintings by Marie-Louise von Motesiczky', The Observer, 7 December 1985, n.p.
Hilary Pyle, 'A strong show of works by artists with faith in images', Cork Examiner, 16 December 1988, n.p.
Peter Black, Introduction to Marie-Louise von Motesiczky. Paintings 1925-93, exh. cat. Manchester City Art Galleries, Manchester 1994, p. 6
Jan Tabor, 'Ist es oder ist es nicht? Das Wiener Kunstforum zeigt einen Überblick der Neuen Sachlichkeit in Österreich', Süddeutsche Zeitung, 10/11 June 1995, n.p.
Peter Black, 'Marie-Louise von Motesiczky', Dictionary of Women Artists, ed. Delia Gaze, London/Chicago 1997, p. 992
Laura Philips, 'Hidden in Hampstead'. The life and work of Marie-Louise von Motesiczky, The Jewish Quarterly, vol. 48, no. 4 (184), 2001/2, p. 30
Eva Michel, 'Marie-Louise von Motesiczky 1906-1996. Eine österreichische Schülerin von Max Beckmann', diploma thesis, University of Vienna, 2003, p. 37, illus 43
Elena López Calatayud, Marie-Louise von Motesiczky. Technique and Materials, diploma thesis, Courtauld Institute of Art, 2005, pp. 25, 30-32
Peter Black, 'Portrait Power', The Spectator, 20 May 2006, p. 57
Birgit Sander, 'Marie-Louise von Motesiczky, Max Beckmann and Frankfurt, in Marie-Louise von Motesiczky 1906-1996, exh. cat. Tate Liverpool/Museum Giersch, Frankfurt am Main/Wien Museum, Vienna/Southampton City Art Gallery, 2006, pp. 122 f.
Ines Schlenker, catalogue entry, in Marie-Louise von Motesiczky 1906-1996, exh. cat. Tate Liverpool/Museum Giersch, Frankfurt am Main/Wien Museum, Vienna/Southampton City Art Gallery, 2006, p. 70
Judith von Sternburg, 'Die Tochter. Das Museum Giersch gibt Gelegenheit, die Malerin Marie-Louise von Motesiczky zu entdecken', Frankfurter Rundschau, 29 September 2006, n.p.
Jill Lloyd, The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, New Haven/London, 2007, p. 67
Eva Michel, 'Ein Leben in Bildern. Marie-Louise von Motesiczky zum 100. Geburtstag', Parnass, vol. 27, 2007, pp. 117 f.
Ines Schlenker, Marie-Louise von Motesiczky 1906-1996, A catalogue raisonné of the paintings, Manchester/New York, 2010, pp. 57, 107, no. 22, illus.

This magnificent portrait is one of the most powerful works in Motesiczky's entire oeuvre. Traditionally called 'dwarf' the sitter can very probably be identified as Karl Mader1. He lived in Hinterbrühl, a village south-west of Vienna, where the Motesiczky family spent their summers. Locals remember Karl Mader's small, somewhat deformed stature and speech difficulties.
Motesiczky's half-length portrait does not simply show a dwarf but a self-conscious man who at the same time very attentively and sceptically inspects the viewer. His straight, almost majestic pose expresses proudness and the ambition to make himself appear taller. His rigorous face with the penetrating glance also shows aggressiveness that seems to serve the handicapped sitter as a protection from disrespect and ridicule.
"In her pictures of friends and strangers, of men and women, the spectator is drawn into an exciting dialogue with each model as he comes along. The dialogue (…) leads us far beyond the figure who momentarily confronts us. With a brush that moves cautiously and yet with decision the artist works her way into the essential nature of her partner. Her delicate human sensibility and her feeling for all the modulations and vacillations both of character and colour, her peculiar gift for gentle circumlocution and for ironically sharp expressions and shapes, permit her to abandon all that is conventional in both pose and facial expression. (...) the whole gamut of human possibilities opens up before the eyes of this patient observer and there emerges in each case a complete human being".2
Marie-Louise von Motesiczky was born in Vienna on 24 October 1906. Her father Edmund, a talented amateur cellist who played with Brahms, died when Motesiczky was only three. Her mother Henriette came from an extremely wealthy and cultured Jewish family whose relations included many distinguished names from the social and intellectual life of Vienna, among them the philosopher Franz von Brentano and Robert von Lieben, the inventor of the amplifying valve. The family also made an impact on the origin of psychoanalysis, Motesiczky’s grandmother Anna von Lieben being one of Sigmund Freud’s early patients.
At 13, Motesiczky left school and subsequently attended art classes in Vienna, The Hague, Frankfurt, Paris and Berlin. In 1927/8, she was invited by Max Beckmann to join his master class at the Städelschule in Frankfurt am Main. Beckmann had been introduced to the Motesiczky family in 1920. Beckmann left a strong and lasting impression on Motesiczky both as a person and an artist and was to become a life-long friend and influence. Motesiczky spent a decade quietly developing her artistic skills, exhibiting only once, in 1933, with the Hagenbund. In the wake of the 'Anschluss' in 1938, she abruptly had to flee from Austria with her mother. Motesiczky’s brother Karl, born in 1904, refused to leave and used the family residence in Hinterbrühl near Vienna to shelter Jewish friends. In 1943 he was sent to Auschwitz where he died shortly afterwards.
With her mother, Motesiczky went to Holland where she had her first solo exhibition in 1939. Shortly afterwards they left for England and, after a brief stay in London, settled in Amersham. It was here that Motesiczky met the writer Elias Canetti who became a friend, lover and companion for the next three decades. In 1943, Motesiczky joined the Artists’ International Association and took part in several of their exhibitions. The following year, Motesiczky’s first solo exhibition in London took place at the Czechoslovak Institute. She also renewed her acquaintance with Oskar Kokoschka who had been a friend of the family in Vienna.
After the war, Motesiczky moved to London. Two solo exhibitions in The Hague and Amsterdam in 1952 were followed two years later by one at the Städtische Galerie in Munich and one at the Beaux Arts Gallery in London in 1960. The first success in her native country came in 1966 when the Wiener Secession staged a large solo exhibition which subsequently traveled to Linz, Bremen and Munich.
The artistic breakthrough in the United Kingdom came with the major solo exhibition at the Goethe-Institut in London in 1985 which achieved enormous critical acclaim. By the time the Österreichische Galerie im Belvedere in Vienna held a retrospective exhibition of Motesiczky’s work in 1994 the artist had already established her reputation as an important Austrian painter of the twentieth century.
Several paintings by Motesiczky are in public collections, for example in the Albertina, Vienna, the Tate and the National Portrait Gallery, London, the Stedelijk Museum of Modern Art, Amsterdam  and the Städel Museum, Frankfurt. As Motesiczky refused to sell any of her paintings she kept them in her own house until she died in London on 10 June 1996. Today the Marie-Louise von Motesiczky Charitable Trust keeps the main body of her work.

Vanitas – Three skulls
circa 1930
oil on canvas, 40,5 x 61 cm.
Verso on the stretcher with the stamp of the artist's estate

Price: Please contact me

Georg Scholz is a very interesting German artist, who is well-known for his socially critical paintings of the 1920s. He was a student of Hans Thoma and Lovis Corinth. Scholz was a leading figure of the Neue Sachlichkeit (New Objectivity), a group of artists who practiced a cynical form of realism. In 1925, he was appointed a professor at the Baden State Academy of Art in Karlsruhe. With the rise to power of the Nazis in 1933, Scholz was dismissed from his teaching position. Declared a Degenerate Artist, his works were among those seized in 1937 and he was forbidden to paint in 1939.

The present work is a timeless Vanity and a visionary painting at the same time, given the tragic events that would evolve soon after its creation.

PROVENANCE
Estate of the artist
Gallery Hasenclever, Munich
Gallery Michael Haas, Berlin
Collection Rüdiger Hurrle, Durbach
Bassenge, Berlin, 12 June 2021, lot 8493
Private collection, Germany

LITERATURE
Felicia H. Sternfeld, Georg Scholz 1890-1945, Frankfurt am Main 2004, Nr. 91, pp. 383, 487

EXHIBITION
Berlin, Gallery Michael Haas, Stillleben. gestern und heute, 2015, p. 50
Durbach, Museum für Aktuelle Kunst Sammlung Hurrle, Das Lied der Dinge. Stillleben im Wandel der Kunst, Museum für Aktuelle Kunst Sammlung Hurrle, Durbach 2018

Two embracing putti

Oil on paper, 23,5 x 25,2 cm

Price: Please contact me

Lorenzo Pasinelli was a native of Bologna. There he studied under Simone Cantarini, one of Guido Reni’s most talented pupils. Cantarini had developed a more fluid, free manner in his later career, and his light brushwork would influence Pasinelli’s own expressive style. After Cantarini died in 1648, Pasinelli worked three years under Flaminio Torri before setting out alone, establishing his own successful workshop as one of Bologna’s leading masters. He subsequently worked in Mantua and Rome, and received prestigious international commissions from Leopold I, Holy Roman Emperor (1640-1705) and Hans-Adam I, Prince of Liechtenstein (1662-1712) among others.

Pasinelli painted this refined and characteristic composition of two putti in monochrome oil. This technique played an important role in the artist's creative process and working methods. His monochromes were initially conceived as an intermediary stage in the creation of finished paintings. But as collectors and patrons were very interested in these studies, Pasinelli recognized their great commercial potential. So it is very well possible that our sheet was not intended as a preparatory sketch but as a highly attractive work for collectors.

I am grateful to Prof. Daniele Benati for confirming the attribution to Lorenzo Pasinelli based on high resolution images.

PROVENANCE
Private Collection, Paris

Dalmatian
1906
Oil on canvas, 56 x 87 cm

Price: Please contact me

PROVENANCE
Eduard Staffel, Witzenhausen (a friend of the artist)
thence by descent
Private collection, Germany

LITERATURE
Franz Hermann Meißner, Das Werk Richard Müllers, Dresden 1921, pp. 134-136, plate 43.
Corinna Wodarz, Symbol und Eros. Die Bildwelten Richard Müllers (1874–1954) mit dem Katalog des Gesamtwerks. Göttinger Beiträge zur Kunstgeschichte, vol 1, Göttingen 2002, no. M 1906.03.

Le Repos du sculpteur et le modèle au masque
from the "Suite Vollard"
27 March 1933
Etching on paper by „Vergé de Montval“ with watermark „Picasso“, Platesize: 26,7 x 19,4 cm, sheetsize: 44,5 x 34,0 cm
Edition of 260

Catalogue raisonné:
Bloch 159; Baer 312/B.d.

PROVENANCE:
Ambroise Vollard, Saint-Denis, 1865-1939, Versailles
His estate
Henri Marie Petiet, Saint-Prix, Seine-et-Oise, 1894-1980
His estate (with the dry stamp, Lugt 5462)

Price: Please contact me

The Bathhouse, circa 1496-97

woodcut on paper, 39,0 x 28,2 cm, watermark Imperial Orb (M. 53), a very fine, rare lifetime Meder b impression

Price: Please contact me

Dalmatian, 1906

Oil on canvas, 56 x 87 cm

Monogramed and dated upper left: RM/06

Price: Please contact me

PROVENANCE
Eduard Staffel, Witzenhausen (a friend of the artist)
thence by descent
Private collection, Germany

LITERATURE
Franz Hermann Meißner, Das Werk Richard Müllers, Dresden 1921, pp. 134-136, plate 43.
Corinna Wodarz, Symbol und Eros. Die Bildwelten Richard Müllers (1874–1954) mit dem Katalog des Gesamtwerks [= calatalogue raisonné], Göttinger Beiträge zur Kunstgeschichte, vol 1, Göttingen 2002, no. M 1906.03.

- one of the artist's masterpieces
- incredibly precise brushwork
- psycholigically profound and life-like portrait of a dog
- never offered on the art market before

Richard Müller was a fascinating German artist with extraordinary skills. At the young age of 14 he started to work at the Royal Saxon Porcelain Manufactory in Meissen just outside of Dresden. In 1890, at only 16, he was admitted, as one of the youngest students ever, to the Academy of Fine Arts in Dresden. Richard Müller was a shooting star of his time. He received numerous prices including a gold medal at the Paris Exposition and was appointed to a professorship at the Dresden Academy. There he was helping to establish the Neue Sachlichkeit (New Objectivity) movement and was the teacher of Otto Dix and Georg Grosz. Müller's work has been largely forgotten, until relatively recently, because of his ambiguous role during the Nazi era. In 1933 he became a member of the Nazi party and president of the Dresden Academy of Fine Arts. In the same year he supported Otto Dix's dismissal from the Academy. But only two years later Müller was excluded from the Nazi party and expelled from the Academy himself because of "subversive tendencies" in his art . After the war Müller remained in Dresden during the years of Communist rule and suffered for his supposed complicity with the Nazis. He was not allowed to exhibit his work and lived as an artistic and social outcast.

This fascinating portrait of a Dalmatian unites a masterly painting technique that approaches photo-realism with a deep psychological understanding that vibrantly brings to live the represented creature.

The Descent from the Cross by Torchlight

Etching and drypoint

1654

Plate: 21 x 16,3 cm; Sheet: 21,9 x 17 cm

The New Hollstein (Hinterding/Rutgers) 286/I (of IV)
White/Boon 83

Price: Please contact me

PROVENANCE
Wilhelm Eduard Drugulin (1825 – Leipzig – 1879), Lugt 2612
Sotheby, Wilkinson and Hodge, London, 11 June 1866, lot 1360
Dr. August Sträter (1810 – Aix-la-Chapelle – 1897), Lugt 787
H.G. Gutekunst, Stuttgart, 18 May 1898, lot 719: „Impression of extraordinary beauty, with rich
burr, in perfect condition, with margins. From the Drugulin collection. Very rare“.
There acquired by Keppel.
Atherton Curtis ( New York 1863 – Paris 1943), Lugt 94
Gutekunst und Klipstein, Bern, 28 April 1955, lot 94: „Impression of extraordinary beauty, with rich
burr, especially in Christ's beard and to the back of the man supporting the corpse; deep black
impression on white paper, thereby particularly favourably emphasizing the character of a night
scene. In excellent condition, with at least 3 mm margins all around the platemark“.
There acquired by Dr. Louis Karl (owner of Karl & Faber), Munich.
Private collection „P“, not listed in Lugt.

This is the most beautiful impression on the market, with rich burr and at least 3 mm margins all
around the platemark. The condition is impeccable.

The Descent from the Cross by Torchlight is one of Rembrandt's most dramatic prints. The
composition is ingenious. The focus of attention is led not to the centre but to the upper left. The
whole movement of the scene starts there with the grisly detail of the nail through Christ's right
foot. A man is hammering it out of the foot to finally detach Christ from the cross. Next to him
stands a man who holds the torch, the only source of light. Typically for Rembrandt he thought
through in detail how the removal from the cross would work. Two men on a ladder are carefully
lowering the large cloth in which Christ is wrapped. The man seen from behind is holding the
corpse and one can feel the full weight of the body he is bearing. An almost magically illuminated
hand comes out of the gloom to the right, as another man comes to his assistance. The foreground is
dominated by the bier, which is the destination for Christ's body and where the movement through
the composition initiated at the upper left will come to an end. One of the main characters, Joseph
of Arimathea, who is draping the sheet, is in the shadow and can be seen only upon closer
examination. The same is true for Rembrandt's signature and the date, which the artist has almost
hidden in the drapery of the sheet.

Still-life with laurel and Dante's Divine Comedy, 1928
Oil on panel, 69,9 × 49,7 cm
Signed upper right: Seewald
Signed, titled and dated in red chalk on the reverse:
Seewald „Stilleben mit Lorbeer“ 1928

Price: Please contact me

• exemplary still-life of the Neue Sachlichkeit (New Objectivity) movement
• probably the best surviving work of the artist
• one of the very rare works as the artist burnt 150 of his paintings
• from the collection of August Sander, one of the most important photographers of the early twentieth century

PROVENANCE
August Sander, Cologne
Thence by descent until 2021
Grisebach, Berlin, Sander Collection, 10 June 2021, lot 658

EXHIBITION
Richard Seewald 85 Jahre. Bilder, Zeichnungen, Graphik 1912-1973. Munich, Galerie Wolfgang Ketterer, 1973/74, cat. no. 12, ill.
Zeitgenossen. August Sander und die Kunstszene der 20er Jahre im Rheinland. Cologne, Josef-Haubrich-Kunsthalle and Kiel, Kunsthalle, 2000, cat. no. 487, ill. p. 121
Los progresistas de Colonia. August Sander y su círculo de amigos. 1920-1933. Valladolid, Museo de Pasión, Sala Municipal de Exposiciones, 2012/13, unnumbered, ill. p. 61

A note on the provenance:
August Sander (17 November 1876 – 20 April 1964) was the most important German portrait photographer of the early twentieth century. He also built an extraordinary art collection of Neue Sachlichkeit (New Objective) paintings.

Richard Seewald, draughtsman, painter and illustrator, was born in Arnswalde on 4 May 1889. In 1909 Seewald began to study architecture at Munich Polytechnic (now Technical University) but soon turned to painting, in which he was self-taught. In 1911 he had his first exhibition at the Galerie Thannhauser in Munich. Seewald was a member of The "New Secession", which was founded in Munich in December that same year, and soon also joined the "Deutscher Künstlerbund". Seewald began to illustrate books such as "Robinson Crusoe", "Penthesilea" and his own first book, "Tiere und Landschaften". At the age of only thirty-five, Seewald was appointed to a teaching position at the Werkschule in Cologne in 1924.
The cultural and political changes that were taking place in Germany made Richard Seewald decide in 1931 to settle at Ronco sopra Ascona in Switzerland, where he joined the artist's group "Der Große Bär" and became a honorary citizen in 1939. A convert to Catholicism by that time, Richard Seewald received commissions for frescoes in churches and other ecclesiastical buildings. Seewald did not return to Germany until 1948 and was not reintegrated in the cultural life of his native country until 1954.
Appointed professor at the Munich Fine Art Academy, Richard Seewald left four years later after differences of opinion with the board of governors. On his wife's death, Richard Seewald burnt about one hundred and fifty of his pictures as well as hundreds of sketches, designs and letters. In the late 1960s Seewald frescoed the arcades of the Munich Hofgarten and designed windows for the Herz-Jesu-Kirche [Church of the Sacred Heart] in Munich-Neuhausen among others. Richard Seewald died in Munich on 29 October 1976.

This is an exemplary work of the Neue Sachlichkeit (New Objectivity) movement, which was a reaction against Expressionism. Our still-life is carefully composed and balanced in beautiful order. The everyday objects are depicted with calm precision. This is characteristic for the painters of the New Objectivity who intended to make visible the magic of the normal world as it presents itself to us when we really look at it. An edition of Dante's divine commedy which is prominently placed on the chair  points to a meaning beyond the beautifully arranged objects in the present to a fantastic vision of the after-life.

Minotaure aveugle guidé par une petite Fille au Pigeon, 1934

From La Suite Vollard

Etching and aquatint, on Montval paper with watermark Vollard

Signed lower right in pencil by the artist: Picasso

Plate: 226 x 313 mm; sheet: 340 cm x 450 mm.

From the edition of 260 (there was also an edition of 50 with wider margins)

Catalogue raisonné:
Georges Bloch, Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié, Nr. 224
Bernhard Geiser et Brigitte Baer, Picasso Peintre-Graveur, Nr. 436/B/d

Price: Please contact me

Massacre of the Innocents, after Peter Paul Rubens
with pencil inscription ‘eugène delacroix’ and ink number ‘503’ (verso)
graphite, point of the brush and brown ink, watermark figure on a globe with letters VDL, 23.2 x 32.2 cm

PROVENANCE
The artist’s studio estate (L. 838a).
Unidentified collector’s mark ‘C.R.’ (L. 630, twice).

Price: Please contact me

The present drawing, executed in Delacroix’s characteristic style and technique, was
drawn after an engraving by Paulus Pontius (1603-1658) which in turn depicts Rubens’
celebrated and monumental picture in the Alte Pinakothek Munich in reverse.
The painting shows the gruesome execution of all male infants in Bethlehem on King Herod’s
commend. Delacroix chose to zoom in on a group of women protecting their children,
focusing the viewer’s attention to the personal drama of these mothers. With controlled
brushwork and carefully applied pools of wash, Delacroix brings this exceptionally
emotionally charged moment to life. He paid particular attention to the mother at top left,
who is worked up with carefully applied graphite. The infants shown at right furthermore
display Delacroix’s great skill with the brush; the particularly lose brushwork gives them an
almost calligraphic quality which brings the work of traditional Chinese art to mind. As is the
case with many other drawings by the artist after Rubens, Delacroix treated the original
composition with some liberty; the infant at lower right, for example, appears at left of the
mother holding an infant in the print by Pontius.

The Assumpton and Coronaton of the Virgin,
from: The Life of the Virgin
woodcut, 1510, from: The Life of the Virgin, on
laid paper, watermark Tower with Crown and
Flower (Meder 259), a good and even
impression of the Latn text editon of 1511
31 x 22.5 (sheet size)
Bartsch 94; Meder, Hollstein 206; Schoch
Mende Scherbaum 184

Price: Please contact me

PROVENANCE
Stein’s Buchhandlung, Nuremberg (L. 5546).

Two embracing putti
Oil on paper, 23,5 x 25,2 cm

Price: Please contact me

PROVENANCE
Private Collection, Paris

I am grateful to Prof. Daniele Benati for confirming the attribution to Lorenzo Pasinelli based on high resolution images.

Lorenzo Pasinelli was a native of Bologna. There he studied under Simone Cantarini, one of Guido Reni’s most talented pupils and our family's name-giving ancestor. Cantarini had developed a more fluid, free manner in his later career, and his light brushwork would influence Pasinelli’s own expressive style. After Cantarini died in 1648, Pasinelli worked three years under Flaminio Torri before setting out alone, establishing his own successful workshop as one of Bologna’s leading masters. He subsequently worked in Mantua and Rome, and received prestigious international commissions from Leopold I, Holy Roman Emperor (1640-1705) and Hans-Adam I, Prince of Liechtenstein (1662-1712) among others.Pasinelli painted this refined and characteristic composition of two putti in monochrome oil. This technique played an important role in the artist's creative process and working methods. His monochromes were initially conceived as an intermediary stage in the creation of finished paintings. But as collectors and patrons were very interested in these studies, Pasinelli recognized their great commercial potential. So it is very well possible that our sheet was not intended as a preparatory sketch but as a highly attractive work for collectors.

Tête sur fond noir, 1953

Lithograph on Arches wove paper, image: 695 by 543 mm., sheet: 698 by 560 mm.
Cut on all edges

Executed in 1953 in an edition of 50.

Catalogue raisonné:
Georges Bloch, Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié, Nr. 742; Mourlot 241

Price: Please contact me

Le Repos du sculpteur et le modèle au masque
from the "Suite Vollard"
27 March 1933

Etching on „Vergé de Montval“ with watermark „Picasso“, Plate: 26,7 x 19,4 cm
Bloch 159; Baer 312/B.d.
Edition of 260

Price: Please contact me

PROVENANCE
Ambroise Vollard, Saint-Denis, 1865-1939, Versailles
His estate
Henri Marie Petiet, Saint-Prix, Seine-et-Oise, 1894-1980
His estate (with the dry stamp, Lugt 5462)

Le Repos du sculpteur devant un nu à la draperie
from the "Suite Vollard"
27 March 1933

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 26,7 x 19,4 cm
Bloch 160; Baer 313/B.d.
Edition of 260

Price: Please contact me

PROVENANCE
Ambroise Vollard, Saint-Denis, 1865-1939, Versailles
His estate
Henri Marie Petiet, Saint-Prix, Seine-et-Oise, 1894-1980
His estate (with the dry stamp, Lugt 5462)

Le Repos du sculpteur IV
from the "Suite Vollard"
4 April 1933

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 19,4 x 26,7 cm  
Bloch 174; Baer 327/B.d.
Edition of 260

Price: Please contact me

PROVENANCE
Ambroise Vollard, Saint-Denis, 1865-1939, Versailles
His estate
Henri Marie Petiet, Saint-Prix, Seine-et-Oise, 1894-1980
His estate (with the dry stamp, Lugt 5462)

Still life with cauliflower, strawberries, artichoke, radish, peaches and plums

Signed and dated lower left: J. v Kessel f. 1661

Oil on canvas, 71 x 59,5 cm

PROVENANCE
Probably Sir Peter Lely, London (1618-1680)
Sotheby's, London, 6 December 1989, lot 58 (hammer GBP 55.000)
Frye & Sohn, Münster
Private collection, Germany

LITERATURE
J. de Maere/M. Wabbes, Illustrated Dictionary of 17th Century Flemish Painters, III vols, Brussels 1994, p. 678 as Jan van Kessel the Elder
Klaus Ertz/Christa Nitze-Ertz, Jan van Kessel der Ältere, Jan van Kessel der Jüngere, Jan van Kessel der Andere, Lingen 2012, no. 10, p. 472 as Jan van Kessel der Andere

Klaus Ertz published the present painting as by Jan van Kessel "der Andere" (circa 1620-ca. 1661).

Platter (BMW), 1999
blue-white majolica
ø 33 cm

Still life with grapes and a silver Tazza

Oil on panel 70,5 x 58,5 cm.

PROVENANCE
Leonard Koetser, London, New York (by 1964)
Private collection, USA
Sotheby's, New York, 2 June 1989, lot 83
Kunsthandel Pieter de Boer, Amsterdam
European Private collection

PRICE
Please contact me

The array of luxurious objects in this tabletop, including a silver Tazza filled with grapes and an elaborate salt cellar, evokes the prosperity the Dutch enjoyed around the middle of the seventeenth century. The white and grey linen tablecloths are crumpled, which allows the artist to show off his skill in depicting drapery and the sheen of linen through varied effects of light and shade.

New Orders 04 Untitled 01, 2018
Archival Pigment Print, 45 × 60 cm
Edition 4/6

New Orders 04 Untitled 04, 2018
Archival Pigment Print, 45 × 60 cm
Edition 3/6

Fruit still life with grapes, apricots, plums, cherries, quinces and medlars in a basket on a wooden table

Oil on panel, 48,5 x 64,5 cm.

PROVENANCE
Collection M. Dirksen The Hague (according to Gumprecht, but not in his sale Paris 1868)
Collection Hermann Berlin
Collection W. Gumprecht acquired in 1886
his sale, Lepke Berlin 21 march 1928, no. 19 as Frans Ykens
European private collection

EXHIBITION
Ausstellung von Werken der niederländischen Kunst des 17. Jahrhunderts in Berlin , Berlin 1890, no. 334

PRICE
Please contact me

This is a extraordinary beautifully painted fruit still life by the gifted Flemish Baroque painter Jan van der Hecke. He spent some time in Rome and later in Brussels where he worked for Archduke Leopold Wilhelm of Austria, the Austrian governor of the Spanish Netherlands. His still lifes were very sought after by wealthy collectors.

Naturaleza muerta. Pintor fumando en pipa mirando el motivo, 2022
Oil on linen, 81 × 100 cm

Still life with a Roemer, a Lemon on a blue plate and two Roses on a draped table

Oil on canvas, 48 x 39,5 cm. cm.

signed with monogram SL

PROVENANCE
Private collection

PRICE
Please contact me

Beer mug (skeleton), 2022
silver, synthetic ruby + sapphire, cubic zirkonia

Fruit still life with a basket on a silver plate with pears, peaches, grapes, chestnuts and a kendi

Oil on panel, 73 x 105 cm.

Signed lower right: B van der Ast

This is a masterpiece by Balthasar van der Ast, one of the pioneers of the still life genre in the Netherlands. The signed fruit still life with quinces, grapes, medlars and walnuts is magnificently composed, masterfully painted and exceptionally well preserved. It is a real feast for the eyes. The prominently placed wicker basket is overflowing with an abundance of fruit, almost toppling over. The painting also conceals a secret. In the right-hand background is a mysterious, dark vessel. After a thorough research, it was finally possible to find out what it was: It is a kendi from Java, a traditional drinking vessel. Since ancient times, it has played an important role in the rituals of daily life in Indonesia. Its uses ranged from serving water or wine, to administering medicine to bedridden sick people, to being placed on altars at religious ceremonies to purify libations or to offer water as a symbol of purity. The kendi on the still life is evidence of the close trade relations with Southeast Asia in the 17th century, to which the Netherlands owed its immense wealth at that time. Only a few years before Balthasar van der Ast painted his still life with kendi in Delft, the Dutch had conquered Jakarta and soon all of Java. The artist was obviously fascinated by the exotic object and probably as unaware of its great importance within Indonesian culture as the traders of the Dutch East India Company, who had it shipped halfway around the world to sell it on at a great profit.

PROVENANCE
Sale J. Domis-Keyser Alkmaar, 2 June 1766, lot 62
Collection Holle, Vienna
His anonymous sale Plach Vienna, 28 December 1869
Collection Gsell, Vienna until 1872
Auction Gsell, 14 March 1872, lot 2 sold to Scharf
Auction Alexandre Scharf, Paris, 18 March 1876, lot 1
Private collection, France
Remained in the family until 2000
Millon & Associés, Paris, 29 November 2000, lot 82
Kunsthandel Pieter de Boer, Amsterdam
Rafael Valls Ltd., London

LITERATURE
Theodor von Frimmel, Lexikon der Wiener Gemäldesammlungen, Munich 1913/1914, Vol. 2 pp. 84, 207.
W. Kloek, review of the exhibition Van der Ast in Burlington Magazine  CLVIII (July 2016), pp. 576-578

PRICE
Please contact me

Balthasar van der Ast was born in Middelburg. His father, Hans, was a widower and when he died in 1609, Balthasar moved in with his older sister Maria, and his brother-in-law, the prominent Dutch painter Ambrosius Bosschaert the Elder. He was trained by Bosschaert as a still life painter. In turn, the three sons of Ambrosius Bosschaert, Ambrosius the Younger, Johannes and Abraham were trained by van der Ast upon the death of their father. Together the group of painters is sometimes referred to as the Bosschaert dynasty.
Van der Ast accompanied the Bosschaert family in their move in 1615 to Bergen op Zoom and in 1619 to Utrecht, where van der Ast entered the Utrecht Guild of St.Luke. Besides the Bosschaerts, his pupils were Anthony Claesz and Johannes Baers. It’s also likely that Jan Davidsz. de Heem was van der Ast’s pupil in Utrecht.
Van der Ast remained in Utrecht until 1632, when he moved to Delft. In 1633 he married Margrieta Jans van Buijeren. They lived in a House at the `Oude Delft until his death in 1657, when he was buried in the famous Oude Kerk.

from the series 'Eggs and Rarities', 2018
(Eggs and Rarities)
Archival ink on photo rag paper
92 × 69 cm
Edition 1/3

Falling Bird, 2008

Video, Full HD colour video, Sound

5min 54sec

Beer mug (skull), 2022
silver, greywacky, coromandel, quarz

Merry Company
Oil on canvas, 60 x 83 cm

PROVENANCE
Private collection

PRICE
Please contact me

A Midnight Modern Conversation
1733
Etching and engraving, 34,6 x 47,5 cm

Catalogue raisonné:
Paulson 128/III

PROVENANCE
Private collection

PRICE
4.500 Euro

The artist's masterpiece and most famous engraving whose popularity helped spread his fame on the continent. The enormous demand led to the fact that already 14 days after its publication on 1 March 1733, the first copies were already in circulation.

Stormy plate

Cobalt decoration

5 × 46 × 46 cm

GOBELET IN SILVER AND VERMEIL
H.: 11,7 cm / Weight: 262 gr

Estimate: 2.000 - 3.000 €
Artcurial, Paris, 25 November 2022

The Breakfast
Circa 1647-52
Etching and drypoint, 21,9 x 26,1 cm
Watermark: Initials ‚PD‘ (Laurentius watermark no. 27)

Catalogue raisonné:
Davidsohn 50/VIII (of XI); Godefroy and Hollstein 50/VIII (of XII)

PROVENANCE
Sotheby’s , London, 29/30 June 1987, lot 221
Private collection

The „Breakfast“ is one of Ostade’s very finest etchings, marking the highpoint of his carreer. Impressions showing clearly all the work in the background, as the present one, are very rare.

Still life with butter, a white cabbage, meat, fish and garlic
Oil on canvas, 55 x 74 cm

PROVENANCE
Dorotheum, Vienna, 29 June 2022, lot 192

Untitled (Wiad), 2016
nero pencil and coloured pencil on laid paper, 19 × 28 cm

Still life with a white cabbage, a goldcrest, a pumpkin, carrots, green beans and a radish
Oil on canvas, 55 x 74 cm

PRICE
8.000 Euro

Untitled (Machinery), 2016
nero pencil and coloured pencil on laid paper, 19 × 28 cm

The Taste – The Pancake Baker
Circa 1700
After Cornelis Dusart
Mezzotint, 25,3 x 18,1 cm
Watermark: CD GEORGE

Catalogue raisonné:
Hollstein 262/II (of III)

PROVENANCE
E. Fabricius (Lugt 847a and 919bis)

PRICE
2.200 Euro

Still life with a cabbage
1914
Oil on canvas, 46 x 53 cm
signed and dated lower right: Christ B. 3.1914

PRICE
Please contact me

This is a wonderfully balanced still life by Chris Beekman from his pointillistic period. Until his monographic exhibition in the Stedelijk Museum „CHRIS BEEKMAN DE STIJL DEFECTOR“ in 2017 the De Stijl painter was largely forgotten. As an anarchist, he was one of the most politically active artists affiliated with the De Stijl movement.

Eingeletes, 2021
Oil on canvas, 130 × 100 cm

Beer mug (Skull II), 2022

silver, cubic zirconia

Still life with, grapes, cherries, apricots and hazelnuts in a stone niche
Öl on panel, 53 x 40 cm

PROVENANCE
Herzog von Sachsen-Hildenburghausen, Thuringia
Private collection

Paul (the psychic octopus) Krake, 2012

bronze, Dimensions variable, 7 kg

Edition 12/25 + I AP

„Je n’ai jamais tant ri qu’a l’enterrement de la fille Bourdin…“
1862
Lithograph, 19,8 x 26,4 cm.

Catalogue raisonné:
Delteil 3250/II (of III)

PRICE
2.000 Euro

Falada (the drinker), 2010
Oil and charcoal on canvas, 61 × 46 cm

PRICE
Please contact me

Kubismus und Alkohol, 2018
charcoal on cotton, 150 × 110 cm

Eingelegtes, 2021
Oil on canvas, 100 × 75 cm

CUP WITH LID IN GILDED SILVER
H.: 15,5 cm / Weight: 350 gr.

Estimate: 3.000 - 4.000 €
Artcurial, Paris, 25 November 2022

Beer mug, 2022

silver, rutilated quarz, aquamarine glass

CUP WITH LID IN SILVER AND VERMEIL
H.: 1&,5 cm / Weight: 212 gr.

Estimate: 600 - 800 €
Artcurial, Paris, 25 November 2022

Platter, 2005

porcelain, 10 × 35 × 35 cm

Follower of Arcimboldo, Italian, 17th Century

Allegory of the Four Senses: Sight, Sound, Smell and Taste – Anthropomorphic Rock

Oil on canvas, 40,5 x 40,5 cm

PROVENANCE
Private collection, United Kingdom

PRICE
Please contact me

ALBRECHT DÜRER 1471 Nürnberg 1528

“The Second Knot”. Interlaced Roundel with an Amazon Shield in its Center

Circa 1506/07

Woodcut on laid paper, 27,0 x 21, 3 cm

Catalogue raisonné:
Schoch/Mende/Scherbaum 274/IIa (of c)
Meder 274/II a (of c). With the posthumous monogram, printed circa 1560-80.

PROVENANCE
Sir John Denman Barlow, 2nd Baronet (1898 - 1986), until 1949
Colnaghi, London (with their stock no. C 27102)
E.G. Michel  
Private Collection, Germany

The second knot is from a series of prints known as The Six Knots. Albrecht Dürer created this series after a set of engravings which he assumed were by Leonardo da Vinci (1452–1519). It was the only time that Dürer exactly copied a work by an other artist. He very probably saw it as a contest between the two geniuses south and north of the Alps. Of course Dürer wanted to surpass Leonardo and translated the delicate and complex composition into the much more difficult and coarse technique of the woodcut.

The present knot is an artistic tour de force and a celebration of the pure line. The interlaced lines create a self-contained system of perfect symmetry. For Dürer and other Renaissance artists the drawn line was a symbol for creativity and almost divine artistic virtuosity: „Nulla dies sine linea" (Pliny the Elder).

Dürer's knots probably refer to Pliny's story of the contest between Apelles and Protogenes, the two legendary painters of the Greek antiquity: Once, Apelles visited Protogenes, who was not at home. Apelles painted a single fine line on a panel in his competitor's studio. When Protogenes returned and saw this line, he knew that Apelles visited him. He then drew an even finer line over the first one. When Apelles came again, he drew a third line, this time so exquisitely fine that no other could be drawn. Conceding defeat, Protogenes determined that the panel should remain as it was, to be admired for its artistic virtuosity.

Dürer did not include his monogram in the print, because he did not want to claim ownership of Leonardo's design. After Dürer's death the subsequent owner of the woodblock added the initials, which were likely printed from a separate small block.

PRICE
Please contact me

Maze, 2011
Acryl, Siebdruck und Säure auf kupferbeschichteter Leinwand, 190 × 190 cm

PRICE
35.000 Euro plus VAT

Prague School, circa 1600

A satirical allegory on Emperor Rudolf II

Pen and ink, watercolour and gouache on paper with a watermark (eagle in a circle), 27 x 41 cm

Inscribed on the letter attached to the lance: Wir Rudolf (…)/zu allen zeiten (…)
and on the letter held by the figure in the left: Moderare/Cunctis/in rebus

PROVENANCE
Private collection, Germany

Represented is a tournament of two bizarre combatants, cheered on by equally bizarre supporters. The weird knight on the left has a letter attached to his lance which is written by Emperor Rudolf II. He seems to be riding on an object resembling a treasure chest, out of which emerge arms and legs of a man. He has rammed his lance into his opponent. The latter fights back with a huge sword and rides on an empty barrel with a barking dog. From his torso emerge symbols of vice: snakes, bats, a witch and a dragon, dice and playing cards. The knight with the sword is also attacked by storks, a jay and a magpie originating from the imperial fighter. The foreground is crowded with fantastic creatures that seem inspired by Hieronymus Bosch. On the left a human-like figure with butterfly wings holds a sheet of paper with the motto Moderare/Cunctis/in rebus (moderate in all matters). The meaning of this large, allegorical drawing still remains to be deciphered.

PRICE
Sold

Matías Manuel Sánchez Martín
Bacanal. Fin de semana en la finca, 2022
Oil on linen, 73 × 92 cm

PRICE
Sold

HANS SEBALD BEHAM 1500-1550
The mask, 1543
engraving on paper, 5,2 x 7,8 cm
Catalogue raisonné:
Bartsch 231; Pauli and Hollstein 235/I (of IV)

PRICE
Sold

Follower of Arcimboldo, Italian, 17th Century

A grotesque giant laying an egg - Anthropomorphic landscape

Oil on canvas, 102,5 x 81,6 cm

PROVENANCE
Private collection, Belgium
S.A. Servaerts, Brussels, May 2001, lot 317
Private collection, France
Raffael Valls, Ltd., London

PRICE
Please contact me

GEORG SCHOLZ Wolfenbüttel 1890 – 1945 Waldkirch

Vanitas – Three skulls

circa 1930

oil on canvas, 40,5 x 61 cm.
Verso on the stretcher with the stamp of the artist's estate

PROVENANCE
Estate of the artist
Gallery Hasenclever, Munich
Gallery Michael Haas, Berlin
Collection Rüdiger Hurrle, Durbach
Bassenge, Berlin, 12 June 2021, lot 8493

PRICE
Please contact me

EXHIBITION
Berlin, Gallery Michael Haas, Stillleben. gestern und heute, 2015, p. 50
Durbach, Museum für Aktuelle Kunst Sammlung Hurrle, Das Lied der Dinge. Stillleben im Wandel der Kunst, 2018

LITERATURE
Felicia H. Sternfeld, Georg Scholz 1890-1945, Frankfurt am Main 2004, Nr. 91, pp. 383, 487

Georg Scholz is well-known for his socially critical paintings of the 1920s. He was a student of Hans Thoma and Lovis Corinth. Scholz was a leading figure of the Neue Sachlichkeit (New Objectivity). In 1925, he was appointed a professor at the Baden State Academy of Art in Karlsruhe. With the rise to power of the Nazis in 1933, Scholz was dismissed from his teaching position. Declared a Degenerate Artist, his works were among those seized in 1937 and he was forbidden to paint in 1939.The present work is a timeless Vanity and a visionary painting at the same time, given the tragic events that would evolve soon after its creation.

JACQUES CALLOT 1592-1635

Small male figure playing a wind instrument, 1616/circa 1622
From the series 'Varie figure gobbi'
Etching on paper, 6,0 x 8,5 cm

Catalogue raisonné:
Lieure 422/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
1.500 Euro excluding frame

Untitled, 2021
18k gold, iron, rutil quarz

PRICE
9.500 Euro plus VAT

JACQUES CALLOT 1592-1635

The Drinker: Front View, 1616/circa 1622
From the series 'Varie figure gobbi'
Etching on paper, 6,0 x 8,5 cm

Catalogue raisonné:
Lieure 411/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
1.500 Euro excluding frame

Untitled, 2021
9k gold, carnelian, synthetic spinell, quarz

PRICE
9.500 Euro plus VAT

JACQUES CALLOT 1592-1635

Masked small figure with a sword in both hands
From the series 'Varie figure gobbi', 1616/circa 1622
Etching on paper, 6,5 x 8,5 cm

Catalogue raisonné:
Lieure 413/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
Sold

Untitled, 2021
9k palladium white gold, rutil quarz, pink opal

PRICE
11.200 Euro plus VAT

JACQUES CALLOT 1592-1635

Small male figure in three-quarter view with outstreched left hand and right hand grasping a sword at hip
From the series 'Varie figure gobbi', 1616/circa 1622
Etching on paper, 6,4 x 9,0 cm

Catalogue raisonné:
Lieure 415/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
1.500 Euro excluding frame

Untitled, 2011
bronze, diamonds

PRICE
4.900 Euro plus VAT

JACQUES CALLOT 1592-1635

Masked, small male figure, 1616/circa 1622
From the series 'Varie figure gobbi'
Etching on paper, 5,6 x 8,6 cm

Catalogue raisonné:
Lieure 419/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
Sold

Untitled, 2021
18k gold, carnelian, smoky quarz, cubic zirkonia

PRICE
16.800 Euro plus VAT

JACQUES CALLOT 1592-1635

The Lute Player, 1616/circa 1622
From the series 'Varie figure gobbi'
Etching on paper, 5,6 x 8,6 cm

Catalogue raisonné:
Lieure 420/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
Sold

Untitled (10), 2018
shibuichi (copper, silver, gold)

PRICE
4.200 Euro plus VAT

JACQUES CALLOT 1592-1635

The Bandy-Legged Man Playing the Guitar, 1616/circa 1622
From the series 'Varie figure gobbi'
Etching on paper, 6,1 x 8,7 cm

Catalogue raisonné:
Lieure 426/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
Sold

ITALIAN, 17th Century

Study Head of a Bearded Man

Oil over black chalk on paper, laid down on canvas, 48,5 x 34,8 cm

PROVENANCE
Private collection, Austria

PRICE
Please contact me

Untitled (hair), 2019
114 × 86 cm
Edition of 3

PRICE
5.500 Euro plus VAT

ERNST SCHMITZ 1859 DÜSSELDORF – MÜNCHEN 1917

The Elderly Couple

Each oil on wood, 18,5 x 14 cm

Each signed and inscribed upper right: Ernst Schmitz / München

PROVENANCE
Hofkunsthandlung Honrath & Van Baerle, Berlin
Their sale Rudolf Lepke, Berlin, 24 November 1903, lots 59 and 61
Galerie Heinemann, Munich, inv. nos. 7379 and 7497
Sold on 23 August 1905 for 4.800 Goldmark to „Robert Lenk, Wien“, according to the database of Galerie Heinemann
[Perhaps the buyer can be identified with the radiologist Dr. Robert Lenk (1885 Königliche Weinberge, Prague – Tel Aviv 1966). As a jew Dr. Lenk was forced to leave Vienna after the annexation of Austria in 1938. In the same year he moved to Haifa in Israel. I could not find any reference to a potential Nazi-related art theft in the relevant databases: Lost Art, DHM database "Sammlung des Sonderauftrages Linz", DHM database "Central Collecting Point München", Fold3, Holocaust Collection, Getty Provenance Index].
Scheublein Art & Auktionen, Munich, 26 June 2015, lot 632

PRICE
Sold

Gewöhnliches Unglück / Neurotisches Elend, 2014
(Irrige Vorstellungen kausaler Zusammenhänge)
Graphit on paper, each 150 × 120 cm

PRICE
22.000 Euro plus VAT

RUDOLF SCHLICHTER (1890-1955)

„Lobsingt und preiset ihn“ - "Praise him"

1950

Pen and ink on paper, 69 x 50 cm

Inscribed lower left: „Lobsingt und preiset ihn“ ("Praise him")

Signed and dated lower right: R. Schlichter 1950

PROVENANCE
Rudolf Schlichter (1890-1955)
By descent in the family, until 2021
Piguet Auction house, Geneva, 17 March 2021, lot 4399

PRICE
1.800 Euro excluding frame

Idols, 2017
Mixed media on paper, 50 x 70 x 3 cm
Artcurial, Paris, 25 October 2022
Estimate: 30.000 – 50.000 Euro

untitled (3 skulls)

nero pencil on paper

PRICE
2.800 Euro plus VAT

Untitled
nero pencil on paper

PRICE
3.400 Euro plus VAT

French Cuisine, 2019
Oil on canvas, 162 x 146 cm
Artcurial, Paris, 25 October 2022
Estimate: 200.000 - 300.000 Euro

Songs of fear and boredom #4, 2022

watercolor on paper

55,5 × 42,5 cm

PRICE
Please contact me

King Ubu, 2022
Oil on canvas
41 × 51 cm

PRICE
2.500 Euro plus VAT

Songs of fear and boredom #2, 2022

watercolor on paper

53 × 41 cm

PRICE
Please contact me

Freemind, 2017
Mixed media on paper, 50 x 70 x 3 cm
Artcurial, Paris, 25 October 2022
Estimate: 30.000 – 50.000 Euro

Conjuro, 2022
Oil on linen, 73 × 92 cm

PRICE
4.700 Euro plus VAT

Etching, 1933-4
On heavy wove paper, plate size: 87 x 145 mm, sheet size: 227 x 315 mm; with full margins.
Signed in pencil, inscribed 'Pour Lacourière' and '2e E. no 2/4'

PROVENANCE
Roger Lacourière, Paris
Sotheby's, London, 6 October 1976, Lot 90
Private Collection
Christie's, New York, 6 November 1996, Lot 331
There acquired by a Private Collection, Switzerland
By descent until 2020

PRICE
Please contact me

LITERATURE
Bernhard Geiser et Brigitte Baer, Picasso Peintre-Graveur, 373 II/II

One of Picasso's rarest prints. Dedicated by the artist to Roger Lacourière, printer of the Suite Vollard. This is the only known proof of this state, although, judging from the inscription in the lower left, there seem to have been originally 4 proofs. There is one proof of the first state in the Museé Picasso, Paris (MP 2406).

Etching on „Vélin de Rives“, Plate: 19,4 x 27,7 cm
Bloch 84, Baer 125/b.1
Edition of 340
Unsigned
Price: SOLD

Etching on „Vélin de Rives“, Plate: 19,4 x 27,7 cm
Bloch 88, Baer 129/b.1
Edition of 340
Unsigned
Price: SOLD

Etching on "Vélin de Rives", Plate: 19,4 x 27,7 cm
Bloch 89, Baer 130/b.1
Edition of 340
unsigned
Price: SOLD

Engraving on „Vergé d'Arches“, Plate: 33,6 x 26 cm
Bloch 364, Baer 693/B.b.5
Edition of 225
Unsigned
Price: upon request

Engraving on „Vergé d'Arches“, Plate: 33,6 x 26 cm
Bloch 366, Baer 696/B.b.5
Edition of 225
Unsigned
Price: upon request

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 26,7 x 19,4 cm
Bloch 156, Baer 309/B.d
Edition of 260
Provenance: Henri M. Petiet, with his mark "H.M.P." and blind stamp "H.PETIET EDITEUR PARIS"
Unsigned
Price: upon request

Etching on "Vergé de Montval" with watermark "Picasso", Plate: 19,4 x 26,7 cm
Bloch 166, Baer 319/B.d
Edition of 260
Signed in pencil
Price: upon request

Etching on "Vergé de Montval" with watermark "Picasso", Plate: 29,9 x 36,7 cm
Bloch 191, Baer 350/B.d
Edition of 260
Signed in pencil
Price: Please contact me

Etching on "Vergé de Montval" with watermark "Picasso", Plate: 29,9 x 36,5 cm
Bloch 192, Baer 351/III/B.d
Edition of 260
Signed in pencil
Price: upon request

Etching on "Vergé de Montval" with watermark "Picasso", Plate: 19,4 x 26,9 cm
Bloch 193, Baer 352/III/B.d
Edition of 260
Provenance: H.-M. Petiet, with his blindstamp: H. Petiet éditeur Paris (Lugt 2021a)
Unsigned
Price: upon request

Etching on "Vergé de Montval" with watermark "Vollard", Plate: 29,8 x 36,5 cm
Bloch 200, Baer 368/IV/B.d
Edition of 260
Provenance: H.-M. Petiet, with his blindstamp: H. Petiet éditeur Paris (Lugt 2021a)
Unsigned
Price: upon request

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 29,7 x 23,7 cm
Bloch 220, Baer 426/B.d
Edition of 260
Unsigned
Price: upon request

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 23,9 x 30 cm
Bloch 223, Baer 435/II/B.d
Edition of 260
Unsigned
Price: upon request

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 22,6 x 31,2 cm
Bloch 224, Baer 436/IV/B.d
Edition of 260
Signed in pencil
Price: upon request

Aquatint and drypoint, on "Vergé de Montval" paper with watermark "Picasso"
Plate: 24,7 x 34,8 cm
Bloch 225, Baer 437/IV/B.d
Edition of 260
Signed in pencil
Price: upon request

Aquatint and engraving on „Vergé de Montval“ with watermark „Vollard“
Plate: 31,6 x 41,7 cm
Bloch 230, Baer 609/VI B.d
Edition of 260
Signed in pencil
Price: upon request

Etching, Plate: 22,3 x 31,3 cm
Bloch 279, Baer 422/II/C.b
Edition of 50
Numbered 38/50
With signature stamp
Preis: upon request

Etching
Plate: 23,7 x 29,7 cm
Bloch 281, Baer 429/C.b.1
from the edition of 50
Numbered 49/50 and with signature stamp
Price: upon request

Engraving on "Vergé de Montval" with watermark "Picasso", Plate: 39,6 x 24,2
Bloch 283, Baer 431/B.c
Edition of 55
Provenance: Marina Picasso, verso with her stamp and inventory no. (19520)  unsigniert
Unsigned
Price: upon request

Lithograph
Size: 48 x 62 cm
Bloch 750, Mourlot 246
One of 6 artist's proofs aside from the numbered edition of 50
Verso inscribed  'M 246' and marked by Fernand Mourlot 'FM 6/6'
Unsigned
Price: upon request

Lithograph
Size: 48 x 62 cm
Bloch 751, Mourlot 247
One of 6 artist's proofs aside from the numbered edition of 50
Verso inscribed  'M 247' and marked by Fernand Mourlot 'FM 6/6'
Unsigned
Price: upon request

Lithograph
Size: 48 x 62 cm
Bloch 752, Mourlot 248
One of 6 artist's proofs aside from the numbered edition of 50
Verso inscribed 'M 248' and marked by Fernand Mourlot 'FM 6/6'
Unsigned
Price: upon request

Linocut in colours on „Vélin d'Arches“
Size: 64 x 53 cm
Bloch 1291, Baer 1269/B
Numbered 12/185 and signed in pencil
Price: upon request

Etching on "Vergé de Montval", Plate: 49,7 x 69,9 cm
Bloch 1329, Baer 425/C
Edition of 50, printed by Lacourière in 1939
Unsigned
Price: upon request

Lithograph
Size: 63 x 48 cm
Mourlot 157/2
No edition; there are known only 6 prints for the artist and the printer
Unsigned
Price: upon request

Etching, Engraving and Aquatint, Plate: 32 x 42 cm
Bloch 1115, Geiser-Baer 1108/III/B/b/1
From the edition of 50
Numbered 7/50
Signed in pencil
Price: upon request