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
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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

PRICE
25.000 Euro

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

PRICE
8.000 Euro

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
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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
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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