Catálogo Sotheby's Junio 2010

19th Century European Paintings Including German, Austrian and Central European
Paintings, The Orientalist Sale, Spanish Painting and the Scandinavian Sale
London | 2 Jun 2010, 2:30 PM | L10101
LOT 1
PROPERTY FROM A GERMAN PRIVATE COLLECTION
CARL GUSTAV CARUS

GERMAN 1789 - 1869
BLICK ÜBER EINE WALDLANDSCHAFT (WOODED LANDSCAPE)
oil on board
15 by 19cm., 6 by 7½in.
ESTIMATE 12,000 - 18,000 GBP

PROVENANCE
Studio of the artist; thence by descent to the present owner
LITERATURE
Possibly, Elisabeth Bülck, Carl Gustav Carus. Sein Leben und sein Werk im Verhältnis zu Caspar Friedrich und
dessen anderen Schülern betrachtet, unpublished dissertation, Greifswald, 1943, no. 248
Marianne Prause, Carl Gustav Carus. Leben und Werk, Berlin, 1968, p. 170, no. 386, illustrated
CATALOGUE NOTE
Painted circa 1830 according to Marianne Prause.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 2
CARL GUSTAV CARUS

GERMAN 1789 - 1869
KLOSTER MONTE OLIVETO BEI FLORENZ (THE MONASTERY OF MONTE OLIVETO MAGGIORE, NEAR
FLORENCE)
oil on paper laid on board
9.7 by 12cm., 3¾ by 4¾in.
ESTIMATE 8,000 - 12,000 GBP

PROVENANCE
EXHIBITION
Leipzig, Museum der bildenden Künste, 150 Jahre Kunst und Künstler in Leipzig. Jubiläumsausstellung, 1937, no.
48
LITERATURE
Carl Gustav Carus, Mnemosyne. Blätter aus Gedenk- und Tagebüchern, Pforzheim, 1848, p. 207
Elisabeth Bülck, Carl Gustav Carus. Sein Leben und sein Werk im Verhältnis zu Caspar Friedrich und dessen
anderen Schülern betrachtet, unpublished dissertation, Greifswald, 1943
CATALOGUE NOTE
Painted in 1841 according to Marianne Prause.
Carus painted this image of the grounds of the Benedictine monastery Monte Oliveto Maggiore following his third
trip to Italy in 1841. This inspiring landscape prompted the following diary entry, dated 21 March: 'in the afternoon I
visited the monastery of Monte Oliveto, set among olive trees on a hill outside town. The place had a peculiarly
melancholic feel - with its yellow walls, the silver grey olive trees, and the quiet and solitude of the hills - and yet
afforded a splendid view over the valley and the town. I am recording one of the prettier views in colour, in the hope
that I shall return some time' (Carus, p. 207).
London | 2 Jun 2010, 2:30 PM | L10101
LOT 3
CARL GUSTAV CARUS

GERMAN 1789 - 1869
RUINE ELDENA MIT HÜTTE BEI GREIFSWALD IM MONDSCHEIN (RUINS OF THE ELDENA MONASTERY,
GREIFSWALD)
oil on canvas
43 by 33cm., 17 by 13in.
ESTIMATE 30,000 - 50,000 GBP

PROVENANCE
EXHIBITION
Dresden, Dresdener Akademie-Ausstellung, 1820 (as Fenster einer verfallenen Abtey; Phantasie)
Dresden, Gemäldegalerie Alte Meister and Residenzschloss Dresden; Berlin, Alte Nationalgalerie: Carl Gustav
Carus, Natur und Idee, 2009-10, no. 29, illustrated in the catalogue
LITERATURE
Schorns Kunstblatt, 1820, p. 380
Gerda Grashoff, Carus als Maler, Lippstadt, 1926, p. 31
Marianne Prause, Carl Gustav Carus als Maler, Cologne, 1963, p. 30
Stefan Grosche &Jutta Müller-Tamm, Naturwissenschaft und Kunst im Briefwechsel zwischen C. G. Carus und
Goethe, Göttingen, 2001, p. 270
CATALOGUE NOTE
Painted in 1819-20, Ruine Eldena was painted shortly after Carus met Caspar David Friedrich. The two men
became lifelong friends, and Friedrich's influence on the direction Carus's painting took from that time on is
unmistakeable. In 1819, on Friedrich's recommendation, Carus set off on a sketching trip to the Isle of Rügen on
Germany's Baltic coast. On the way, on 13 August, he stopped off in Friedrich's hometown, Greifswald. That
evening, he wandered out to the ruins of the monastery of Eldena, the sight of which 'presented one of the most
enchanting views I had ever come across' (Carl Gustav Carus, Lebenserinnerungen und Denkwürdigkeiten,
Leipzig, 1865-66, vol. 1, p. 262).
Inspired by a sepia drawing Friedrich had made of the view (Kupferstich-Kabinett, Dresden, inv. no. C1936-35) and
worked up from a pencil drawing Carus made on site (Dresden, Kupferstich-Kabinett, inv. no. C1963-450), the
present work is the first and larger of two oils of the subject he painted. In 1823 he painted a smaller version as a
present to Johann Wolfgang von Goethe and which, to this day, is in the collection of the Goethe-Haus, Weimar.
The present work is more focused and overtly romantic than the Weimar painting which, like the drawing, is
horizontal and takes in a broader view, perhaps in consideration of Goethe's penchant for the classical landscapes
of Ruysdael and Claude Lorrain.
AUTHENTICATION
Three Works by Carl Gustav Carus from a Private Collection (Lots 1-3)
The following three works by Carl Gustav Carus come directly from the descendants of the artist, and their
appearance on the market in the wake of the major 2009-10 Carus retrospective in Dresden and Berlin (in which
Ruine Eldena was included) is particularly timely.
Carus ranks among the foremost German Romantic painters alongside Caspar David Friedrich, with whom he
struck up a lifelong friendship in 1818. Friedrich shared with him his artistic ideals, most notably his interest in the
relationship between nature, mankind and religion. Carus, like Friedrich, was primarily a painter of landscapes, and
set out his theories on the subject in his Neun Briefe über Landschaftsmalerei, first published in 1831.
Carus had diverse interests and professions besides painting. He achieved considerable success as an
obstetrician, a naturalist, scientist, and psychologist, and was friends with leading intellectuals in the arts and
sciences, including Goethe, Alexander von Humboldt, Lorenz Oken and Ludwig Tieck.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 4
PROPERTY OF A GERMAN PRIVATE COLLECTOR
CARL ROTTMANN
GERMAN 1797 - 1850
RUINE EINER KAPELLE IN DER NÄHE EINES FLUSSES BEI AUFGEHENDEM MOND (RUIN OF A CHAPEL
NEAR A RIVER WITH RISING MOON)
signed Rottmann lower right

oil on canvas laid on panel
36 by 44cm., 14¼ by 17¼in.
ESTIMATE 40,000 - 60,000 GBP

PROVENANCE
Acquired by the parents of the present owner; by descent to the present owner circa 1950
CATALOGUE NOTE
Painted circa 1820, this work relates to another painting of the same subject and date in the Galerie im
Lenbachhaus, Munich. An early work within the oeuvre of the artist, the romantic subject is reminiscent of Caspar
David Friedrich's allegorical landscapes, which typically feature contemplative figures silhouetted against night
skies, morning mists or Gothic ruins. Similar to Friedrich, Rottman employed the Rückenfigura person seen from
behind, contemplating the view, in the present work.
Rottmann was the leading landscape painter of the Munich school in the second quarter of the 19th century, and
court painter to King Ludwig I. Best known for his monumental cycle of Italian landscapes in the arcade of Munich's
Hofgarten, and another cycle devoted to the landscapes of Greece, commissioned by the King, Rottmann elevated
landscape painting to the rank of history painting.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 5
PROPERTY FROM A EUROPEAN PRIVATE COLLECTION
FRIEDRICH VON AMERLING

AUSTRIAN 1803 - 1887
JOSEPH AMERLING ALS KNABE (THE ARTIST'S BROTHER)
oil on canvas
57.7 by 43.7cm., 22¾ by 17¼in.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
A. Fischer von Ankern (sale: Wawra, Vienna, auction 183, 1903, lot 2)
Acquired by the family of the present owner circa 1965
EXHIBITION
Vienna, Österreichische Galerie im oberen Belvedere, Wiener Akademie-Ausstellung,
1830, no. 186
Vienna, Historische Ausstellung der k.k. Akademie der bildenden Künste in Wien, 1877, Fig. 1
no. 3050 Joseph Amerling, Josef Amerling
als fauler Student, Moravská
Galerie, Brno
LITERATURE
Friedrich von Bötticher, Malerwerke des 19. Jahrhunderts, Dresden 1901, vol. 1, p. 33,
no. 2 (as Knaben-Porträt)
Günther Probszt, Friedrich von Amerling, Der Altmeister der Wiener Portraitmalerei,
Vienna, 1927, p. 113, no. 164
'Kunstbeilage', Wiener neueste Nachrichten, 22 March 1931, illustrated on the cover
CATALOGUE NOTE
Painted in 1829.
Joseph von Amerling (1818-85), the artist's younger brother and seen here aged
eleven, went on to enjoy an illustrious military career. In 1832 he joined the Austrian
army as an artilleryman, and from 1847 taught geometry and French at the Royal
Military Academy. In 1852 he transferred to the engineers corp, overseeing military
building projects in Peschiera, Prague, and Zagreb, and was promoted to Major in
1862.
The present work relates to a similar portrait painted in the same year, Joseph Amerling
als fauler Student, in the Moravská Galerie, Brno (fig. 1).
FIG. 1, Joseph Amerling, Joseph Amerling als fauler Student, Moravská Galerie, Brno
AUTHENTICATION
We are grateful to Dr Sabine Grabner for her assistance in the academic research of
this work.
Fig. 1
Joseph Amerling, Josef Amerling als fauler Student, Moravská Galerie, Brno
London | 2 Jun 2010, 2:30 PM | L10101
LOT 6
ALBRECHT ADAM
GERMAN 1786-1862
PFERDE AUF DER WEIDE (ARABIAN HORSES AT PASTURE)
signed and dated A.Adam.1841. lower right

oil on canvas
50.5 by 67.5cm., 20 by 26½in.
ESTIMATE 15,000 - 20,000 GBP
AUTHENTICATION
The authenticity of this work has been confirmed by Dr Ulrike von Hase-Schmundt on the basis of photographs.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 7
OSWALD ACHENBACH
GERMAN 1827-1905
DIE AMALFIKÜSTE (THE AMALFI COAST)
signed Osw. Achenbach lower left

oil on canvas
44 by 58cm., 17¼ by 22¾in.
ESTIMATE 10,000 - 15,000 GBP
PROVENANCE
Acquired by the family of the present owner in the 1960s
London | 2 Jun 2010, 2:30 PM | L10101
LOT 8
OSWALD ACHENBACH
GERMAN 1827 - 1905
CAMPAGNALANDSCHAFT (VIEW OF THE CAMPAGNA)
signed with initials OA lower right

oil on canvas
29 by 37cm., 11½ by 14½in.
PROVENANCE
Acquired by the family of the present owner in the 1960s
London | 2 Jun 2010, 2:30 PM | L10101
LOT 9
WILHELM LEIBL
GERMAN 1844 - 1900
MÄDCHEN (PORTRAIT OF A GIRL)
oil on canvas laid on panel
30 by 23cm., 11¾ by 9¾in.
ESTIMATE 30,000 - 50,000 GBP

PROVENANCE
Private Collection, Germany
Purchased from the above by the present owner circa 1990
EXHIBITION
Munich, Städtische Galerie im Lenbachhaus, Wilhelm Leibl und sein Kreis, 1974, no. 14, illustrated in the catalogue
(as Bildniskopf eines jungen Mädchens)
CATALOGUE NOTE
Painted circa 1870.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 10
ANSELM FEUERBACH
GERMAN 1829-1880
PFINGSTROSEN (STILL LIFE WITH PEONIES)
oil on canvas
99 by 78cm., 39 by 30¾in.
ESTIMATE 45,000 - 65,000 GBP

PROVENANCE
Sale: Sotheby's, Munich, 12 December 1990, lot 62
Purchased at the above sale by the present owner
CATALOGUE NOTE
A smaller still life of peonies of 1871 is in the collection of the Neue Pinakothek, Munich.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 11
PROPERTY FROM A SWISS PRIVATE COLLECTION
ADOLPH VON MENZEL

GERMAN 1815-1905
ALEXANDER FRIEDRICH (FRITZ) WERNER
signed with monogram A.M. lower right

charcoal and pastel on paper
41 by 31.5cm., 16¼ by 12½in.
ESTIMATE 15,000 - 25,000 GBP

PROVENANCE
Willy Dünner, Winterthur (by 1942)
Galerie Nathan, Zurich
Purchased from the above by the present owner
EXHIBITION
Winterthur, Kunsthaus, Der unbekannte Winterthurer Privatbesitz I, 1942, no. 395
Berlin, Museum Dahlem, Adolph von Menzel. Aus Anlass seines 50. Todestages, 1955, no. 42
LITERATURE
Hugo von Tschudi, Adolph von Menzel, Abbildungen seiner Gemälde und Studien auf Grund der von der Kgl.
Nationalgalerie im Frühjahr 1905 veranstalteten Ausstellung, Munich, 1906, no. 244 (as Herr in dunkler Kleidung)
CATALOGUE NOTE
Executed in the 1850s.
The sitter for the present work is Berlin painter and engraver Alexander Friedrich Werner, Menzel's close friend and
helper. Werner made painstaking copies in pencil of Menzel's paintings to serve as prototypes for the engravers of
the latter's work.
AUTHENTICATION
The authenticity of this work has been confirmed by Dr Ursula Riemann-Reyher.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 12
PROPERTY OF AN AUSTRIAN PRIVATE COLLECTOR
HANS MAKART
AUSTRIAN 1840-1884
SELBSTBILDNIS (SELF-PORTRAIT)
oil on paper laid on board
42.5 by 31.5cm., 16¾ by 12½in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Bertha Makart, Vienna (the artist's wife)
Josef Berres Edler von Perez (1821-1912), painter and friend of the artist
Dr Moriz Piffl (1842-1931) (a gift from the above); thence by descent
LITERATURE
Bertha Makart, Die letzten Lebensjahre Hans Makarts, 1885, hand-written manuscript (Stadtbibliothek, Vienna,
66037), p. 13
Gerbert Frodl, Hans Makart: Monographie und Werkverzeichnis, Salzburg, 1974, p. 445, no. 669
Monika Oberhammer 'Ein Selbstbildnis Hans Makarts', Festschrift für Wilhelm Messerer zum 60. Geburtstag,
Cologne, 1980, pp. 309-313, illustrated
CATALOGUE NOTE
Painted circa 1883, the present work is a rare self-portrait. It is mentioned in Makart's second wife's memoirs, in
which she asks the artist, who had always been reluctant to paint himself, to make a self-portrait for her. This
commission explains the work's intimate character and modest size.
AUTHENTICATION
The authenticity of this work has been confirmed by Dr Gerbert Frodl.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 13
PROPERTY FROM AN AUSTRIAN PRIVATE COLLECTION
LEO REIFFENSTEIN
AUSTRIAN 1856-DIED BEFORE 1934
EIN GASTMAHL DES HELIOGABAL (THE ROSES OF HELIOGABALUS)
signed and dated Leo Reiffenstein / 1891 lower right

oil on canvas
400 by 296cm., 157½ by 116½in.
ESTIMATE 100,000 - 150,000 GBP

PROVENANCE
Studio of the artist (in the Mirabellschloss, Salzburg); thence by descent to the present
owner
EXHIBITION
Vienna, Künstlerhaus Wien, Wiener Jahresausstellung, 1892
Salzburg, Mirabellschloss (on extended loan from 1951)
Salzburg, Kongresshaus (on extended loan) Fig. 1
Salzburg, Museum Carolino Augusteum (on extended loan) Lawrence Alma-Tadema, The
Roses of Heliogabalus, 1888,
Private Collection
LITERATURE
Friedrich von Bötticher, Malerwerke des neunzehnten Jahrhunderts, Dresden, 1901,
vol. 2, p. 375, no. 10, listed
CATALOGUE NOTE
This monumental composition, painted in 1891 in a virtuoso display of technical ability
by the Austrian artist Leo Reiffenstein and arguably his masterpiece, takes as its theme
what appears initially to be a joyful bacchanal under the rule of the Roman emperor
Elagabalus (titled Marcus Aurelius Antoninus as emperor, 218 to 222 AD), or
Heliogabalus as he named himself.
Elagabalus was murdered by the Praetorian Guard in 222 AD, the very men who
served as the emperor's bodyguard. Following Elagabalus's death, a propaganda
campaign was instituted against him by his own aunt, Julia Avitus Mamaea, whose son
Alexander became his successor. Many spurious stories circulated about Elagabalus's
life and character, and his narcissistic and decadent eccentricities were almost certainly
greatly exaggerated. The source of Reiffenstein's chef d'uvre is the most famous of
these stories: that Elagabalus, for his own and his companions' amusement, had
drowned his assembled guests in a torrent of petals and flowers that fell from a secret
trapdoor above their heads.
Placed in the background beneath the arch on the left of the composition, a carved
stone bust of an emperor looks impassively upon the unfolding drama and one can
assume that this is Reiffenstein's reference to Elagabalus himself. A twisting cascade of
roses falls from a point above the picture plane down upon the semi-clad men and
women much as the rays of the sun to which Elagabalus' other name, Heliogabalus,
refers Heliogabalus was the Syrian sun god that Elagabalus had tried unsuccessfully to
introduce into Rome as the supreme deity. The apparently rapt gaze of the uppermost
pair of female figures seems to suggest that the source of the flowers is a superhuman
one, although it was altogether more earthly and corrupt: the Emperor's own cunning
and degeneracy.
According to Edward Gibbon, the great chronicler of Rome: 'Corrupted by his youth, his
country, and his fortune, [Elagabalus] abandoned himself to the grossest pleasures with
ungoverned fury, and soon found disgust and satiety in the midst of his enjoyments.
The inflammatory powers of art were summoned to his aid: the confused multitude of
women, of wines, and of dishes, and the studied variety of attitude and sauces, served
to revive his languid appetites. [...] The master of the Roman world affected to copy the
dress and manners of the female sex' (E. Gibbon, The History of the Decline and Fall of
the Roman Empire, vol. VI, chapter XL). Because of these stories of Elagabalus'
immoral yet aesthetic ways, scenes from his life became popular motifs in nineteenth-
century art, particularly in the works of those artists of the Decadent movement. The
myth captured so powerfully by Reiffenstein in the present work was perhaps most
famously immortalized by Sir Lawrence Alma-Tadema in his The Roses of
Heliogabalus of 1888 (fig. 1), but Reiffenstein's version of the scene is surely of equal
power, with its compositional drama, rich attention to detail and the volumetric depths
that he creates.
Fig. 1, Lawrence Alma-Tadema, The Roses of Heliogabalus, 1888, Private Collection
Fig. 1
Lawrence Alma-Tadema, The Roses of Heliogabalus, 1888, Private Collection
London | 2 Jun 2010, 2:30 PM | L10101
LOT 14
LADISLAUS VON CZACHORSKI

POLISH 1850 - 1911
THE BLOSSOM OF YOUTH
signed and dated Czaskorski / 1898 upper right

oil on panel
30 by 40.9cm., 11¾ by 16in.
ESTIMATE 120,000 - 180,000 GBP

CATALOGUE NOTE
The Blossom of Youth is an apt title for this luscious subject: a girl in the full bloom of youth, surrounded by flowers
and a lavish interior, delicately plucks a flower from a bronze vase. This work shows Czarchorski at the height of his
skills in depicting genre subjects. The rosy flush of her cheeks and the pink tones of her fastidiously-rendered
eighteenth century dress mirror the blossoms that spill from a bronze vase, over a marble-topped table and are
clutched as a bouquet in her hand. The young woman's loveliness and innocence are set off to their best advantage
in the splendid and eclectic room, each element denoting sophisticated taste and social status.
Czachorski's favourite subjects ranged from still lifes to Shakespearian scenes, but he is best known for his detailed
illustrations of exquisite aristocratic women in extravagantly appointed interiors. The Blossom of Youth is both a
celebration of beauty and youth and, as signified by the young woman's act of plucking the flower, a memento mori.
Czachorski began his artistic training at the Warsaw Drawing School at the age of sixteen. After studying for a year
at the Dresden Academy and joining the Munich Academy, where he spent five years under the direction of
Hermann Anschutz, Alexander Wagner and Karl von Piloty, he won the prestigious Grand Silver Medal upon
graduation. Czachoriski then travelled throughout Europe, visiting France, Italy and Poland. He settled permanently
in Munich in 1879, but continued to exhibit frequently in Poland, in particular Warsaw, Krakow, Lwow and Lodz.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 15
MARIA MELANIA MUTERMILCH (MELA MUTER)

POLISH 1876-1967
SEATED GIRL
signed Muter upper left; signed Muter on the reverse and on the stretcher
oil on canvas
60.7 by 38cm., 24 by 15in.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
EXHIBITION
Paris, Galerie Jean-Claude Bellier, Mela Muter, 1966, no. 10 (as Portrait de fillette)
Cologne, Galerie Gmurzynska, Mela Muter 1876-1967 Retrospektiv-Ausstellung, 1966, no. 61 (as Kleines Mädchen
mit Zöpfen)
AUTHENTICATION
We are grateful to Dr Urszula Lazowski for confirming the authenticity of this work and for her assistance in its
cataloguing.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 16
PROPERTY FROM A PRIVATE COLLECTION, GERMANY
PAUL BAUM
GERMAN 1859 - 1932
MARKTPLATZ ST ANNA, MORGENSONNE (THE MARKET SQUARE, ST ANNA, MORNING)
signed and dated P Baum / 1907 lower left

oil on canvas
58 by 67cm., 22¾ by 26¼in.
ESTIMATE 35,000 - 50,000 GBP

PROVENANCE
Galerie Saxonia, Munich
Puchased from the above by the present owner circa 1975-76
LITERATURE
Karl Scheffler, 'Paul Baum', Talente, Berlin, 1917
Wolfram Hitzeroth, Paul Baum (1859-1932): Ein Leben als Landschaftsmaler, Marburg, 1988, p. 541, no. 33,
catalogued &illustrated
CATALOGUE NOTE
Baum uses the pointillist technique distinctive of his work of this period to paint the village of Sint Annaparochie, in
Friesland, Holland. Baum moved to this tiny village in 1895, and made it his base until the beginning of World War I.
While Baum's earlier works were influenced by the plein-air painting of the Barbizon School, works after 1890, such
as Marktplatz St Anna, Morgensonne, use the lighter palette and short brushstrokes associated with the French
Impressionists and Post-Impressionists. Baum's Paris sojourn in 1890 exposed him to the works of Monet, Sisley
and Pissarro, and that same year he visited Knokke-sur-Mer, the summer residence of many artists, where he
remained for four years.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 17
LOVIS CORINTH
GERMAN 1858 - 1925
ROSENSTILLLEBEN (STILL LIFE WITH ROSES)
signed and dated Lovis Corinth 1916 upper right

oil on canvas
51 by 68.5cm., 20 by 27in.
ESTIMATE 100,000 - 150,000 GBP

PROVENANCE
Purchased from either the artist or Gallerie Alfred Flechtheim, Berlin by the great-grandfather of the present owner
in the 1920s; thence by descent to the present owner
EXHIBITION
Wolfsburg, Stadthalle, Gedächtnisausstellung zur Feier des hundertsten Geburtsjahres, 1958, n.n.
CATALOGUE NOTE
Painted in 1916, Rosenstillleben is a powerful example of the richly expressive brushwork and energetic painterly
manner characteristic of Corinth's mature oeuvre. While Corinth's trademark rapid, wide brushstrokes and rich
colour first appeared in his still-lifes as early as 1910, his succession as president of the Berlin Secession seemed
to mark an increase in confidence and verve in his handling of paint. Writing about these late works, Georg
Bussmann commented: 'He rejoices in painting wet upon wet, in painting colour upon colour, in smudging them and
then stopping suddenly and simply allowing them to glow; there is a quality of rage in making all this into a picture,
into forcing a vision to emerge' (G. Bussmann, 'Lovis Corinth: The Late Works', in German Art in the Twentieth
Century. Painting and Sculpture 1905-1985 (exhibition catalogue), Royal Academy of Arts, London, 1985, p. 436).
Best known as a leader of German Impressionism, alongside Liebermann and Slevogt, Corinth's rich and worked
brushstroke and vibrant palette recall Manet's still-lifes and highlight the influence of French Impressionism on his
career. The dramatic brushstrokes, rich impasto and robust palette are typical of the artist's flower paintings, and his
unequivocally modern vision of the natural world. The vase positioned centrally in the painting is a motif that
appears repeatedly in his still-lifes, while the red, white and green tones contrast with the intense browns of the
table and background, instilling a sense of dynamic equilibrium within the composition.
Corinth suffered from a degenerative illness, eventually losing all ability to use his right hand. In order to continue
his craft, Corinth had taught himself to paint with his left hand years earlier. This infirmity and its challenges
reignited the artist's creative drive, and his later works demonstrate a renewed vigour and bravura in his approach
to painting.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 18
ANDREAS ACHENBACH
GERMAN 1815 - 1910
MOLE IM STURM (BREAKWATER IN A STORM)
signed and dated A. Achenbach. / 84. lower left

oil on canvas
67.5 by 90cm., 26½ by 35½in.
ESTIMATE 10,000 - 15,000 GBP
PROVENANCE
Galerie Paffrath, Düsseldorf
Purchased from the above by the family of the present owner circa 1960
London | 2 Jun 2010, 2:30 PM | L10101
LOT 20
PROPERTY OF A GENTLEMAN
FRANZ RICHARD UNTERBERGER

MANDERAGGIO IN LA VALLETTA, MALTA
signed FR Unterberger lower right

oil on canvas
82.5 by 70.5cm., 32½ by 27¾in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Sale: Christie's, London, 10 February 1978, lot 170
LITERATURE
Sybille-Karin Moser, F. R. Unterberger und die salonfähige Landschaftsmalerei im 19. Jahrhundert, Innsbruck,
1986, either p. 202, no. 264, catalogued or p. 203, no. 287, catalogued
CATALOGUE NOTE
Painted 1878-79.
AUTHENTICATION
The authenticity of this work has been confirmed by Dr Sybille Moser-Ernst, and the view identified by Charles
Camilleri.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 21
LOTTE LASERSTEIN
GERMAN 1898 - 1993
ABEND ÜBER POTSDAM (EVENING OVER POTSDAM)
signed Lotte Laserstein lower left

oil on board
110 by 205cm., 43½ by 80¾in.
ESTIMATE 120,000 - 180,000 GBP

PROVENANCE
Studio of the artist
Thomas Agnew &Sons, London
Purchased from the above by the present owner in the late 1980s
EXHIBITION
London, Thomas Agnew &Sons, Lotte Laserstein, Paintings and Drawings from Fig. 1
Germany and Sweden, 1987 Lotte Laserstein, Self-Portrait, oil
Dresden, Philo Fine Arts; Berlin, Das verborgene Museum, Lotte Laserstein: meine on canvas, Private Collection,
einzige Wirklichkeit, 2003, no. 118, illustrated in colour in the catalogue United Kingdom
CATALOGUE NOTE
Painted in 1930, this monumental composition, Laserstein's masterpiece, looks
backwards to art history and forwards to the imminent upheavals of mid-twentieth-
century history at the same time. Raising a secular echo of Da Vinci's The Last Supper,
the present work assembles a group of diners along a white-clothed, elongated table,
with the young woman at the focal point of the composition in her daffodil-yellow top
taking the part of the Christ figure. The remote gazes of the participants in the scene,
disengaged as they are one from the other and looking inwards at themselves rather
than out at the world, seem to hint at their brooding on the end of something: friendship
or peace, perhaps, or the city as they know it. The Last Supper motif is here transposed
to a decidedly urban setting, with a topographically-accurate rendition of the Potsdam
cityscape laid out for the viewer behind the diners' heads, painted by Laserstein en
plein air having taken the two-metre-wide board to the roof-garden by public transport.
Laserstein treats the human figures that breathe life into the composition with a palette
and technical virtuosity that recall the Neue Sachlichkeit or 'New Objectivity' prevalent
in the Weimar period amongst some of the most influential artists of the era, including
such masters as Christian Schad. The group of five models used for the figures in
Abend über Potsdam were drawn from Laserstein's close circle of friends. One of the
sitters, Traute Rose, recalls how the human element of the composition took shape:
'Then the protracted labour began with the various models. My position had been
defined on the far left by the balustrade, and so had my husband's, who had our dog at
his feet. The central figure was initially a girl in a red jumper, but she couldn't keep it up
for long and was replaced by the girl in the yellow shirt. [...] After a while the dog was
replaced by an old fur because he obviously didn't like Ernst's feet' (T. Rose, quoted in
Krausse, p. 164). The painting remained in Laserstein's possession for the rest of her
life, its talismanic presence suggested by its inclusion in the self-portrait she painted in
the 1950s, in which it appears behind her (fig. 1).
Born in Prussia in 1898, Laserstein studied painting under Erich Wolfsfeld at the Berlin
Academy of Fine Arts and was, for the final two years of her tuition, his 'Atelier
Meisterschülerin' (star pupil), an honour which brought with it her own studio at the
Academy in which to paint. She went on to win the Academy's Gold Medal in 1925. In
1927, she left its walls for life as a struggling artist in inflation-hit Berlin. Her first solo
show was held in that city at Fritz Gurlitt's famous gallery in 1930, and in 1937 she
exhibited at the Paris World Fair. That same year she was offered an exhibition at the
Galleri Modern in Stockholm. Because Laserstein was of Jewish background, she
made the decision to stay on in Sweden to avoid the increasing threats and
constrictions of life in Germany, and earned a living by teaching painting and taking on
portrait commissions. Laserstein's mother died in the Ravensbrück concentration camp;
her sister, Käte, survived the war in hiding in Berlin and later joined Lotte in Sweden.
Laserstein spent her later life in Kalmar in southern Sweden and died there in 1993.
FIG. 1, Lotte Laserstein, Self-Portrait, oil on canvas, Private Collection, United Kingdom
Fig. 1
Lotte Laserstein, Self-Portrait, oil on canvas, Private Collection, United Kingdom
London | 2 Jun 2010, 2:30 PM | L10101
LOT 22
ALBERT SCHWENDY
GERMAN 1820 - 1902
DER MARKTPLATZ, LEIPZIG (THE MARKET SQUARE, LEIPZIG)
signed and dated A. Schwendy 1882 lower left

oil on canvas
89.5 by 131.5cm., 35¼ by 51¾in.
ESTIMATE 25,000 - 35,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 23
PROPERTY FROM AN ESTATE
WILHELM TRÜBNER
GERMAN 1851 - 1917
LUDGATE HILL, LONDON
signed, dated and inscribed W. Trübner. 84. London lower left

oil on canvas
64 by 61cm., 25¼ by 24in.
PROVENANCE
Peter Johnson Ltd., London
Purchased from the above by the late owner in the early 1980s
London | 2 Jun 2010, 2:30 PM | L10101
LOT 24
PROPERTY FORMERLY IN THE COLLECTION OF STADTRAT MAX CASSIRER, BERLIN
RUDOLF VON ALT

ANSICHT VON SALZBURG (VIEW OF SALZBURG)
signed and dated R Alt 873 lower right

watercolour and gouache on paper
14 by 17.5cm., 5½ by 7in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Stadtrat Max Cassirer, Berlin
Confiscated by the Gestapo in 1941
Sale: Hans W. Lange, Berlin, 12 May, 1942, lot 221, on behalf of the German fiscal authorities
Possibly Alois Miedl
Acquired for the collection of the proposed Führermuseum, Linz
Recovered by the Dutch government after the war, and placed in the Netherlands Art Property Collection (NK
2897), National Print Collection, Amsterdam
Restituted to the heirs of Max Cassirer in 2009
London | 2 Jun 2010, 2:30 PM | L10101
LOT 25
CARL LUDWIG FAHRBACH

GERMAN 1835 - 1902
BREMER RATSHAUS (THE TOWN HALL, BREMEN)
signed, dated and inscribed C.L. Fahrbach 1879 Dssf. lower right
watercolour, gouache and pencil on paper laid down on canvas
66.5 by 109.5cm., 26¼ by 43in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 26
CHARLES ATAMIAN
ARMENIAN 1872 - 1947
CHILD ON A BEACH
signed Atamian / Ch lower left

oil on canvas
38 by 46cm., 15 by 18in.
ESTIMATE 15,000 - 20,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 27
PROPERTY OF A EUROPEAN PRIVATE COLLECTOR
JULIAN FALAT
POLISH 1853 - 1929
ROYAL HILL, KRAKOW
signed JFalat lower left

oil on board
23.5 by 47.5cm., 9¼ by 18¾in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 28
CHARLES ATAMIAN
ARMENIAN 1872 - 1947
LOOKING OUT TO SEA
signed Atamian / Ch. lower right

oil on canvas
73 by 92cm., 28¾ by 36¼in.
ESTIMATE 40,000 - 60,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 29
PROPERTY FROM A BRITISH PRIVATE COLLECTION
OTTO PIPPEL
GERMAN 1878-1960
POTSDAMER PLATZ, BERLIN
signed PIPPEL lower right; signed and titled Otto PIPPEL / 'POTSDAMER PLATZ / BERLIN' on the reverse
oil on canvas
41.9 by 47.5cm., 16½ by 18¾in.
ESTIMATE 12,000 - 15,000 GBP
PROVENANCE
C. Leunroth, Rio de Janeiro (until 1968); thence by descent (their sale: Sotheby's, London, 15 June 2004, lot 57)
London | 2 Jun 2010, 2:30 PM | L10101
LOT 30
PROPERTY RESTITUTED TO THE HEIRS OF WILHELM FREUND
ANTON ROMAKO
AUSTRIAN 1832-1889
UNGARISCHER BAUERNHOF (HUNGARIAN FARM)
signed A. Romako lower right

oil on board
20.2 by 33cm., 8 by 13in.

PROVENANCE
Viktor Zuckerkandl, Vienna (his sale: Auktionshaus Wawra, Vienna, 26 October 1916, lot 93)
Sale: Auktionshaus Wawra, Vienna, 11-12 March 1921, lot 154
Dr Richard Freund, Vienna
Wilhelm Freund, Vienna (inherited from the above in 1934; Wilhelm 'Willy' Freund, born in Pilsen, Bohemia on 2
May 1915, was the only son of the Viennese banker, Dr Richard Freund (1878-1934) and his wife, Gina Rubel
(1892-1935). Wilhelm Freund studied Law and had enrolled at Oxford University in 1937 before the German
Anschluss of Austria in 1938. After his father died, Willy Freund inherited parts of his nineteenth-century and
German Impressionist art collection, including the present work.)
Seized and banned from export by the Zentralstelle für Denkmalschutz in 1938
Acquired by the Österreichische Galerie (Neue Galerie in der Stallburg and latterly the Belvedere) in 1939 (inv. no.
3683)
Restituted by the above to the heirs of Wilhelm Freund in 2009
EXHIBITION
Vienna, Österreichische Galerie, Neuerwerbungen der Österreichischen Galerie, 1940, no. 9
Vienna, Romako, 1950, no. 67
Vienna, Österreichische Landschaftsmalerei von Schindler bis Klimt, 1955, no. 72
Vienna, Österreichische Landschaftsmalerei des 19. und 20. Jahrhunderts, 1973, no. 72
Szolnoker Malerschule, 1975, no. 40, illustrated in the catalogue
LITERATURE
Fritz Novotny, Anton Romako. 1832-1889, Vienna, 1954, p. 48, no. 274
Bestandskatalog Österreichische Galerie, vol. 3, 1998, p. 277
Sophie Lillie, 'Sammlung Wilhelm Freund', Handbuch der enteigneten Kunstsammlungen Wien, Vienna, 1999, p.
373
CATALOGUE NOTE
To be included in the Romako catalogue raisonné being prepared by Dr Cornelia Reiter.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 31
LESSER URY
GERMAN 1861-1931
FELDARBEITER IN THÜRINGEN (WORKERS IN A FIELD, THÜRINGEN)
signed and dated L. Ury / 1911 lower left

oil on canvas
31 by 44cm., 12¼ by 17¼in.
AUTHENTICATION
The authenticity of this work has been confirmed by Dr Sibylle Groß.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 32
COUNT MIHALY VON ZICHY

HUNGARIAN 1827-1906
ANGEL WHISPERING TO AN ODALISQUE
signed and dated Zichy 1870 lower left

charcoal, wash and white heightening on paper
55.5 by 42.5cm., 21¾ by 16¾in.
PROVENANCE
Private Collection, Berlin
London | 2 Jun 2010, 2:30 PM | L10101
LOT 33
COUNT MIHALY VON ZICHY

HUNGARIAN 1827-1906
ROMANTIC ENCOUNTER
signed and dated Zichy 1864 lower right

pencil, brush and ink and white heightening on paper
55.5 by 42.5cm., 22 by 16¾in.
PROVENANCE
Private Collection, Berlin
London | 2 Jun 2010, 2:30 PM | L10101
LOT 34
FERDINAND KELLER
GERMAN 1842-1922
TRITONEN (TRITONS)
signed with initials and dated FK 1893 lower right

pastel and oil on woven fabric
195 by 161cm., 76¾ by 63½in.
ESTIMATE 10,000 - 15,000 GBP
LITERATURE
Michael Koch, Ferdinand Keller, Karlsruhe, 1978, p.98, no. 243
London | 2 Jun 2010, 2:30 PM | L10101
LOT 35
PROPERTY FROM A PIVATE COLLECTION, SWEDEN
STANISLAW WYSPIANSKI
POLISH 1869 - 1907
THE ARTIST'S WIFE AND DAUGHTER
signed and dated St Wyspianski / 1897 lower right

pastel on paper
53 by 48cm., 20¾ by 19in.
ESTIMATE 30,000 - 50,000 GBP

PROVENANCE
Galon Obrazow, Czestochowa
Acquired by the husband of the present owner prior to the Second World War
CATALOGUE NOTE
The present work is an intimate yet forthright portrait by Wyspianski of his wife, Teodora Teofila Pytko, holding one
of his four children. Wyspianski married Pytko, from the village of Konary near Zabno, in 1900. In marrying this
simple country girl, the Crakovian Wyspianski emulated the Young Poland movement's disillusionment with the
social constraints of the bourgeoisie.
Stanislaw Wyspianski was a poet, painter, playwright, designer, and art conservator, and one of the most
remarkable and unique artists of Polish Modernism. A man of versatile talent, he expressed himself in almost every
domain of the visual arts and in literature with great ease and skill, successfully marrying a modern aesthetic with
the Polish folk tradition.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 36
PROPERTY FROM A PRIVATE COLLECTION, BERLIN
WILHELM KUHNERT
GERMAN 1865 - 1926
BÜFFEL AN EINER WASSERSTELLE IN DER SAVANNE (A WATER BUFFALO AT A WATERING HOLE IN THE
SAVANNAH)
signed Wilhelm Kuhnert lower right

oil on board
30.8 by 46cm., 15 by 18in.
ESTIMATE 15,000 - 25,000 GBP

PROVENANCE
Purchased from the artist by the grandfather of the present owner
LITERATURE
Angelika Grettmann-Werner, Wilhelm Kuhnert, Tierdarstellung zwischen Wissenschaft und Kunst (Phil. Diss.),
Hamburg, 1981
London | 2 Jun 2010, 2:30 PM | L10101
LOT 37
BOHDAN VON KLECZYNSKI

POLISH 1851 - 1916
RESTING COSSAKS
signed, inscribed and dated Bohdan Kleczynski / Monachium 1882 lower right
oil on panel
49.5 by 73cm., 19½ by 28¾in.
ESTIMATE 15,000 - 25,000 GBP
PROVENANCE
Purchased by the present owner in the 1970s
London | 2 Jun 2010, 2:30 PM | L10101
LOT 38
WLODZIMIERZ TETMAJER
POLISH 1862 - 1923
ORKA, WIOSNA (PLOUGHING, SPRING)
signed with initials SWT lower right

oil on canvas
111 by 165.5cm., 43¾ by 65in.
EXHIBITION
Krakow, Salon Artystów Malarzy Polskich, no. 382
London | 2 Jun 2010, 2:30 PM | L10101
LOT 39
PROPERTY FROM A PRIVATE COLLECTION
GHEORGHE PETRASCU
ROMANIAN 1872 - 1949
STILL-LIFE WITH ANEMONES
signed and dated G. Petrascu / .934. upper left

oil on canvas
38.5 by 46cm., 15¼ by 18in.
ESTIMATE 15,000 - 20,000 GBP
PROVENANCE
Purchased by the grandfather of the present owners in Romania prior to the Second World War
London | 2 Jun 2010, 2:30 PM | L10101
LOT 40
PROPERTY OF A CZECH PRIVATE COLLECTOR
VLAHO BUKOVAC
CROATIAN 1855 - 1922
THE ARTIST'S DAUGHTERS
signed Vlaho Bukovac on the reverse

oil on canvas
38 by 48.5cm., 15 by 19in. (oval, sight size); 46 by 54.8cm., 18 by 21½in. (overall)
ESTIMATE 25,000 - 35,000 GBP
PROVENANCE
Acquired from the wife of the artist as a wedding gift for the mother of the present owner
London | 2 Jun 2010, 2:30 PM | L10101
LOT 41
PROPERTY FROM A GERMAN COLLECTION
DORA HITZ
GERMAN 1856-1924
DAS SONNENKIND (THE SUN CHILD)
signed Dora Hitz lower left

oil on canvas
136 by 92.5cm., 53½ by 36½in.
ESTIMATE 25,000 - 35,000 GBP
EXHIBITION
Hamburg, Grosse Kunstaustellung des Hamburger Kunstvereins, n.d.
Berlin, Berlinische Galerie, Profession ohne Tradition: 125 Jahre Verein der Berliner Künstlerinnen, 1992, n.n.,
illustrated in the catalogue
London | 2 Jun 2010, 2:30 PM | L10101
LOT 42
PROPERTY FROM A PRIVATE COLLECTION, SWEDEN
HENDRYK SIEMIRADZKI
POLISH 1843-1902
MAN IN PROFILE
signed H Siemiradzki lower right

oil on canvas laid on card
35.5 by 26.5cm., 14 by 10½in.
PROVENANCE
Acquired by the husband of the present owner prior to the Second World War
London | 2 Jun 2010, 2:30 PM | L10101
LOT 43
FERDINAND KELLER
GERMAN 1842 - 1922
JAGENDER JÜNGLING (YOUNG HUNTER)
signed and dated Ferdinand Keller. / 1881. lower left

oil on canvas
104 by 72.5cm., 41 by 28½in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 44
PROPERTY OF A PRIVATE COLLECTOR
JOHANN GEORG MEYER VON BREMEN

GERMAN 1813-1886
DAS SONNTAGSMÜTZCHEN (SUNDAY BEST)
signed and dated Meyer von Bremen 1865 lower right

oil on canvas
43.5 by 33cm., 17 by 13in.

PROVENANCE
Purchased by the present owner in the late 1950s
AUTHENTICATION
The authenticity of this work has been confirmed by Rudolf Meyer-Bremen, the artist's grandson, and it is recorded
as no. 716 in the artist's handbook.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 45
FRIEDRICH MARTERSTEIG
GERMAN 1814 - 1899
LUTHER AUF DEM REICHSTAGE ZU WORMS (MARTIN LUTHER BEFORE THE HOLY ROMAN EMPEROR
CHARLES V AT THE DIET OF WORMS)
signed and dated F. Martersteig 1847 centre right; indistinctly inscribed and dated 1847 on the stretcher
oil on canvas
156 by 274cm., 61 ½ by 108in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Galerie Ravené, Berlin
EXHIBITION
Berlin, Berliner Akademie, Kunstausstellung, 1848
LITERATURE
Friedrich von Bötticher, Malerwerke des 19. Jahrhunderts, Dresden 1901, vol. 1, p. 983, no. 13
CATALOGUE NOTE
The general assembly, or Diet, of the Imperial States of the Holy Roman Empire met at the small town of Worms,
on the Rhine, between 28 January and 25 May 1521. It was presided over by the Emperor, Charles V (1500-58).
The Diet is renowned for the appearance of Martin Luther before the assembly to defend his 95 theses and other
writings attacking the established church and thus considered one of the foundation stones of the Protestant
Reformation. This dramatic meeting saw Luther face a large crowd, confirm his beliefs, and then flee while private
conferences were held to determine his fate.
Martersteig depicts Luther before the enthroned Charles V, who is attended by his guards, his secretary, Alfonso de
Valdes, and his advisor, Mercurino di Gattinara. Opposite him, behind Luther, and wearing red, ermine-bordered
robes and hats, sit the Electors of Saxony, of Brandenburg, and the Elector Palatine of the Rhine, and behind them,
in his cardinal's hat, the Pope's emissary Girolamo Aleandro. Charles V issued the Edict of Worms on 25 May 1521,
denouncing Luther as a heretic, who should be arrested, and banning the reading and study of his works. Luther
went into hiding in the Wartburg Castle with the help of Frederick III, Elector of Saxony, and re-emerged after the
furore had subsided.
Martersteig was a noted Weimar history painter who studied in Düsseldorf for several years under Friedrich Wilhelm
Schadow and Ferdinand Hildebrandt and later, in Paris, where he came under the influence of Paul Delaroche and
Ary Scheffer. Martersteig adopted subjects for his pictures largely from the history of the Protestant Reformation
and the Thirty Years' War. The third centenary of the Reformation made artistic interpretations of events in Martin
Luther's life very popular in the nineteenth century, and Martersteig painted at least six works taking Luther as the
subject.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 46
FRANZ VON DEFREGGER

MÄDCHENAKT MIT ROTEM TUCH (NUDE WITH RED DRAPE)
signed Defregger lower centre

oil on canvas
85 by 75cm., 33½ by 29½in.

PROVENANCE
Purchased by the father of the present owner in the 1950s
LITERATURE
Hans Peter Defregger, Defregger. 1835-1921, Munich, 1983, p. 292, catalogued &illustrated
London | 2 Jun 2010, 2:30 PM | L10101
LOT 47
BOLESLAS BIEGAS
POLISH 1877 - 1954
HINDU WOMAN
signed B. Biegas lower left

oil on canvas
200 by 100cm., 78¾ by 39½in.
ESTIMATE 18,000 - 25,000 GBP

PROVENANCE
Galerie Jan Krugier, Geneva
CATALOGUE NOTE
Best known for his contribution to the movements of Symbolism and Surrealism in Poland, Biegas' work was also
appreciated in France: the Musée Boleslas-Biegas is located in the Bibliothèque Polonaise in the 4th
arrondissement in Paris.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 48
PROPERTY FROM AN ENGLISH PRIVATE COLLECTION
ANTONIETTA BRANDEIS
CZECH 1849 - 1920
THE RIALTO BRIDGE AND PALAZZO CAMERLENGHI AND THE CA' VENDRAMIN CALERGI, VENICE; A PAIR
i.) signed ABrandeis lower right; inscribed Ponte di Rialto / Pal. Camarlenghi [sic] / Venezia on the reverse
ii.) signed ABrandeis lower right; inscribed Palazzo Vendramin / Venezia on the reverse
each: oil on board
each: 16.5 by 23cm., 6½ by 9in. (2)
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Purchased by the grandfather of the present owner in 1931
CATALOGUE NOTE
The Ca' Vendramin Calergi, built in the last two decades of the fifteenth century, was the home of many prominent
people through history, and is remembered as the place where composer Richard Wagner (1813-1883) died.
Currently, it is home to the Venice Casino (Casinò di Venezia) and the Wagner Museum (Museo Wagner).
London | 2 Jun 2010, 2:30 PM | L10101
LOT 49
LUIGI QUERENA
ITALIAN 1820 - 1890
THE DOGE'S PALACE, VENICE
signed, dated and inscribed Luigi Querena 1882 / Venezia lower right
oil on canvas
54.7 by 74.5cm., 21½ by 29¼in.
ESTIMATE 40,000 - 60,000 GBP
PROVENANCE
Sale: Chassaing-Rivet &Fournié, Toulouse, 2 December 1997, lot 6
London | 2 Jun 2010, 2:30 PM | L10101
LOT 50
ANTONIETTA BRANDEIS
CZECH 1849 - 1920
THE COLOSSEUM, ROME
signed ABrandeis lower right

oil on board
16.5 by 23.5cm., 6½ by 9¼in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 51
ANTONIETTA BRANDEIS
CZECH 1849 - 1920
PORTA DELLA CARTA, DOGE'S PALACE, VENICE
signed with monogram and dated AB 1886 lower left

oil on board
34.5 by 24cm., 13¼ by 9½in.
PROVENANCE
Giovanni Masini, Florence
London | 2 Jun 2010, 2:30 PM | L10101
LOT 52
LUIGI QUERENA
ITALIAN 1820 - 1890
VIEW OF THE LAGOON, VENICE
signed L Querena lower right

oil on canvas
34 by 65.5cm., 13¼ by 25¾in.
ESTIMATE 25,000 - 35,000 GBP
PROVENANCE
Sale: Chassaing-Rivet &Fournié, Toulouse, 2 December 1997, lot 5
London | 2 Jun 2010, 2:30 PM | L10101
LOT 53
CARLO GRUBACS
ITALIAN 1810-C.1870
SANTA MARIA DELLA SALUTE, VENICE
signed C. Grubacs lower left

oil on canvas
23.5 by 31cm., 9¼ by 12¼in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 54
ANTONIETTA BRANDEIS
CZECH 1849 - 1920
THE DOGE'S PALACE AND THE CAMPANILE, VENICE
signed ABrandeis lower right

oil on board
11.7 by 21.2cm., 4½ by 8½in.
PROVENANCE
Theodor Zickendraht, Berlin
London | 2 Jun 2010, 2:30 PM | L10101
LOT 55
CARLO GRUBACS
ITALIAN 1810-C.1870
THE RIALTO &AMP;SAN MARCO, VENICE; A PAIR
i.) signed C. Grubacs lower right;

ii.) signed C. Grubacs lower left
both: oil on canvas
each: 23.5 by 31cm., 9¼ by 12¼in. (2)
ESTIMATE 15,000 - 25,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 56
PROPERTY OF A PRIVATE COLLECTOR, GREAT BRITAIN
EMMA CIARDI
ITALIAN 1879 - 1933
THE CAMPIELLO AND THE CHURCH OF THE ABBEY OF MISERICORDIA, VENICE; A PAIR
i.) signed Emma Ciardi lower right; signed and inscribed Emma Ciardi / Venezia on the reverse;
ii.) signed Emma Ciardi lower left; signed, inscribed and dated Emma Ciardi / Venezia 1930 on the reverse
each: oil on board
each: 37 by 49.5cm., 14½ by 19½in. (2)
ESTIMATE 12,000 - 18,000 GBP

PROVENANCE
Acquired by the mother of the present owner in the 1960s
EXHIBITION
London, Fine Art Society, 1936
London | 2 Jun 2010, 2:30 PM | L10101
LOT 57
PROPERTY FORMERLY IN THE COLLECTION OF GEORG EDUARD BEHRENS
JEAN-BAPTISTE-CAMILLE COROT
FRENCH 1796 - 1875
JEUNE FEMME A LA FONTAINE
signed COROT lower right

oil on canvas
65 by 42cm., 25½ by 16½in.
ESTIMATE 800,000 - 1,200,000 GBP

PROVENANCE
Charles Alluaud, Limoges and Crozant (his sale: Paris, 24 May 1888, lot 6)
Eduard Ludwig Behrens, senior (1824-1895), Hamburg (acquired in 1889)
Eduard Ludwig Behrens, junior (1853-1925), Hamburg (by inheritance from the above
in 1895)
Georg Eduard Behrens, Hamburg (1881-1956; by inheritance from the above in 1925
and until at least October 1939)
H.W. Lange, Berlin (by September 1941)
Kröller-Müller Museum, Otterlo (acquired from the above)
Restituted to the heirs of Georg Eduard Behrens in 2008 Fig. 1
The present work (centre)
flanked by two related works,
both entitled La Rêveuse à la
EXHIBITION fontaine (the one on the right in a
Limoges, Exposition Sciences et Arts, 1886, no. 90 private collection, the one on the
Berlin, Paul Cassirer, Die Sammlung Eduard L. Behrens, 1910, no. 14 (as left formerly in the collection of
Mädchenfigur) the Montreal Museum of Fine
Ghent, Museum voor Schone Kunsten; The Hague, Gand Haags Gemeentemuseum; Arts, and now lost), as illustrated
Paris, Institut Néerlandais, L'Ecole de Barbizon: Un dialogue franco-néerlandais, 1985- in: Alfred Robaut, L'oeuvre de
86, no. 18 Corot, catalogue raisonné et
illustré, Paris, 1905, vol. III, p. 37
LITERATURE
Emil Heilbut, Die Sammlung Behrens, Munich, 1891 (and later editions), p. 208,
illustrated
Alfred Robaut, L'oeuvre de Corot, catalogue raisonné et illustré, Paris, 1905, vol. III, p.
36, no. 1343, catalogued; p. 37, illustrated
Bernheim de Villers, Corot, peintre de figures, Paris, 1930, p. 57, no. 207
Germain Bazin, Corot, Paris, 1951, p. 110
Ellen Joosten, The Kröller-Müller Museum, New York, 1965, p. 30, pl. 31, illustrated
Virgilio Gilardoni, Chefs-d'oeuvre de l'art présente: Corot, Paris, 1966, p. 6, no. 16,
catalogued, discussed &illustrated; p. 23, no. 16, illustrated in colour
Fig. 2
Schilderijen van het Rijksmuseum Kröller-Müller, Otterlo, 1969 &1970, p. 89, no. 57,
catalogued &illustrated Jean-Baptiste-Camille Corot,
Ulrich Luckhardt, 'Eduard L. Behrens und Theodor E. Behrens: Sammeln moderner L'Atelier de Corot, circa 1865-68,
Kunst in zwei Generationen', Private Schätze. Über das Sammeln von Kunst in oil on canvas, Widener
Hamburg bis 1933, Hamburg, 2001, p. 37, listed Collection, National Gallery of
Art, Washington D.C.
CATALOGUE NOTE
Jeune femme à la fontaine ranks among Corot's great figural paintings. At once
imagined and real, rooted in Classical tradition and the Dutch Golden Age yet
supremely modern in conception, the painting numbers among Corot's works that put
him at the very cusp of modernism and which would make him an inspiration to later
generations.
The painting is an outstanding example of the classical spirit and poetry with which
Corot imbued his finest figure paintings of the 1860s. The pose and modelling of the
figure evoke the iconic female figures of the Renaissance. Corot tempers her
monumentality with a pensive intimacy drawn from the Dutch seventeenth-century
masters. Yet her enigmatic expression is that of a very real woman, not an idealised
'type', and her elusive gaze lends her a psychological complexity.
Much like Manet's Olympia, painted in 1863 at about the same time as Jeune femme à
la fontaine, the viewer is held captive by the powerful tension between the familar and
the new, between the painting's timelessness and its immediacy. Corot's figural works
reverberate in the paintings of the Impressionists and beyond, the girls' haunting miens
finding expression in the figurative and abstract work of Picasso who became interested
in Corot in the 1910s, making a free copy of one of his figure portraits.
One of Corot's greatest achievements in his figural works is his ability to reveal eternal
truths through the fusion of reality and memory. Corot explored the theme of the girl by
the well in a number of canvases after 1855, but the present work, along with La
Rêveuse à la fontaine, formerly in the Montreal Museum of Fine Arts, and another work
of the same title sold in these rooms in 2003, are arguably the most resolved, and the
culmination of his developing thoughts on the subject. Alfred Robaut in his catalogue
raisonné presents them together as a triumvirate, illustrating them side by side with the
present work flanked by the other two (fig. 1).
It was his trips to Italy in 1825-28, 1834 and 1843 that inspired Corot's distinctive Italian
peasant girls. Corot enthused that: 'In them, I saw the beauty of life. This beauty is in
every creature, it is everything which breathes and which is impregnated with light'
(quoted in Marlborough Gallery, Corot, London, 1963, p. 9). While the present work was
painted after these sojourns, it was certainly painted from Corot's images and his
idealised memories of the Italian women he encountered in his travels.
The simple, stage-like backdrops and recurring decorative elements such as urns
exhibited in works such as Jeune femme à la fontaine reflect Corot's lifelong passion for
the ballet and opera. Even the young woman's traditional peasant dress is more
costume-like than based on first-hand observation Corot would sometimes borrow
opera costumes in which to adorn his models, and this combination of yellow skirt,
green corset, white chemise and red hair ribbon is used in at least two other
compositions (fig. 2). In Corot's studio, these peasant women became his modern-day
Venuses and Dianas, or even became symbols of an intangible idea, set against a
capriccio backdrop.
During the 1860s and 1870s Corot devoted more time to figural works than ever before.
However, for the most part, these paintings seem not to have been intended for public
exhibition; he exhibited only four during his lifetime. Instead, he found a ready market
for them among discerning friends collectors, who recognized their true sophistication.
Corot's achievements as a figure painter were acknowledged by his contemporaries.
One of the greatest lights of the Impressionist movement, Edgar Degas, even stated
when pressed to agree about Corot's skills in drawing a tree: 'Yes, indeed... and I find
his figures yet superior' (quoted in Alfred Robaut, L'Oeuvre de Corot, Paris, 1905, p.
254).
The first owner of Jeune femme à la fontaine, Charles Alluaud (1861-1949), was scion
of the family that had directed the porcelain factory in Limoges since the eighteenth
century. Charles became a renowned entomologist, studying insects in France and
travelled extensively in Africa and elsewhere between 1887 and 1930. During his
childhood, he and his brother Eugène had received painting instruction from Corot ,and
it is likely that Alluaud acquired the present work because of his early association with
the artist.
Eduard Ludwig Behrens, the next documented owner of Jeune femme à la fontaine
(1824-95), was one of the early directors of the private banking firm of Levy Behrens
&Söhne in Hamburg. Eduard bequeathed his large and important art collection to his
son Eduard Ludwig Behrens junior who left it, in turn, to his son, Georg. The Behrens
porcelain collection had gone to Eduard Ludwig junior's brother, Theodor (1857-1921),
Georg's uncle.
In 1925, Georg loaned the Behrens paintings collection to the city of Hamburg for a
period of ten years. On the expiry of this agreement, Georg attempted to send the
collection to the safety of Switzerland, but was informed on 1 April 1935 by the Nazi
authorities that the present work and a number of other key works from the Behrens
collection had been included on the Verzeichnis der national wertvollen Kunstwerke (list
of works considered to be of national significance) and that it therefore could not leave
Germany without permission.
In May 1938, the Behrens banking firm was Aryanised and the following November
Georg was placed under arrest in Hamburg and then sent to the Sachsenhausen
concentration camp, where he was interned until the end of December. He emigrated to
Belgium in April 1939. In order to obtain his exit visa he had to pawn all his possessions
to the State. From Belgium he moved to France where, following the outbreak of the
Second World War, he was held in a camp in the south of France before obtaining a
visa to Cuba in the autumn of 1940. After the war, Georg Eduard Behrens returned to
Hamburg and died in that city in 1956, never having recovered the Corot.
FIG. 1, The present work (centre) flanked by two related works, both entitled La
Rêveuse à la fontaine (the one on the right in a private collection, the one on the left
formerly in the collection of the Montreal Museum of Fine Arts, and now lost), as
illustrated in: Alfred Robaut, L'oeuvre de Corot, catalogue raisonné et illustré, Paris,
1905, vol. III, p. 37
FIG. 2, Jean-Baptiste-Camille Corot, L'Atelier de Corot, circa 1865-68, oil on canvas,

Widener Collection, National Gallery of Art, Washington D.C.
Fig. 1
The present work (centre) flanked by two related works, both entitled La Rêveuse à la
fontaine (the one on the right in a private collection, the one on the left formerly in the
collection of the Montreal Museum of Fine Arts, and now lost), as illustrated in: Alfred
Robaut, L'oeuvre de Corot, catalogue raisonné et illustré, Paris, 1905, vol. III, p. 37
Fig. 2
Jean-Baptiste-Camille Corot, L'Atelier de Corot, circa 1865-68, oil on canvas, Widener
Collection, National Gallery of Art, Washington D.C.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 58
CHARLES-FRANÇOIS DAUBIGNY
FRENCH 1817-1878
LE RAVIN D'OPTEVOZ
signed Daubigny lower right

oil on canvas
32.5 by 64cm., 12¾ by 25¼in.
ESTIMATE 12,000 - 18,000 GBP

PROVENANCE
M. Dechaume, Paris (his sale: Hôtel Drouot, Paris, 14-15 April 1893)
Sale: Sotheby's, London, 5 May 1965
LITERATURE
Robert Hellebranth, Charles-François Daubigny, Morges, 1976, p. 172, no. 530, catalogued &illustrated
London | 2 Jun 2010, 2:30 PM | L10101
LOT 59
ALFRED DE DREUX
FRENCH 1810 - 1860
DEUX DOGUES JOUANT DEVANT UNE ÉCUELLE
indistinctly signed Alfred d. D lower right

oil on canvas
24.5 by 33cm., 9½ by 13in.

PROVENANCE
Serge Makowski
Sale: Hôtel Drouot, Paris, 11 December 1967, lot 20
Purchased at the above sale by the grandfather of the present owner
EXHIBITION
London, Marlborough Gallery, XIX and XX Century European Masters, 1957, no. 16, illustrated in the catalogue
LITERATURE
Marie-Christine Renauld, Alfred De Dreux. 1810-1860 &Alfred De Dreux. Catalogue raisonné, 2008, p. 219, listed
&illustrated; p. 74, no. MCR 296, catalogued &illustrated (in reverse)
London | 2 Jun 2010, 2:30 PM | L10101
LOT 60
AUGUSTE BONHEUR
FRENCH 1824 - 1884
LE COMBAT, SOUVENIR DES PYRENEES
signed and dated Auguste Bonheur 1862 lower right

oil on canvas
200 by 260cm., 78¾ by 102¼in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Sale: Christie's, London, The Gyrn Castle Sale, 17 July 2006, lot 100
EXHIBITION
Paris, Salon, 1863, no. 197
London | 2 Jun 2010, 2:30 PM | L10101
LOT 61
EMILE MUNIER
FRENCH 1810 - 1895
INNOCENCE
signed and dated E. MUNIER 1880 lower left

oil on canvas
44.3 by 30cm., 17½ by 11¾in.
ESTIMATE 100,000 - 150,000 GBP

PROVENANCE
Private Collection, Great Britain
Acquired from the above by the present owner in June 1984
CATALOGUE NOTE
Painted in 1880, this charming portrait of the artist's daughter Marie-Louise aged six
epitomises Munier's paintings of children, which clearly take their cue from the artist's
teacher, William Bouguereau, the doyen of neo-classical painting in the second half of Fig. 1
the nineteenth century. Emile Munier, The Broken Vase,
oil on canvas, sold: Sotheby's,
The happiness and the harmony which prevailed in the Munier home is evident in every New York, 26 October 2004, lot
cheerful detail the mischievous Marie-Louise is depicted on her high-chair at the family 66
table, bearing an innocent expression as she stretches and overturns a bowl. Munier's
studies of children earned him great critical and popular success in his lifetime, and
these have sold for record prices at auction (fig. 1).
Munier was very close to his family, notably his children: Emile Henri, son of Henriette
Lucas, and Marie-Louise, daughter of Sargine Augrand, whom he married after the
death of his first wife. However, the birth of Marie-Louise in 1874 saw Munier's focus
change, and his children became his primary artistic inspiration. He soon became
renowned specifically for his depictions of children, and his daughter Marie-Louise
became an iconic figure within Munier's oeuvre.
Munier originally trained as an upholstery artist at the Gobelins tapestry factory before
devoting himself solely to painting. During the 1860s, Munier received three medals at
the Ecole des Beaux-Arts and in 1869 he exhibited at the Paris Salon. In 1874 Munier,
always a supporter of the traditional style of art championed by the academy, began
work in the studio of William Bouguereau. This relationship proved very influential upon
Munier's subject matter and high finish. In the 1884 Salon he exhibited Trois Amis
(Favourite Pets), a work depicting a small girl playing on her bed with a kitten and a
dog, which was used in early advertising campaigns for Pears Soap. Towards the end
of his life Munier continued to exhibit regularly at the Salon and participated in the 1893
World's Fair in Chicago, where he received a medal.
FIG. 1, Emile Munier, The Broken Vase, oil on canvas, sold: Sotheby's, New York, 26
October 2004, lot 66
AUTHENTICATION
The authenticity of this work has been confirmed by Howard L. Rehs from a
photograph; it will be included in his forthcoming catalogue raisonné to be published by
Rehs Galleries, Inc. (www.emilemunier.org)
Fig. 1
Emile Munier, The Broken Vase, oil on canvas, sold: Sotheby's, New York, 26 October
2004, lot 66
London | 2 Jun 2010, 2:30 PM | L10101
LOT 62
GUILLAUME SEIGNAC
FRENCH 1870-1924
L'ABANDON
signed G - SEIGNAC lower left

oil on canvas
96 by 176cm., 37¾ by 69in.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Sale: Sotheby's, New York, 17 February 1993, lot 68
EXHIBITION
London | 2 Jun 2010, 2:30 PM | L10101
LOT 63
PROPERTY FROM A FRENCH PRIVATE COLLECTION
EMILE MUNIER
FRENCH 1810 - 1895
LA BAIGNEUSE
signed and dated E Munier 1882 lower right

oil on canvas
199.5 by 99cm., 78½ by 40in.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
Purchased by the present owner circa 1980
EXHIBITION
Probably Paris, Salon, 1882, no. 1970 (as La Source)
AUTHENTICATION
The authenticity of this work has been confirmed by Howard L. Rehs from a photograph; it will be included in his
forthcoming catalogue raisonné to be published by Rehs Galleries, Inc. (www.emilemunier.org)
London | 2 Jun 2010, 2:30 PM | L10101
LOT 64
MICHEL RICHARD-PUTZ
FRENCH B. 1868
LE TRONE DE PAON
signed Michel Richard Putz twice lower right

oil on canvas
200 by 100cm., 78¾ by 39¼in.
ESTIMATE 20,000 - 30,000 GBP
PROVENANCE
Sale: Sotheby's, New York, 17 February 1993, lot 35A
London | 2 Jun 2010, 2:30 PM | L10101
LOT 65
FRANÇOIS MARTIN-KAVEL
FRENCH 1861-1931
JEUNE FEMME EN DESHABILLE
signed Martin.Kavel. lower left

oil on canvas
81 by 60cm., 32 by 23.5in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 66
LÉON-FRANÇOIS COMERRE
FRENCH 1850-1934
DANAE
signed Léon Comerre lower right

oil on canvas
28.5 by 40cm., 11¼ by 15¾in.
ESTIMATE 10,000 - 15,000 GBP
CATALOGUE NOTE
A larger version of the present work, painted in 1907 and titled Pluie d'or, is in the collection of the Musée du Petit
Palais, Paris (see George Comerre, Léon Comerre 1850-1916, 1980, p. 55).
London | 2 Jun 2010, 2:30 PM | L10101
LOT 67
PAUL SIEFFERT
FRENCH 1874-1957
NU A LA PEAU DE BETE
signed P Sieffert lower left; signed and numbered P. Sieffert. No 495. on the reverse
oil on canvas
60 by 100cm., 23½ by 39½in.
ESTIMATE 15,000 - 20,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 68
DELPHIN ENJOLRAS
FRENCH 1857-1945
NU ETENDU AU BOUQUET DE ROSES
signed D Enjolras lower left

oil on canvas
54 by 73cm., 21¼ by 28¾in.
ESTIMATE 15,000 - 20,000 GBP
PROVENANCE
Sale: Christie's East, New York, 24 October 1997, lot 204
London | 2 Jun 2010, 2:30 PM | L10101
LOT 69
EUGÈNE GALIEN-LALOUE
FRENCH 1854-1941
LES GRANDS BOULEVARDS LE JOUR DE L'AN
signed and dated E Galien Laloue / 1er Janvier 1910 lower left
gouache, pen and ink and pencil on paper
12 by 17cm., 4¾ by 6¾in.
AUTHENTICATION
To be included in the second volume of the Galien-Laloue catalogue raisonné being prepared by Noë Willer.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 70
EDOUARD CORTÈS
FRENCH 1882 - 1969
PLACE DE LA MADELEINE
signed Ed. Cortès lower right

oil on canvas
24 by 33cm., 9½ by 13in.
PROVENANCE
Acquired by the parents of the present owner in the 1950s
London | 2 Jun 2010, 2:30 PM | L10101
LOT 71
EDOUARD CORTÈS
FRENCH 1882 - 1969
LE MARCHE AUX FLEURS, PLACE DE LA MADELEINE
signed Ed. Cortès lower right

oil on canvas
24 by 33cm., 9½ by 13in.
PROVENANCE
Acquired by the parents of the present owner in the 1950s
London | 2 Jun 2010, 2:30 PM | L10101
LOT 72
PROPERTY OF A NORWEGIAN PRIVATE COLLECTOR
FRENCH 1854-1941
PLACE DE LA BASTILLE
signed E. Galien-Laloue lower left

gouache on paper
18.5 by 31cm., 7¼ by 12¼in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Purchased by the great-grandfather of the present owner circa 1950
AUTHENTICATION
London | 2 Jun 2010, 2:30 PM | L10101
LOT 73
FRENCH 1854-1941
MARCHÉ AUX FLEURS PRÈS DE LA CONCIERGERIE EN HIVER
signed E. Galien-Laloue lower left

gouache on paper
18 by 32cm., 7 by 12½in.
AUTHENTICATION
London | 2 Jun 2010, 2:30 PM | L10101
LOT 74
FRENCH 1854-1941
BOUQUINISTES, QUAI DES TOURNELLES EN AUTOMNE
signed E Galien Laloue lower left

gouache on paper
18.5 by 31.5cm., 7¼ by 12½in.
AUTHENTICATION
London | 2 Jun 2010, 2:30 PM | L10101
LOT 75
ETTORE FORTI
ITALIAN 1850 - 1940
CARPET MERCHANT IN POMPEII
signed and inscribed E Forti / Roma lower right

oil on canvas
49 by 77.5cm., 19¼ by 30½in.
ESTIMATE 15,000 - 20,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 76
L. A. MARSANO
ITALIAN 19TH/20TH CENTURY
IN THE TEMPLE OF VENUS
signed A. Marsano lower right

oil on canvas
73.5 by 100cm., 29 by 39½in.
PROVENANCE
Sale: Christie's, London, 14 February 1991, lot 191
London | 2 Jun 2010, 2:30 PM | L10101
LOT 77
LUIGI CROSIO
ITALIAN 1835 - 1915
NEW FRIENDS
signed L. Crosio lower left

oil on panel
35 by 50.5cm., 13¾ by 20in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 78
JOSÉ MIRALLES DARMANIN

SPANISH 1851 - 1950
THE CHRISTENING
signed, inscribed and dated J. Miralles Darmanin / Orgerus 1887 lower right
oil on canvas
175 by 171cm., 68¾ by 67¼in.
PROVENANCE
Benlliure Galeria de Arte, Valencia
Sale: Oger &Dumont, Paris, 14 December 2000, lot 19 (as one of a pair)
London | 2 Jun 2010, 2:30 PM | L10101
LOT 79
TITO LESSI
ITALIAN 1858 - 1917
THE BIBLIOPHILES
signed Tito Lessi lower left

oil on canvas
59 by 83.5cm., 23¼ by 32¾in.
EXHIBITION
London | 2 Jun 2010, 2:30 PM | L10101
LOT 80
JACQUES-EMILE BLANCHE
FRENCH 1861 - 1942
FILLETTE A LA BOBINE DE FIL
signed and dated JE Blanche / 92 lower right

pastel on paper
63 by 48cm., 24¾ by 19in.

CATALOGUE NOTE
This pastel is from the series 'l'Emploi de la journée d'une petite fille'. In these works Blanche represents Lucie
Esnault, the daughter of his locksmith in Auteuil, in various poses relating to a little girl's day-to-day activities. Lucie
was Blanche's main child model between 1889 and 1899.
AUTHENTICATION
The authenticity of this work has been confirmed by both the Comité Jacques Émile-Blanche and Jane Roberts,
and will be included in the latter's catalogue raisonné on the artist.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 81
PROPERTY OF A PRIVATE COLLECTOR, BELGIUM
VITTORIO REGGIANINI
ITALIAN 1858 - 1938
THE LOVE LETTER
signed VReggianini upper right

oil on canvas
51.5 by 38cm., 20¼ by 15in.
ESTIMATE 12,000 - 18,000 GBP
PROVENANCE
Private Collection, Belgium
Purchased from the above by the present owner
London | 2 Jun 2010, 2:30 PM | L10101
LOT 82
FEDERICO ANDREOTTI
ITALIAN 1847-1930
GIRL IN A STRAW HAT
signed F Andreotti lower right

oil on panel
20.3 by 14cm., 8 by 5½in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 83
FEDERICO ANDREOTTI
ITALIAN 1847-1930
REVERIE
signed F Andreotti lower left

oil on canvas
44.5 by 34.3cm., 17½ by 13½in.
ESTIMATE 12,000 - 18,000 GBP
EXHIBITION
Florence, Associazione degli artisti italiani, n.d.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 85
PROPERTY OF A LADY
GUILLAUME SEIGNAC
FRENCH 1870-1924
LA BELGIQUE, LA FRANCE ET L'ANGLETERRE DEVANT L'INVASION ALLEMANDE
signed and dated G - Seignac - 1914 lower left

oil on canvas
90 by 72cm., 35½ by 28¼in.
ESTIMATE 10,000 - 15,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 86
BERNHARD POTHAST
DUTCH 1882-1966
A HAPPY FAMILY
signed B Pothast lower right

oil on canvas
50 by 60cm., 19¾ by 23½in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 87
PROPERTY OF A LADY
WILLIAM EDWARD NORTON

AMERICAN 1843 - 1916
LOOKING OUT TO SEA
signed and dated William Norton / 1888 lower left

oil on canvas
121.5 by 86.5cm., 47¾ by 34in.

PROVENANCE
Sale: Sotheby's, London, 16 June 1993, lot 163A
EXHIBITION
London, Royal Academy, 1889, no. 631
London | 2 Jun 2010, 2:30 PM | L10101
LOT 88
PROPERTY FROM A BRITISH ESTATE
GIUSEPPE MAGNI
ITALIAN 1869 - 1956
HAPPY MOMENTS
signed G Magni centre left

oil on canvas
50.5 by 40.5cm., 20 by 16in.
PROVENANCE
Purchased by the grandfather of the present owner circa 1925
London | 2 Jun 2010, 2:30 PM | L10101
LOT 89
AGATHE RÖSTEL
GERMAN B. 1868
THE TOY BARROW
signed A. ROESTEL upper left

oil on canvas
113 by 143cm., 44½ by 56¼in.
ESTIMATE 15,000 - 20,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 90
PROPERTY OF A BRITISH PRIVATE COLLECTOR
PAUL MATHEY
FRENCH 1844 - 1929
FILLE EN MATELOT
dedicated, signed and dated à mes amis Brandt / P Mathey 1889 upper right
oil on canvas
40.5 by 32.5cm., 16 by 12¾in.
PROVENANCE
Mr &Mrs Brandt (acquired from the artist in 1889)
London | 2 Jun 2010, 2:30 PM | L10101
LOT 91
ANDRÉ DARGELAS
FRENCH 1828-1906
LES PETITS FUMEURS PRIS SUR LE FAIT
signed Dargelas lower right

oil on panel
46 by 37cm., 18 by 14½in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 92
BOUVARD
FRENCH 19TH CENTURY
LE PALAIS DES DOGES VU DE LA DOGANA, VENISE
signed Bouvard lower right

oil on canvas
50 by 64.5cm., 19¾ by 25¼in.
ESTIMATE 10,000 - 15,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 93
BOUVARD
FRENCH 19TH CENTURY
VENISE, LA CAMPANILE A L'ARRIERE-PLAN
signed Bouvard lower left

oil on canvas
55 by 65cm., 21½ by 25½in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 94
ALEXANDRE GASTON GUIGNARD

FRENCH 1848-1922
AVANT LE DEPART
signed Gaston Guignard lower right

oil on canvas
236 by 310cm., 93 by 122in.
ESTIMATE 20,000 - 30,000 GBP
PROVENANCE
Sale: Christie's, New York, 6 June 1986, lot 277
London | 2 Jun 2010, 2:30 PM | L10101
LOT 95
HENRY MALFROY
FRENCH 1895 - 1995
LA MADELEINE
signed and inscribed Henry Malfroy / la Madeleine - Paris lower right

oil on canvas
27 by 41cm., 10½ by 16¼in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 96
CONTINENTAL SCHOOL
19TH CENTURY
VIEW OF BAIAE, NEAR NAPLES
oil on canvas
48.2 by 62.5cm., 19 by 24½in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 97
ADOLF HOHNECK
GERMAN 1812-1879
DER DRACHENFELS (VIEW OF THE DRACHENFELS)
signed A. Hohneck lower right; signed, dated and inscribed A. Hohneck / 1850 / Bonn and indistinctly inscribed on the reverse
oil on canvas
39.3 by 47.8cm., 15½ by 18¾in.
PROVENANCE
Galerie Saxonia, Munich
Puchased from the above by the present owner circa 1975-76
London | 2 Jun 2010, 2:30 PM | L10101
LOT 98
GEORGES WASHINGTON
FRENCH 1827 - 1910
LA CHASSE AU FAUCON
signed G Washington lower left

oil on canvas
44.5 by 62cm., 17½ by 24½in.
ESTIMATE 12,000 - 15,000 GBP
PROVENANCE
Sale: Waddington's, Toronto, 12 June 2007, lot 216
London | 2 Jun 2010, 2:30 PM | L10101
LOT 99
GEORGES WASHINGTON
FRENCH 1827 - 1910
LA CHARGE
signed G. Washington lower left

oil on canvas
30.5 by 44.5cm., 12 by 17½in.
ESTIMATE 12,000 - 18,000 GBP
PROVENANCE
Acquired by the late husband of the present owner before 1980
London | 2 Jun 2010, 2:30 PM | L10101
LOT 100
ADOLF SCHREYER
GERMAN 1828-1899
ARAB SCOUTS ON HORSEBACK
signed Ad. Schreyer lower right

oil on canvas
55 by 73.5cm., 21½ by 29in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
J. P. Schneider Jr, Frankfurt, 1984-1985
Galerie Dr Bühler, Munich
Sale: Christie's, New York, 22 October 2008, lot 4
AUTHENTICATION
The authentication of this work has been confirmed by Dr Christoph Andreas.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 101
HENRI ROUSSEAU
FRENCH 1875-1933
LE CAÏD MAROCAIN ET SON ESCORTE
signed and dated Henri Rousseau 30 lower right

oil on canvas
46 by 55cm., 18¼ by 2¾in.
ESTIMATE 15,000 - 25,000 GBP
PROVENANCE
Sale: Gros &Delettrez, 11 December 2006, lot 73
London | 2 Jun 2010, 2:30 PM | L10101
LOT 102
PROPERTY OF A LADY
JEAN-LÉON GÉRÔME
FRENCH 1824-1904
LE MUEZZIN
signed JL GEROME lower right

oil on panel
40.5 by 29.5cm., 16 by 11½in.
ESTIMATE 350,000 - 500,000 GBP

PROVENANCE
Goupil &Cie., Paris
Gambart, London
Sale: Christie's, London, 16 May 1896
Arthur Tooth &Sons (purchased at the above sale)
Sale: Christie's, London, 3 November 1977, lot 110
Fig. 1
Jean-Léon Gérôme, La Prière,
EXHIBITION Kunsthalle Hamburg
LITERATURE
Academy Editions, ed., The Orientalists, London, 1979, no. 48 (as The Call to Prayer)
Gerald M. Ackerman, The Life and Work of Jean-Léon Gérôme with a Catalogue
raisonné, London, 1986, pp. 218-19, no. 164, catalogued &illustrated
Gerald M. Ackerman, Jean-Léon Gérôme. Monographie révisée. Catalogue raisonné
mis à jour, Paris, 2000, pp. 260-61, no. 164, catalogued &illustrated
CATALOGUE NOTE
Painted in 1865, this evocative painting captures the moment on a hot afternoon as a
muezzin begins his call to prayer atop a minaret, and Cairo falls silent below him. With
great mastery, Gérôme evokes the utter stillness both of the city and of the desert air,
the heat made almost palpable to the viewer through the contrast between the shade
cast by the minaret and the brilliant, hot light beyond. It is likely that the high dome in
the background is the mosque of Sultan Hassan. In subject, the work relates to
Gérôme's painting La Prière au Caire (Hamburg, Kunsthalle; fig. 1) shown at the Paris
Salon the same year, of a group of men praying on a Cairo rooftop, and in Gerald
Ackerman's words 'one of Gérôme's most successful compositions'.
A muezzin is a chosen person at the mosque who leads the call (adhan) to Friday
service and the five daily prayers (salat) from one of the mosque's minarets. Though
chosen to serve for his good character, voice and skills, he is not considered a cleric,
but rather comparable to a Christian sexton. When calling to prayer, the muezzin faces
the Qiblah (direction of the Ka'bah in Mecca) while he cries out the adhan. The
institution of muezzin has existed since the time of Muhammad. The first muezzin was
Bilal ibn Ribah, who walked the streets to call the believers to come to prayer. After
minarets became customary, the office of muezzin in cities was sometimes given to a
blind person, who could not look down into the inner courtyards of the citizens' houses
and thereby violate their privacy.
Gérôme visited Cairo many times, and the details of this painting demonstrate both his
encyclopaedic knowledge of the Middle East recorded in sketches he made on location,
and his profound respect for some of its most distinctive cultural traditions. As in his
numerous paintings of men at prayer inside mosques, so too in this outdoor view he
could combine his admiration for Muslim piety and Islamic architecture. Throughout his
Orientalist oeuvre, there is an inherent respect for the straightforward and
unembarassed prayer among Muslims. A strongly anti-clerical Frenchman himself,
Gérôme no doubt admired the clergy-free independence of prayer that he encountered
on his journeys to Egypt.
A larger version of the painting, almost identical in composition, is in the Joselyn Art
Museum, Omaha, Nebraska.
FIG. 1, Jean-Léon Gérôme, La Prière, Kunsthalle, Hamburg
Fig. 1
Jean-Léon Gérôme, La Prière, Kunsthalle Hamburg
London | 2 Jun 2010, 2:30 PM | L10101
LOT 103
EDMUND BERNINGER
GERMAN 1843 - 1943
THE DESERT CARAVAN
signed E. BERNINGER lower left

oil on canvas
60.3 by 101.6cm., 23.7 by 40in.
ESTIMATE 10,000 - 15,000 GBP
PROVENANCE
Sale: Sotheby's, New York, 24 October 2006, lot 23
London | 2 Jun 2010, 2:30 PM | L10101
LOT 104
NARCISSE BERCHÈRE
FRENCH 1819 - 1891
CARAVANE DANS LE DESERT
signed Berchère lower right

oil on canvas
41 by 65cm., 16¼ by 25½in.

40.6 by 65.4 cm

PROVENANCE
Sale: Gros &Delettrez, Paris, 11 December 2006, lot 26
AUTHENTICATION
We are grateful to Barbara Wright for her assistance in cataloguing this work.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 105
CONRAD PETER SCHREIBER

GERMAN 1816-1894
EVENING PRAYER
signed P. SCHREIBER lower left

oil on canvas
65 by 110cm., 25½ by 43¼in.
ESTIMATE 12,000 - 18,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 106
FREDERICK ARTHUR BRIDGMAN

IN THE SOUK, TUNIS
signed, inscribed and dated FA Bridgman / Tunis 1874 lower right

oil on canvas
39.5 by 51.5cm., 15½ by 20¼in.
ESTIMATE 100,000 - 150,000 GBP

PROVENANCE
Purchased by the present owners in Paris circa 1978
CATALOGUE NOTE
In the Souk is a rare early work by Bridgman painted in the refined precise style that sets it apart from his later,
more loosely painted works. Bridgman arrived in Paris from America in 1866, entering the studio of Jean-Léon
Gérôme (lots 102 &115) at the Ecole des Beaux-Arts where he honed his skills and under whose tutelage he
developed the pictorial idiom exemplified in paintings like the present work. After a trip to Algeria and Egypt in 1872,
Bridgman turned his attention to North African subjects. In the Souk was painted soon after that first journey, and
while he would have worked from drawings and sketches made on the spot, the vivid colours and costumes exude
some of the excitement he must have felt upon encountering the sights and sounds of North Africa still fresh in his
memory.
Historically, souks were held outside cities when a caravan or more, loaded with goods, happened to be passing
through. Later, with the growth in importance of the market place and of the urban population, souks shifted to more
permament premises in the medinas or town centres. The souk quarter is typically divided into small souks, each
usually housed in a few narrow streets and named after the product it specialized in such as the gold souk, the
fabric souk, the spice souk, the leather souk, the copy souk (for books). Bridgman depicts what appears to be a stall
in the fabric souk, adorned with all manner of colourful rugs and throws. As today, the souk also acts as a social
hub, where traders and residents alike can meet for coffee, to smoke, or to to converse. Here, a merchant enjoys a
quiet and intimate moment with a female companion, framed by his colourful wares.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 107
THÉODORE CHASSÉRIAU
FRENCH 1819-1856
JEUNE FILLE MAURESQUE, ASSISE DANS UN RICHE INTÉRIEUR (ALMÉE)
signed and dated Thre Chassériau 1853 lower left

oil on panel
41 by 32.3cm., 16¼ by 12¾in.
ESTIMATE 120,000 - 180,000 GBP

PROVENANCE
Count Oscar de Ranchicourt; thence by descent to the previous owner (their sale: Sotheby's, London, 30 May 2008,
lot 102)
EXHIBITION
Paris, Musée Jacquemart-André, Le Second Empire, 1957, no. 49
Ornans, Musée Courbet, Les Orientalistes chez Courbet, 2001, no. 14, illustrated in the catalogue
Paris, Institut du monde arabe, De Delacroix à Renoir. L'Algérie des peintres, 2003/2004, no. 10, illustrated in the
catalogue
LITERATURE
V. Chevillard, Théodore Chassériau, Paris, 1893, no. 104 (Femme mauresque assise) or no. 143 (Almée, vente
Chassériau)
Marc Sandoz, Théodore Chassériau, Paris, 1974, no. 224, pl. 189, illustrated
CATALOGUE NOTE
The present work shows an innocent young girl seated in an interior, facing the viewer with a dreamy expression.
The scene is intimate and conveys the idea of an uncontrived, spontaneous composition through the carelessly
discarded shoe and mandolin in the foreground. Chassériau masterfully captures the effect of light on the rich
fabrics worn by the girl and those embellishing the interior. Combining memories of Algeria, which he visited in
1846, with his own fantasies, Jeune fille mauresque captures Chassériau's unique vision of the Orient, the land of
his longings and his dreams.
In 1846, Chassériau was invited by Ali-ben-Hamet to visit Constantine in Algeria. He subsequently joined Delacroix,
Marilhat and Fromentin as an enthusiast for the light and colour as well as the mystery and exoticism of North
Africa. Just as the experience of the Orient transformed the palettes of Delacroix, Fromentin and Gérôme, so
Chassériau's journey to Algeria had a profound and lasting influence on his oeuvre, offering him a wealth of new
subject matter and introducing him to a dazzling light and colours he had not experienced before.
Chassériau showed his talent for painting from early childhood, and in 1833, aged fourteen, was admitted to the
studio of Ingres. He quickly became the master's favourite, who hailed him as the future 'Napoléon of painting', and
he first exhibited in 1836. Like Ingres, he always emphasized line and form, but also became fascinated by
Delacroix's use of colour to express emotion. The two influences are clearly apparent in the present work.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 108
FRENCH SCHOOL
19TH CENTURY
A QUIET SMOKE
oil on canvas
81 by 65cm., 32 by 25½in.
ESTIMATE 70,000 - 100,000 GBP
CATALOGUE NOTE
Painted in the manner of Étienne Jeaurat (1697-1789), this conversation piece is resonant with the style of the
eighteenth-century school of French painters of Turkish life, which also included Carle van Loo, Antoine de Favray,
and Jean-Étienne Liotard.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 109
CARLE VERNET
FRENCH 1758 - 1836
UN MAMELUK ENTRAINANT SON CHEVAL, UNE CITADELLE A L'ARRIERE-PLAN
signed Carle Vernet. lower right

oil on canvas
64 by 82cm., 25¼ by 32¼in.
ESTIMATE 70,000 - 100,000 GBP

PROVENANCE
Sale: Eric Pillon, Calais, 4 July 2004, lot 24
CATALOGUE NOTE
In this superb example of Vernet's ability to depict warriors and their horses, a Mameluk soldier leads his Arabian
steed before a Cairene citadel. These cavalrymen of slave origin became a powerful military caste between the
ninth and nineteenth centuries, admired for their skill and bravery.
Napoleon defeated the Mameluk army during his 1798 invasion of Egypt, but was impressed by their valour in
battle. Following this Napoleon created a special Mameluk corps in the French army, and was given a famous
Mameluk bodyguard named Roustam Raza by the sheikh of Cairo. In the present work, the Mameluk is armed with
a scimitar, rifle and brace of pistols, and wears the uniform of the Napoleonic squadron before 1804: the green
cahouk (hat) wrapped with a white turban, red sarousal (trousers), loose white shirt and waistcoat.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 111
RUDOLF ERNST
AUSTRIAN 1854-1932
THE NUBIAN GUARD
signed R. Ernst lower left

oil on panel
47.5 by 59cm., 18¾ by 23¼in.
ESTIMATE 300,000 - 500,000 GBP

PROVENANCE
Kurt E. Schon, Ltd., New Orleans
Coral Petroleum, Inc. Collection (sale: Sotheby's, New York, 22 May 1985, lot 47)
Sale: Sotheby's, New York, 28 May 1992, lot 47
CATALOGUE NOTE
In this richly finished work, a Nubian guard stands before an ornate, patinated copper-plated wooden door. What or
whom he guards - a barracks, a palace, or a harem - is left to the viewer to speculate, adding narrative tension to
the painting. In ornament and design, the door resembles those portals recorded by the great French artist and
scholar Achille Prisse d'Avennes (1807-79), and may owe as much to one of these large, richly coloured
lithographs, as to sketches made by Ernst on site. The eclectic components of the composition - the engraved
stonework, the classical marble column with its ionic capital, the glinting rifle and hookah, the well-worn wooden
bench, shiny from use, and the sentinel's smooth gleaming skin contrasting with his rich robes and the white fur of
the two cats at his feet - make this painting, like many of Ernst's best works, a veritable tapestry in pattern and
texture, a cumulative memory of his disperate travels in the Orient.
After studying at the Vienna Academy, Ernst travelled to Rome and, in the 1880s, to Spain, Morocco, and Tunisia.
Later travels would take him to Egypt and, in 1890, to Turkey. In 1876, Ernst settled in France, exhibiting regularly
at the Salon de la Société des artistes français and eventually taking French nationality. After starting out painting
portraits and genre scenes, from 1885 Ernst turned exclusively to painting Orientalist subjects, which he worked up
from the sketches, photogrpahs, souvenirs, and memories accumulated during his travels. Almost all his paintings
were executed in his studio in Paris, which he decorated in an eclectic Eastern style, and in which he would paint
wearing a taboosh, the better to transport himself mentally into the world created in his canvases.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 112
ALBERTO PASINI
ITALIAN 1826 - 1899
CAVALRY BEFORE A MOSQUE
signed and dated A. Pasini.1876 lower right

oil on canvas
46.5 by 37.5cm., 18¼ by 14¾in.

46.3 by 37.7 cm
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Sale: Sotheby's, London, 16 November 2004, lot 221
EXHIBITION
Turino, Esposizione Nazionale, 1880, no. 608
LITERATURE
Vittorio Botteri Cardoso, Pasini, Genoa, 1991, p. 340, no. 700, catalogued and illustrated
CATALOGUE NOTE
Just outside the open doorway, a group of men converse. Outfitted in heavy boots and coloured coats, and
distinguished by their complex headgear, they recall the impressive bashi-bazouks, or irregular Ottoman soldiers,
immortalized by contemporary photographers and, of course, by Jean-Léon Gérôme (see lots 108 &120). Their trio
of horses, well-groomed, and well-behaved, turn their backs to the viewer, as they so often do in Pasini's
compositions.
In 1855, Alberto Pasini ventured well beyond the beaten track, visiting countries that were on few European
travelers' itineraries. After an invigorating trip to Egypt, where he found 'a pictorial ambiance adapted to my nature,
which is disposed to cheerful plays of light and color', Pasini toured Yemen and Oman. He then spent eighteen
months in the company of the Shah in Tehran before returning home, via the Black Sea and Constantinople, in
1856. In 1868-69, Pasini was again in Turkey and, in 1873, Syria and Lebanon.
A pencil and bodycolour drawing by Pasini depicting a similar view was sold at Christie's on 27 November 1986, lot
179.
AUTHENTICATION
We are grateful to Dr Emily M. Weeks for her assistance in cataloguing this work.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 113
FABIO FABBI
ITALIAN 1861-1946
IN THE HAREM
signed F. Fabbi lower left

oil on canvas
65.5 by 85.1cm., 25¾ by 33½in.
ESTIMATE 60,000 - 80,000 GBP
PROVENANCE
Sale: Grogan &Company, Dedham, 21 May 1992, lot 65
London | 2 Jun 2010, 2:30 PM | L10101
LOT 114
VINCENT STIEPEVICH
RUSSIAN 1841 - 1910
THE SERENADE
signed VG Stiepevich lower right

oil on canvas
76 by 50cm., 30 by 19¾in.
ESTIMATE 25,000 - 35,000 GBP
PROVENANCE
Sale: Sotheby's, New York, 18 April 2007, lot 13
London | 2 Jun 2010, 2:30 PM | L10101
LOT 115
JEAN-LÉON GÉRÔME
FRENCH 1824 - 1904
FEMMES AU BAIN
signed J.L. GEROME lower left

oil on canvas
40.9 by 32.5cm., 16 by 12 3/4 in.
ESTIMATE 500,000 - 700,000 GBP

PROVENANCE
Sale: Christie's New York, 18 October 2000, lot 98
LITERATURE
Jean-Léon Gérôme, Paris Photographs: Gérôme, Oeuvres, Cabinet des Estampes, Bibliotheque Nationale, Paris,
vol. III, illustrated
Gerald Ackermann, Jean-Léon Gérôme, London, 1986, pp. 266-7, no. 376, illustrated
Gerald Ackermann, Jean-Léon Gérôme, Paris, 2000, pp. 326-7, no. 376, illustrated
CATALOGUE NOTE
Following his trip to Bursa in Turkey in 1879, Gérôme produced a number of bath scene paintings, culminating in
his most famous work of the series, The Great Bath at Bursa, sold in these rooms on 15 June 2004. The present
evocation of ladies lounging around a hot pool in a Turkish bath depicts two girls, one half emerged in the water, the
other seated on a basket sponging herself down - in conversation in the foreground. In the background, another
group of robed women converse in one of the wall niches. Dappled sunlight animates the dark room from the
narrow windows high up in the wall and outside the picture plane.
The scene is presumably set in the caldarium in Yeni Kaplica, Bursa's 'New Baths' built in 1552. Bursa had been
the ancient capital of the Ottoman Empire before the conquest of Constantinople in 1453. By the time the present
work was executed, Gérôme had moved away from heroic history painting towards archeological accuracy and
objective realism. That is not to say that he adhered to Courbet's transitory school of Realism - the poses and finish
of Gérôme's nudes remain grounded in academic idealism - but rather that he paid greater attention to the
ensemble; he studied the relation of the figures to their surroundings, to the floors and to the walls and accessories
around them.
The room is in a real building depicted as it looked during Gérôme's lifetime, and the activities of the women are as
close to everyday life as Gérôme could imagine. The nudes are carefully studied, well placed, delightfully posed
and painted. It seems likely that Gérôme, working in the bath on Men's Day, naturally, observed the casual society
of the male bathers around him in the warm, steamy space. Their relaxed deportment gave him a clue as to the
behaviour of the women on their day. Fréderic Masson records an entertaining account by Gérôme (probably in a
letter) of this experience:
'During a stay in Bursa, I was taken by the architecture of the baths, and they certainly offered a chance to study
nudes. It wasn't just a question of going to see what was going on inside, and of replacing [some men by some
women], I had to have a sketch of this interior; and since the temperature inside was rather high, I didn't hesitate to
sketch in the simple apparel of a beauty just aroused from her sleepthat is, in the buff. Sitting on my tripod, my paint
box on my knees, my palette in my hand, I was a little grotesque, but you have to know how to adapt yourself as
necessary. I had the idea of painting my portrait in this costume, but I dropped it, fearing that my image (dal vero)
might get me too much attraction and launch me in a career as a Don Juan' (Frédéric Masson, 'J.L. Gérôme. Notes
et fragments des souvenirs inédits du maître', Les Arts, 1902, p. 30).
The subject of Femmes au bain was not uncommon in nineteenth-century painting; Delacroix, Ingres and
Chassériau had already received critical acclaim for their various nudes set in Turkish interiors. Ingres' famous
rendering of this subject in 1862 is an exotic fantasy of voluptuous flesh and writhing bodies. In contrast with this,
the composition of Femmes au bain seems devoid of lasciviousness or even the mildest evocation of eroticism: the
nudes are not shown as examples of primitive sensuality as is the tradition in depicting bath scenes; they do not
writhe and pose in erotic deprivation or anticipation; they are simply engaged in the social activity of spending the
day at the bath.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 116
THÉOBALD CHARTRAN
FRENCH 1849-1907
ODALISQUE
signed and dated Chartran. 1872 upper right

oil on canvas
116.5 by 88.5cm., 45¾ by 34¾in.
ESTIMATE 30,000 - 50,000 GBP
PROVENANCE
Sale: Sotheby's New York, 13 November 1985, lot 51
London | 2 Jun 2010, 2:30 PM | L10101
LOT 117
FERDINAND MAX BREDT

GERMAN 1868-1921
RECLINING ODALISQUE
signed F M BREDT / M upper right

oil on canvas
27.9 by 48.3cm., 11 by 19in.
ESTIMATE 40,000 - 60,000 GBP
PROVENANCE
Sale: Bonhams, Dubai, 11 May 2009, lot 58
London | 2 Jun 2010, 2:30 PM | L10101
LOT 118
FAUSTO ZONARO
ITALIAN 1854 - 1929
LA SULTANA
signed F. Zonaro lower right; signed and titled Fausto Zonaro La Sultana on the stretcher
oil on canvas
64.5 by 85.5cm., 25¼ by 33¾in.
ESTIMATE 280,000 - 350,000 GBP

CATALOGUE NOTE
La Sultana was painted in Zonaro's studio in St Remo in Italy in the 1920s, a souvenir of his time in Constantinople,
where he had held the prestigious position of court painter to the last Ottoman sultan. Settling with his family in Italy
in 1911 after twenty-one years in the Ottoman capital, and despite missing his life in Constantinople enormously,
Zonaro wrote in his memoirs, 'I continue to work with all my strength and with all the respect and excitement I feel
for my art. The allure of the Orient still holds me in its thrall.'
Painting his chosen model - with her sultry exotic looks - in Turkish costume perhaps provided some solace and
kept Zonaro's cherished memories of Turkey alive, at a time when, to satisfy popular demand, he was turning
increasingly to landscape painting and views of surrounding Liguria.
Zonaro and his wife Elisa had moved to Constantinople in 1890, where Zonaro immediately became enthralled by
the country and its people. The talented Italian soon came to the attention of Abdül Hamid II, the Ottoman Sultan,
who appointed him painter to his court. Zonaro went on to become a teacher at the School of Fine Art founded by
Osman Hamdy Bey. The present work has all the hallmarks of his best Orientalist paintings, his imaginary 'sultana'
lounging languidly against the backdrop of a Turkish carpet and a mashrabiyye screen.
A pastel version of this composition is recorded and illustrated in Osman Öndes and Erol Makzume, Ottoman Court
Painter Fausto Zonaro, Istanbul, 2002, p. 344.
AUTHENTICATION
The authenticity of this work has been confirmed by Erol Makzume.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 119
JULIUS BERGER
ENTERTAINING THE PASHA
signed and dated JBerger 897 lower left

oil on panel
63.5 by 49cm., 25 by 19¼in.
ESTIMATE 25,000 - 35,000 GBP
PROVENANCE
Sale: Christie's, London, 15 June 2005, lot 23
London | 2 Jun 2010, 2:30 PM | L10101
LOT 120
HEINRICH SCHOPIN
GERMAN 1804 - 1881
LION SURPRISING AN ARAB FAMILY
signed H. Schopin lower left

oil on canvas
45 by 58.5cm., 17¾ by 23in.
PROVENANCE
Sale: Neumeister Kunstauktionen, Munich, 21 March 2001, lot 959
London | 2 Jun 2010, 2:30 PM | L10101
LOT 121
OTTO PILNY
SWISS 1866-1936
DANCE AT SUNSET
signed and inscribed OTTO PILNY Cairo lower right
oil on canvas
80.5 by 120cm., 31½ by 47¼in.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Sale: Christie's, London, 2 July 2008, lot 2
CATALOGUE NOTE
The theme of a girl dancing in a desert encampment bathed in the rays of the setting sun was among Pilny's
favourite subjects. He was especially interested in capturing the effects of directional light on the sand and figures in
order to evoke a powerful impression, sometimes at the expense of ethnographic accuracy, as in the present work.
While the individual figures and their costumes are minutely observed, they in fact hail from different parts of the
Middle East: the figure on the left wears a Tunisian style fez, while the two seated men in the left foreground wear
the headresses unique to modern-day Iraq and Saudi Arabia, respectively. The girl herself appears, judging by her
complexion, to be North Afriacan, probably Egyptian.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 122
RUDOLF ERNST
AUSTRIAN 1854-1932
AFTER THE BATH
signed R. Ernst lower right

oil on panel
103.8 by 84.1cm., 40¾ by 33in.
ESTIMATE 250,000 - 350,000 GBP

PROVENANCE
Galerie Antinéa, Paris (by 1985)
LITERATURE
Lynn Thornton, Women as Portrayed in Orientalist Paintings, Paris, 1985, p. 76, illustrated
CATALOGUE NOTE
To cleanse and purify oneself is a religious obligation in Muslim countries for men and women at all levels of
society. It is not surprising, therefore, that the institution of the public bath, or hammam, developed rapidly with the
expansion of Islam. Constantinople alone had three hundred public hammams, and they soon captured the
imagination of Western travellers and painters alike. Except for the seraglio baths, which were the private domain of
the sultan, hammams were accessible to Europeans, with alternate men's days and womens' days.
One of the more reliable eye-witnesses of women's day in an Adrianople public bath was Lady Mary Wortley
Montagu, who wrote in 1817: 'The first sofas were covered with cushions and rich carpets on which sat the ladies;
and on the second, their slaves behind them.' Another Englishwoman, Mrs Harvey, was more outspoken. In 1871
she recounts how, wrapped in a white bathing gown and perched on tall pattens, she allowed herself to be led into
the steam room. There, 'In an instant I felt as a shrimp, if he feels at all, must feel in boiling water - I was boiled. I
looked at my companion; her face was a gorgeous scarlet. In our best Turkish and in faint and imploring accents,
we gasped "Take us away!" All in vain. We had come to be boiled and rubbed and boiled and rubbed we must be'
(Lynne Thornton, Women as Portrayed in Orientalist Painting, Paris, 1985, p. 72).
While Ernst has worked up the setting from memory and contemporary accounts such as the one above, all the
components, many of which Ernst kept as props in his Paris studio, are observed with faithful verisimiltude. Ernst
depicts the interior in every detail, from the circular pool, marble floor and wall panels, and iznik tiles. A mother-of-
pearl inlaid jewellery box stands open on a Persian rug. The figures' dress is observed minutely, from the
attendants' costumes down to the fashionably high pattens about to be donned by their mistress who has emerged
from the water - useful in hammams for protecting the feet from the heated marble floor and preventing slipping on
the wet surface.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 123
CONTINENTAL SCHOOL
19TH CENTURY
OUTSIDE THE TEMPLE, KARNAK
signed, dated and inscribed Karnak JA André / 1899 lower left

oil on canvas
91.4 by 118.1cm., 36 by 46.5in.
ESTIMATE 10,000 - 15,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 124
CHARLES WILDA
GERMAN 1854 - 1907
THE WATERCARRIERS, UCHEMANT
signed and dated C. WILDA 87 lower left; inscribed Wassenträger am Nil bei Uchemant on the reverse
oil on panel
31.5 by 20.5cm., 12½ by 8in.
ESTIMATE 15,000 - 20,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 125
HERMANN CORRODI
ITALIAN 1844 - 1905
ON THE BANKS OF THE NILE
signed and inscribed H. Corrodi Roma lower left

oil on canvas
100 by 64cm., 39.4 by 25.4 inches
ESTIMATE 40,000 - 60,000 GBP
PROVENANCE
Sale: Van Ham Kunstauktionen, Cologne, 16 May 2008, lot 539
London | 2 Jun 2010, 2:30 PM | L10101
LOT 126
RUDOLF ERNST
AUSTRIAN 1854-1932
COBBLER IN THE SHADE OF A BAOBAB TREE

oil on canvas
54 by 36.5cm., 21¼ by 14½in.
ESTIMATE 70,000 - 100,000 GBP

PROVENANCE
Sale: Sotheby's New York, 18 March 1998, lot 99
CATALOGUE NOTE
Composed in his studios in Paris and later Fontenay-aux-Roses, Ernst's distinctive Orientalist subjects include
colourful depictions of the traditional professions and customs of the Ottoman world. The present work stands out
among these by virtue of its bright outdoor setting, which affords the viewer a glimpse of a broader background and
perspective not found in his more usual interiors or close-up exterior views. Here, a cobbler sits plying his trade in
the trunk of a gnarled tree, a Turkish kiosk and a group of robed ladies visible on the shores of what may be the
Bosphorus beyond. Despite Ernst's first-hand knowledge of many of the subjects he painted, and his abundant
library of images and collection of objects and costumes, there is also in his works an unapologetic eclecticism:
Turkish, North African, Egyptian, and Indian motifs are often juxtaposed to highly decorative, but ultimately fantastic
effect. So too in the present work, in which a Turkish kiosk vies with a the baobab tree native to Africa, staffed by a
cobbler whose features and costume could be Tunisian or Moroccan.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 127
DAVID BATES
BRITISH 1838 - 1923
THE ROAD TO THE PYRAMIDS
signed and dated David Bates 902 lower left; signed, inscribed and dated Beside The Highway To The Pyramids / David Bates /
1902 on the reverse
oil on canvas
35.5 by 45.8cm., 14 by 18in.
PROVENANCE
London | 2 Jun 2010, 2:30 PM | L10101
LOT 128
EUGÈNE GIRARDET
FRENCH 1853 - 1907
FLIGHT INTO EGYPT
signed Eugene GIRARDET lower right

oil on canvas
73.5 by 101cm., 29 by 39¾in.
PROVENANCE
London | 2 Jun 2010, 2:30 PM | L10101
LOT 129
ERNST KOERNER
GERMAN 1846-1927
DIE PYRAMIDEN VON GIZEH (THE PYRAMIDS AT GIZEH, MORNING)
signed and dated Ernst Koerner 1890 lower right; signed, inscribed and titled on a label on the stretcher
oil on canvas
100 by 150cm., 39¼ by 59in.
ESTIMATE 40,000 - 60,000 GBP
PROVENANCE
Rittergutsbesitzer Simon, Lossow, near Frankfurt-an-der-Oder (purchased from the artist in 1920); thence by
descent to the present owner
London | 2 Jun 2010, 2:30 PM | L10101
LOT 130
GIULIO ROSATI
ITALIAN 1858 - 1917
A SUCCESSFUL RAID
signed Giulio Rosati lower right

oil on canvas
50.5 by 100cm., 20 by 39½in.

51.1 by 100.3 cm
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Chev. Alix d'Atri &Sons, Rome
Mathaf Gallery, London
Borghi &Co., New York
CATALOGUE NOTE
A Successful Raid is a remarkable depiction of Bedouin warfare in nineteenth-century Orientalist art. Giulio Rosati
drew his composition from contemporary photographs, engravings, and others' souvenirs, rather than records of
personal travel. His sharply focused style earned him the favour of collectors and dealers, to whom he sold an
impressive stream of works, in both watercolour and oil.
Despite his selective knowledge of the subjects he portrayed, Rosati managed to infuse his studio compilations with
compelling ethnographic accuracy. Here, for example, the Bedouins' traditional romh or shelfa (lance) is shown
alongside match- and flintlock rifles. The latter were the new weapons of the desert Arab, and were increasingly
available by the middle of the nineteenth century. Such insightful observations balance the more fantastic elements
within Rosati's paintings, preventing them from dissolving into hyperbole.
The present work is one of two variations on the theme by Rosati. In this scene, behind the surging line of man and
beast, a pillaged village burns. The trophy of the Bedouins' victory is engulfed as well, though not this time in flames
- with blue galabiyah swirling around her, like some celebratory flag, a solemn young woman is swept up in the
frenzy of pounding hooves.
AUTHENTICATION
We are grateful to Dr Emily M Weeks for her assistance in cataloguing this lot.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 131
ERNST KOERNER
GERMAN 1846-1927
THE TEMPLE OF SETI I, ABYDOS
signed and dated Ernst Koerner 1926 lower left

oil on canvas
85.5 by 120.5cm., 33¾ by 47½in.
ESTIMATE 10,000 - 15,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 132
AUGUSTE VEILLON
SWISS 1834 - 1890
THE TEMPLE OF PHILAE, ASWAN
signed A. Veillon lower left

oil on canvas
100 by 165cm., 39¼ by 65in.
ESTIMATE 10,000 - 15,000 GBP
PROVENANCE
Galerie Catherine van Notten, Geneva
Private Collection, London (purchased from the above in 1985)
A gift from the above to the present owner
London | 2 Jun 2010, 2:30 PM | L10101
LOT 133
ERNST KOERNER
GERMAN 1846-1927
THE TEMPLE OF KARNAK AT LUXOR
signed and dated Ernst Koerner 1923 lower left

oil on canvas
84.5 by 126.5cm., 33¼ by 49¾in.
ESTIMATE 15,000 - 25,000 GBP
PROVENANCE
London | 2 Jun 2010, 2:30 PM | L10101
LOT 134
EUGÈNE GIRARDET
FRENCH 1853 - 1907
L'OUED
signed Eugene Girardet lower left

oil on canvas
68.5 by 110.5cm., 27 by 43¼in.
ESTIMATE 80,000 - 120,000 GBP

PROVENANCE
Sale: Sotheby's New York, 28 October 1986, lot 49
LITERATURE
Philippe Julian, The Orientalists: European Painters of Eastern Scenes, London, 1977, p. 130, catalogued
&illustrated
CATALOGUE NOTE
Painted circa 1880, Girardet's painting is a luminous evocation of the intense light of North Africa falling on a wadi
and the camel caravan traversing it. Wadi (or oued in French) is the Arabic for a valley, but can also refer to a dry
riverbed that contains water intermittently, during and after times of heavy rain.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 135
PROPERTY OF AN AMERICAN PRIVATE COLLECTOR
WALTER GOULD
THE FABRIC MERCHANT
oil on canvas laid down on board
29.5 by 23.5cm., 11½ by 9¼in.

PROVENANCE
Estate of the artist, Florence, Italy
William Henry Cook (1845-1914), the artist's nephew; thence by descent (until 2006)
Private Collection, Philadelphia
Sale: Sotheby's, New York, 23 October 2008, lot 195
London | 2 Jun 2010, 2:30 PM | L10101
LOT 136
NUMA MARZOCCHI DE BELLUCCI

FRENCH 1846 - 1930
GARDIEN ASSIS, TENANT UN FUSIL
signed and dated N. MARZOCCHI.1879. lower right

oil on panel
46 by 37cm., 18 by 14½in.
45.1 by 36.8 cm
PROVENANCE
Sale: Barridoff Galleries, Portland, 4 August 2006, lot 25
London | 2 Jun 2010, 2:30 PM | L10101
LOT 137
JOHN VARLEY II
BRITISH 1850 - 1933
THE MOSQUE OF KHAIR BEK, CAIRO
signed John Varley / 1880 lower left

oil on canvas
68.5 by 50cm., 27 by 19¾in.
CATALOGUE NOTE
The Mosque of Khair Bek is located in Bab el Wazir, in the district of Darb al-Ahmar.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 138
CHARLES SPRAGUE PEARCE

A POTTERY SELLER IN OLD CAIRO
signed CHARLES SPRAGUE PEARCE lower right

oil on panel
41 by 32cm., 16 by 12½in.
ESTIMATE 10,000 - 15,000 GBP
PROVENANCE
Sale: Sotheby's, New York, 18 April 2008, lot 172
London | 2 Jun 2010, 2:30 PM | L10101
LOT 139
PROPERTY FROM A PRIVATE COLLECTION, USA
ANTON ROBERT LEINWEBER

BOHEMIAN 1845 - 1921
THE SOUK EL KOUMACH, TUNIS
signed with initials and dated R.L. 89 lower left

oil on canvas
179.7 by 128.2cm., 70¾ by 50½in.
ESTIMATE 100,000 - 150,000 GBP

PROVENANCE
Acquired by the parents of the present owner prior to the Second World War; by
descent to the present owner in 1957
CATALOGUE NOTE
The present scene captures the bustle of activity at the Souk des étoffes in Tunis, the
market for fabric and clothing off the rue Jemaa ez-Zeytouna in the medina. Tunisian
crafts and products such as silk, perfumes and spices, felt skullcaps called chéchias, Fig. 1
silver jewellery and antiques have been historically sold here. Photograph of the Sidi-M'Harez
Mosque and Bab-Souika Square,
FIG. 1, Photograph of the Sidi-M'Harez Mosque and Bab-Souika Square, Tunis Tunis
Fig. 1
Photograph of the Sidi-M'Harez Mosque and Bab-Souika Square, Tunis
London | 2 Jun 2010, 2:30 PM | L10101
LOT 140
FÉLIX ZIEM
FRENCH 1821-1911
LA FONTAINE MIHRISHAH
signed Ziem lower left

oil on canvas
74 by 100cm., 29 by 39¼in.
ESTIMATE 70,000 - 100,000 GBP

PROVENANCE
Sale: Hôtel Drouot, Paris, 1 December 1933, lot 100
Sale: Loudmer, Paris, 19 June 1996, lot K
LITERATURE
Anne Burdin-Hellebranth, Félix Ziem: 1821-1911, Brussels, 1998, vol. 2, p. 260, no. 1591, catalogued &illustrated
CATALOGUE NOTE
The Mihrishah Sultan Fountain, located in the Küçüksu district of Istanbul, was built by Mahmut II (1785-1839) in
1806. This fountain was named after the Genoese wife of Sultan Mustafa III, who instigated many reforms as Valide
Sultan during the reign of their son, Selim III.
AUTHENTICATION
To be included in the Félix Ziem catalogue raisonné being prepared by the Association Félix Ziem, represented by
Mathias Ary Jan and David Pluskwa.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 141
PROPERTY OF AN ITALIAN PRIVATE COLLECTOR
FAUSTO ZONARO
ITALIAN 1854 - 1929
FROM THE PATRAS SEAFRONT (SUNSET)
signed F. Zonaro lower right

oil on board
22 by 40cm., 8½ by 15¾in.
ESTIMATE 12,000 - 18,000 GBP
AUTHENTICATION
London | 2 Jun 2010, 2:30 PM | L10101
LOT 142
FAUSTO ZONARO
ITALIAN 1854 - 1929
THE SERAGLIO POINT, ISTANBUL (SARAYBURNU)
signed F Zonaro lower right

oil on board
17.8 by 29cm., 7 by 11½in.

PROVENANCE
Acquired directly from the artist by the grandfather of the present owner in the 1920s
AUTHENTICATION
London | 2 Jun 2010, 2:30 PM | L10101
LOT 143
PROPERTY FROM A PRIVATE COLLECTION, ITALY
FAUSTO ZONARO
ITALIAN 1854 - 1929
COASTAL VIEW
signed F. Zonaro lower left

oil on panel
21.5 by 36.5cm., 8½ by 14¼in.
ESTIMATE 10,000 - 15,000 GBP

CATALOGUE NOTE
The present work closely resembles a smaller work of the same title (see Osman Öndes &Erol Makzume, Ottoman
Court Painter. Fausto Zonaro, Istanbul, 2003, p. 172), and depicts a view along the Greek or Italian coasts that
Zonaro would have seen on his way to Constantinople.
AUTHENTICATION
London | 2 Jun 2010, 2:30 PM | L10101
LOT 144
PROPERTY OF AN ITALIAN PRIVATE COLLECTOR
FAUSTO ZONARO
ITALIAN 1854 - 1929
SUNSET OVER THE BOSPHORUS
signed F. Zonaro lower left

oil on canvas
37 by 65cm., 14½ by 25½in.
ESTIMATE 35,000 - 45,000 GBP
AUTHENTICATION
London | 2 Jun 2010, 2:30 PM | L10101
LOT 145
MORITZ STIFTER
AUSTRIAN 1857-1905
THE FAVOURITE
signed M Stifter upper right

oil on panel
32 by 40cm., 12½ by 15¾in.
ESTIMATE 12,000 - 18,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 146
DANIEL ISRAEL
AUSTRIAN 1859-1901
AT THE WELL
signed and inscribed D. Israel München lower left

oil on panel
25 by 33cm., 10 by 13in.
PROVENANCE
London | 2 Jun 2010, 2:30 PM | L10101
LOT 147
FABIO FABBI
ITALIAN 1861 - 1910
ORIENTAL DANCE
signed F. Fabbi lower left

oil on canvas laid on board
49 by 39cm., 19¼ by 15¼in.
ESTIMATE 15,000 - 25,000 GBP
PROVENANCE
Sale: Waddington's, Toronto, 12 June 2007, lot 273
London | 2 Jun 2010, 2:30 PM | L10101
LOT 148
ROBERT KEMM
BRITISH 1825 - 1900
ADMIRING THE PAINTING
signed R Kemm lower left

oil on canvas
71.5 by 92cm., 28¼ by 36¼in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 149
RUDOLF ERNST
AUSTRIAN 1854-1932
THE DUTAR PLAYER

oil on panel
33 by 24cm., 13 by 9½in.
33 by 23.8 cm
ESTIMATE 20,000 - 30,000 GBP
PROVENANCE
Sale: Aguttes, Paris, 10 December 2004, lot 163
London | 2 Jun 2010, 2:30 PM | L10101
LOT 150
NARCISSE VIRGILE DIAZ DE LA PEÑA

FRENCH 1808 - 1876
COLLATION EN ORIENT &AMP;LA SORCIERE; A PAIR
i.) signed N. Diaz lower left; ii.) signed N. Diaz lower right
each: oil on canvas
each: 28 by 23cm., 11 by 9in. (both oval; 2)

PROVENANCE
Sale: Paris, Hôtel Drouot, 26 April 1922
Galerie Aktuaryus, Zurich
Purchased from the above in 1937 by the father of the present owner
LITERATURE
Pierre &Rolande Miquel, Narcisse Diaz de la Peña (1807-1876). Catalogue raisonné de l'oeuvre peint, vol. II, Paris,
2006, i.) p. 289, no. 1792, catalogued &illustrated; ii.) p. 337, no. 2067, catalogued &illustrated
London | 2 Jun 2010, 2:30 PM | L10101
LOT 151
RUDOLF ERNST
AUSTRIAN 1854-1932
THE JUGGLER
signed R. Ernst. lower right

oil on panel
27 by 21.5cm., 10½ by 8½in.

26.9 by 26.6 cm
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Sale: Tajan, Paris, 22 November 2004, lot 231
London | 2 Jun 2010, 2:30 PM | L10101
LOT 152
ROBERT VAN VORST SEWELL

AMERICAN 1860-1924
THE MARKET, TUNIS
signed, inscribed and dated RVV Sewell Tunis 1887 lower right
watercolour on paper
58 by 43cm., 22¾ by 17in.
PROVENANCE
Alfred J. Walker Paintings and Prints, Boston
Walker-Cunningham Fine Art, Boston
London | 2 Jun 2010, 2:30 PM | L10101
LOT 153
ALBERTO ROSATI
ITALIAN 1893-1971
THE RUG MERCHANT
signed and dated Alberto Rosati / 1919 lower right

52 by 36cm., 20½ by 14¼in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 154
CARL WERNER
GERMAN 1808-1894
THE COFFEE HOUSE
signed and dated C. Werner. f.1870. lower left

pencil and watercolour on paper
20.5 by 29cm., 8 by 11½in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Frost &Reed, London
CATALOGUE NOTE
Werner studied at the Leipzig Academy and in Munich, travelling to the Middle East from 1862-4 and again in 1875.
He exhibited in London from 1860 to 1878, once at the Royal Academy and at the New Watercolour Society, of
which he became a member.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 155
PAUL PASCAL
FRENCH 1832-1903
OASES AT NIGHT; A PAIR
i.) signed and dated P. Pascal 1904 lower right;

ii.) signed and dated P. Pascal 1902 lower left
i.) gouache on card laid down on board; ii.) gouache on card
i.) 46.5 by 64.5cm., 18¼ by 25½in.; ii.) 29 by 43.5cm., 11½ by 17in. (2)

PROVENANCE
Henry H Glassie, Indiana
Montrose Galleries, Bethesda, by 1984
Sale: Christie's, London, 15 June 2005, lots 13 &14
EXHIBITION
i.)
Washington D.C., National Museum of American Art: Smithsonian Institution, The Capital Image: Painters in
Washington 1800-1915, 1984, no. 164
CATALOGUE NOTE
Initially a student at the Academia de Bellas Artes de San Fernando in Madrid, Pascal exhibited a number of
landscape and marine gouaches at the Paris Salons of 1876 and 1880.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 156
FRANZ WÜRBEL
AUSTRIAN 1822-1900
TAKING A DRINK
signed F. Würbel lower right

oil on canvas
100.5 by 73cm., 39 by 28¾in.
ESTIMATE 15,000 - 20,000 GBP
PROVENANCE
Sale: Christie's, New York, 22 October 2008, lot 93
London | 2 Jun 2010, 2:30 PM | L10101
LOT 157
FRANZ XAVER KOSLER

THE ELDER
signed, inscribed and dated F. Kosler / Cairo 1895 lower right

oil on canvas
80 by 60cm., 31.5 by 23.6in.
PROVENANCE
Sale: Dorotheum, Vienna, 26 November 2007, lot 187
London | 2 Jun 2010, 2:30 PM | L10101
LOT 158
NIELS SIMONSEN
DANISH 1807-1885
ARAB WARRIOR AND HIS STEED
signed and dated N Simonsen / 1866 lower left

oil on canvas
34 by 42cm., 13½ by 16½in.
ESTIMATE 10,000 - 15,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 159
IGNÁC UJVÁRY
HUNGARIAN 1860 - 1927
THE CHESS GAME, TANGIERS
signed, dated and inscribed Ujvary I. 1889 / Tanger. upper left

oil on canvas
92.5 by 141.5cm., 36¼ by 55¾in.
ESTIMATE 12,000 - 18,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 160
SPIRO BOCARIC
SERBIAN 1878 - 1941
A TURKISH HAN
signed in cyrillic lower right

oil on canvas
60 by 100cm., 23½ by 39½in.
PROVENANCE
Purchased, probably directly from the artist, by the great grandfather of the present owner
London | 2 Jun 2010, 2:30 PM | L10101
LOT 161
ROSALIA AMON
ITALIAN 1825 - 1925
GIRL WITH A PEARL ARM CUFF
signed and dated Rosa Amon / 849 lower right

oil on canvas
61 by 37.5cm., 24 by 14¾in.
ESTIMATE 10,000 - 15,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 163
LEOPOLD CARL MÜLLER

AN INNOCENT SMILE
signed, dated and inscribed Leopold Carl Müller / 1885 Vienna lower left
oil on panel
31.5 by 22cm., 12½ by 8¾in.
PROVENANCE
Sale: Dorotheum, Vienna, 15 October 2008, lot 602
London | 2 Jun 2010, 2:30 PM | L10101
LOT 164
PROPERTY OF A LADY
NATHANIEL SICHEL
GERMAN 1843 - 1907
AN EXOTIC BEAUTY
signed and dated N. Sichel / 1900 upper right

oil on canvas
100 by 66.8cm., 39¼ by 26¼in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 165
NATHANIEL SICHEL
GERMAN 1843 - 1907
JUDITH
signed N. Sichel upper right

oil on canvas
180 by 111cm., 71 by 43¾in.

PROVENANCE
Inherited by the present owner in 1984
EXHIBITION
Berlin, Berliner akademische Kunstausstellung, 1890
London, Deutsche Kunstausstellung, 1891
Bremen, Kunstverein Bremen, no. 350
On loan to the Gemäldegalerie Kassel throughout the 1980s and 1990s
LITERATURE
Friedrich von Boetticher, Malerwerke des neunzehnten Jahrhunderts, vol. II /2, p. 745, no. 26 (as Judith mit dem
Schwert in der Scheide, das sie mit beiden Händen hält, ihr zur Seite die Magd)
London | 2 Jun 2010, 2:30 PM | L10101
LOT 166
FILIPPO BARATTI
ITALIAN 1868-1901
IN THE HAREM
signed, inscribed and dated F. Baratti / Paris / 1882 lower right; signed, inscribed, dated and titled F. Baratti / Paris / 1882 / Vie
Orientale on the reverse
oil on panel
41 by 32cm., 16¼ by 12½in.

41.3 by 29.5 cm
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Sale: Sotheby's, London, 13 June 2006, lot 211
London | 2 Jun 2010, 2:30 PM | L10101
LOT 167
ENRIQUE SERRA
SPANISH 1859-1918
ON THE TERRACE
signed, inscribed and dated Enrique Serra / Roma 1882 lower left
oil on canvas
122 by 215cm., 48 by 84¾in.
ESTIMATE 200,000 - 300,000 GBP

CATALOGUE NOTE
Depicting a dancer on tiptoe, performing before musicians and her mistress, herself holding a baglama while an
African servant fills a small brazier, this dynamic and exotic scene unfolds on a roof terrace beyond which can be
glimpsed the roofline of an Eastern city. Captured in virtuoso detail are vibrant carpets decorating a low, tiled wall;
these surround eight oranges arranged in a circle around an incense burner at the centre of the dance.
While the costumes and props are closely observed, the scene is most probably imagined. Whether it depicts a
quiet corner of a harem, or a private home, the leisured lady in question, estranged from all aspects of vulgar
labour, sits in comfort being entertained by what appears to be a travelling troupe of musicians and their dancer.
The minute attention to detail seen in the tiles, the geometric patterns of the carpet and the silver and gold of the
jewellery and braziers testify to the influence of the Spanish painter Mariano Fortuny Marsal, who played an
important role in the Orientalist works of Serra. Serra also sought inspiration from José Villegas y Cordero. This can
clearly be seen in the incorporation of many Orientalist objets, greatly admired by the European audiences and
characteristic of the work of Cordero.
According to the critic Carlos Reyero, Enrique Serra y Auqué works were, along with Modesto Urgell, a precursor of
Catalan Symbolism. Indeed, the present work blends an ostensibly Orientlaist subject with a elements of the
mystical in the form of the circle of oranges and the rising incense smoke. After studying in Barcelona, he travelled
to Rome, where he settled for the rest of his life. He enjoyed great success during his lifetime, selling his work to
both Italian and French collectors. Although he never travelled to North Africa or Turkey, Orientalist themes occupy
an important place in his work, and reflect the popularity of these subjects at the time.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 168
JEAN FRANÇOIS PORTAELS

BELGIAN 1818 - 1895
THE SLAVE MARKET
signed and dated Jn PORTAELS / 1853 lower left

oil on panel
48 by 62.5cm., 19 by 24½in.
ESTIMATE 30,000 - 50,000 GBP

PROVENANCE
CATALOGUE NOTE
Portaels began his artistic career at the Académie des Beaux-Arts in Brussels under François-Joseph Navez. He
worked under Paul Delaroche in Paris, winning the Prix de Rome in 1842. Portaels subsequently travelled to
Morocco, Algeria, Libya, Egypt and Judea and his formative experiences in North Africa inspired the lavish
treatment and exotic subject matter of his Orientalist works.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 169
ALBERTO FABBI
ITALIAN 1858-1906
ODALISQUES
signed and dated A. Fabbi / 1893 lower right

oil on canvas
35 by 45cm., 13¾ by 17¾in.
ESTIMATE 12,000 - 18,000 GBP
PROVENANCE
London | 2 Jun 2010, 2:30 PM | L10101
LOT 170
OTTO PILNY
SWISS 1866-1936
EXOTIC BEAUTY
signed and dated OTTO PILNY 1917 lower left

oil on canvas
110.5 by 101cm., 43.5 by 39.8in.
ESTIMATE 30,000 - 50,000 GBP
PROVENANCE
Sale: Dobiaschofsky, Bern, 9 November 2007, lot 501
London | 2 Jun 2010, 2:30 PM | L10101
LOT 171
GASTON VEUVENOT LEROUX FUMEUR ET MUSICIENNE

FRENCH 1854 - 1942
FUMEUR ET MUSICIENNE
signed: Gaston Leroux

bronze, partially painted on pine wood and bronze pedestals with painted bronze plaques
smoker overall: 175cm., 69in.

musician overall:182cm., 71 3/4 in.
ESTIMATE 20,000 - 30,000 GBP
PROVENANCE
Sale: Millon &Associés, Paris, 30 May 2006, lot 256
Purchased from the above sale by the present owner
London | 2 Jun 2010, 2:30 PM | L10101
LOT 172
ANTOINE BOFILL SOLDIER ON A REARING HORSE

SPANISH 1890 - 1921
SOLDIER ON A REARING HORSE
signed: Bofill
bronze, dark brown and gilt patina on modern mahogany wood base
bronze: 99cm., 39in.

base: 94cm., 37in.
ESTIMATE 12,000 - 18,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 173
LOUIS HOTTOT A PAIR OF POLYCHROME DECORATED VASES 20TH CENTURY

FRENCH 1834-1905
A PAIR OF POLYCHROME DECORATED VASES 20TH CENTURY
both signed: L Hottot

cold painted spelter
116cm., 45 3/4 in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 174
GASTON LEROUX
FRENCH 1854 - 1942
FEMME AU TAMBOURIN ASSISE SUR UNE TETE DE SPHINX
signed and inscribed Gaston LEROUX PARIS

bronze, red-brown, green and golden-brown patina
Height: 75cm., 29½in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 175
ALFRED DUBUCAND HOMME AU CHAMEAU

FRENCH 1828-1894
HOMME AU CHAMEAU
bronze, mid-brown patina
76 by 68cm., 30 by 26 3/4 in.
ESTIMATE 10,000 - 15,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 176
AUSTRIAN SCHOOL
LATE 19TH/EARLY 20TH CENTURY
FIGURAL BRONZE TABLE LAMP, THE JEWELRY SELLER
stamped AUSTRIA twice at the back

cold painted bronze and portor marble
Height: 40.5cm.,16½in.
42 cm

London | 2 Jun 2010, 2:30 PM | L10101
LOT 177
AUSTRIAN SCHOOL
FIGURAL BRONZE TABLE LAMP, MAN IN A BEDOUIN TENT
stamped MADE IN AUSTRIA under the front right corner

bronze with gold patina, cold paint and coloured glass
Height: 36.5cm., 14½in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 178
AUSTRIAN SCHOOL
FIGURAL BRONZE TABLE LAMP, TRINKET SELLER IN A BAZAAR
bronze with brown patina and cold paint
Height: 38cm., 15in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 179
A. CHOTKA
AUSTRIAN LATE 19TH/EARLY 20TH CENTURY
FIGURAL BRONZE TABLE LAMP, MAN WITH A DONKEY
signed CHOTKA to the back

bronze with gold patina, cold paint and coloured glass
Height: 40cm., 15¾in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 180
DARÍO DE REGOYOS
SPANISH 1857 - 1913
ORANGERS, VALENCIA
signed D de Regoyos lower right; titled Orangers / Valencia on the reverse

oil on board
20 by 29.5cm., 8 by 11½in.
ESTIMATE 12,000 - 18,000 GBP

CATALOGUE NOTE
Painted in January 1893, the present work was painted during Regoyos' only visit to Valencia, when he
accompanied the Belgian artist Eugène Boch, brother of Anna Boch. Anna and Regoyos were fellow members of
the Brussels avant-garde exhibiting body Les XX.
AUTHENTICATION
We are grateful to Juan San Nicolás for his assistance in cataloguing this work.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 181
PROPERTY FROM A SPANISH PRIVATE COLLECTION
BENJAMÍN PALENCIA
SPANISH 1894 - 1980
PAISAJE CON CAMPESINOS (LANDSCAPE WITH PEASANTS)
signed and dated B. Palencia 46 lower left

gouache, ink and oil on paper
50 by 72cm., 19¾ by 28½in.
AUTHENTICATION
See note to lot 199.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 182
PROPERTY FROM A PRIVATE COLLECTION, COSTA RICA
JOAQUÍN MIR
SPANISH 1873 - 1940
LA LLEGADA DEL PESCADO, VILANOVA (THE DAY'S CATCH, VILANOVA)
signed J. MIR lower left

oil on board
27 by 35cm., 10½ by 13¾in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Mr Ignacio Joaristi Lanzagorta (acquired in Madrid in the 1970s); thence by descent
CATALOGUE NOTE
Painted in the 1930s.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 183
SANTIAGO RUSIÑOL
SPANISH 1861 - 1931
JARDÍN DE LAS ELEGÍAS, SON MORAGUES, VALLDEMOSA (GARDEN OF THE ELEGIES, SON MORAGUES,
VALLDEMOSA)
signed S. Rusiñol lower right

oil on canvas
101.5 by 127.5cm., 40 by 50in.
ESTIMATE 120,000 - 180,000 GBP

EXHIBITION
Possibly Madrid, Exposición Nacional de Bellas Artes, 1904, no. 1256 (as Surtidor. Mallorca)
LITERATURE
Forma, 1904, p. 116, illustrated (as Jardí de les Elegies)
Josep de C. Laplana, Santiago Rusiñol, Barcelona, 1995, no. 15.1.11, catalogued &illustrated
Josep de C. Laplana &Mercedes Palau-Ribes O'Callaghan, La pintura de Santiago Rusiñol. Catàleg sistemàtic,
Barcelona, 2004, vol. 3, p. 143, no. 15.4.21, catalogued &illustrated
CATALOGUE NOTE
Painted circa 1902-04, in the present work, Rusiñol depicts the alberca (fountain) in Son Moragues, part of the
estate Archduke Luis Salvador of Austria acquired on the island of Mallorca. From his first visit in 1867, Luis
Salvador, known as S' Arxiduc by the locals, was captivated by the island, and became a celebrated benefactor and
patron of the arts on the island as well as an honorary citizen.
A founding member of Els Quatre Gats in Barcelona, Rusiñol travelled widely and spent extended periods in Paris.
It was in Mallorca, however, away from the clamour of the metropolis, that he was able to explore the full range of
his resonant palette and where many of his most powerful and evocative works were completed.
Rusiñol's deep fascination for Mallorca endured throughout his life. First attracted to the island in 1893, Rusiñol
visited again in the summer of 1899 to convalesce from ill health. He then returned to the island regularly, exploring
every corner of its luminous landscape. He referred to Mallorca as the 'island of tranquillity', the title of his 1922
book about the island, and the oils that Rusiñol painted there rank among the most serene works of his oeuvre.
In 1902 Rusiñol exhibited a selection of his Mallorca canvases at the Casino La Unión de Sóller, and in 1903 and
1905 at Sala Parés in Barcelona. To acknowledge Rusiñol's achievements on the island, and in recognition of the
importance that he attached to Mallorca as a source of inspiration for some of his most striking images, in 1935 the
city of Palma dedicated a monument to his memory.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 184
JOAQUÍN SOROLLA
SPANISH 1863 - 1923
EL BAUTIZO (THE CHRISTENING)
signed and dated J. Sorolla y Bastida. 1900. lower centre

oil on canvas
85 by 120cm., 33½ by 47¼in.
ESTIMATE 700,000 - 1,000,000 GBP

PROVENANCE
Alejandro de Anitúa (acquired from the artist in 1900); thence by descent to the present
owners
LITERATURE
Bernardino de Pantorba, La vida y la obra de Joaquín Sorolla, Madrid, 1970, p. 181, no.
1390, catalogued; p. 40, illustrated
Fig. 1
Joaquín Sorolla, El día feliz (The
Happy Day), 1892, Udine,
Galleria d'Arte Moderna
CATALOGUE NOTE
Painted in the summer of 1900, Sorolla embarked on the present work following the
ringing endorsements he had received for his work at the Exposition Universelle in
Paris that spring where he was awarded the Grand Prix. Visiting the French capital to
collect his prize that May he was applauded by his artistic peers: he met John Singer
Sargent, Giovanni Boldini and Anders Zorn, with whom he became great friends; he
came into contact with Peder Severin Krøyer; he was fêted by Francisco Domingo,
Carlos Durán, Leon Bonnat, Benjamin-Constant and Jean-Léon Gérôme, and there at
the exhibition, standing in front of his work, Claude Monet announced Sorolla as 'the
master of light'. On his return to Valencia a banquet was held in his honour, a street re-
named in recognition of his achievement and he was appointed a 'favourite and right
worthy son of the city'.
Fig. 2
As the present work so nobly describes, however, such public triumphs did not deflect
Sorolla from his urge to record the simple truths of life. In his depiction of villagers Joaquín Sorolla, La vuelta de la
coming together to worship and give thanks for a newborn child Sorolla celebrates pesca (Return from Fishing),
many of the themes that were most dear to him: family, friends, the importance of 1894, Musée d'Orsay, Paris
community and the traditions of his native Valencia, values that he takes immense
pleasure in describing in the rich array of characters and types that were to be found at
the heart of any local Valencian community.
At the back of the church a young mother wearing a mantilla and holding her baby
swathed in a crisp white baptism robe proceeds down the side aisle with the priest and
a young acolyte. In front, two ladies turn to look. Behind, a young man removes his hat
as he enters through the west door; pulling aside the blue curtain as he steps into the
church a shaft of light illuminates the christening party. In the foreground, seated on
simple wooden pews, the congregation gathers: men, women and children, young and
old, rich and poor. A young woman whispers to her elderly neighbour. Others reflect,
ponder and pray. Prominently seated at the front, a man fingers his rosary as he fixes
his gaze in the direction of the altar.
The detail with which Sorolla paints the scene, the individuality that he confers on each
figure, and the warmth and intimacy contained within the composition suggests that the
painting may record a specific event. The patterns of the dresses are distinctively
Valencian, and Blanca Pons Sorolla has suggested that the figure of the lady seated to
the right whispering into the ear of the gentleman next to her is that of Clotilde, the
artist's wife. Whatever the specific occasion may be, however, away from the noisy
clamour of his plaudits and a world of creeping industrialisation, in El Bautizo Sorolla
opens a window onto the Valencia that he knew and loved.
Sorolla had painted several specifically religious subjects before, from his ambitious
Burial of Christ and Father Jofré Protecting a Madman of the 1880s to Kissing the Relic
and Happy Days (fig. 1) of the early 1890s. Earnest and laboured, however, in all these
earlier compositions the religious subject unfolds centre stage. In contrast, the success
of the present work lies to a large extent in Sorolla's relegation of the subject, the
mother, child and priest, to the side aisle. The painter's interest is instead focused on
the variety of poses, attitudes and expressions of the congregation. Sorolla borrowed
this compositional device from one of his most potent influences and Spanish forbears:
Velázquez. As Blanca Pons Sorolla notes: 'Velázquez would become not only Sorolla's
true master but also his moderator. When he needed to find new inspiration he would
turn to Velázquez.' Sorolla himself referred to Velázquez as 'a giant, the best in the
world.' (quoted in Blanca Pons Sorolla, Joaquín Sorolla, London, 2004, p. 78).
In turn, the drama that he instills into the present composition lies not in the narrative of
the event itself, but in the combination of the vast curtain at the back of the church
being drawn back, and the stark Mediterranean light illuminating an otherwise shrouded
interior. Back-lighting a scene became a technique that Sorolla would use increasingly
in his work, typically when describing the power of a ship under sail (fig. 2). In El
Bautizo the light shining through the west door that dissolves the massive hanging
drape lends a Baroque theatricality to this otherwise humble scene.
In developing his distinctive painterly style Sorolla was quick to acknowledge the
influence of other artists. When he arrived in Rome on a scholarship in 1885 he recalled
that it was Pradilla who honed his graphic technique, and Emilio Sala who developed
his painterly skills. Visiting Paris the same year he remembered falling under the spell
of the work of Jules Bastien-Lepage. And in 1890 Sorolla met Jiménez Aranda who
became a life-long friend and influential teacher. The formative influences of all four of
these painters can be deciphered in the present work. Yet by the time Sorolla painted
El Bautizo he had been acknowledged for his own unique talent. Praised in Paris for the
originality of his vision, his painterly technique and sun drenched palette, El Bautizo
exhibits a compositional complexity, painterly control, spontaneity of expression and
sensitivity to light that befits a painter who has been admitted into the ranks of the
leading artists of the world.
FIG. 1, Joaquín Sorolla, El día feliz (The Happy Day), 1892, Udine, Galleria d'Arte
Moderna
FIG. 2, Joaquín Sorolla, La vuelta de la pesca (Return from Fishing), 1894, Musée
d'Orsay, Paris
AUTHENTICATION
To be included in the Joaquín Sorolla catalogue raisonné being prepared by Blanca
Pons Sorolla.
Fig. 1
Joaquín Sorolla, El día feliz (The Happy Day), 1892, Udine, Galleria d'Arte Moderna
Fig. 2
Joaquín Sorolla, La vuelta de la pesca (Return from Fishing), 1894, Musée d'Orsay,
Paris
London | 2 Jun 2010, 2:30 PM | L10101
LOT 185
JOAQUÍN MIR
SPANISH 1873 - 1940
JARDÍN DE LA CASA DEL ARTISTA (THE ARTIST'S GARDEN)
signed J.Mir lower right

oil on canvas
83.5 by 77.1cm., 32¾ by 30½in.
ESTIMATE 120,000 - 180,000 GBP

PROVENANCE
Acquired by the grandfather of the present owner in 1939
CATALOGUE NOTE
Suffused with light and teeming with colour, the present work depicts the fountain at the
garden of the artist's villa in Vilanova near Tarragona, the substantial property that Mir
had acquired in 1922. The house became a meeting-place for painters and
intellectuals, while the lush vegetation of the gardens became a sanctuary, open air Fig. 1
studio, and repeated source of inspiration for the artist. Joaquín Mir, Fachada Principal
de la Casa de Joaquín Mir
Mir had abandoned himself to colour whilst exploring the landscapes of Mallorca twenty (Facade of the artist's house,
years earlier. His experiments led him to extravagant and nearly abstract compositions Vilanova), Private Collection
which stopped abruptly after an accident at the coast and his ensuing mental
breakdown.
In Vilanova, where his wife had grown up, Mir found a reassuring rhythm to his daily
routine and a peace of mind that provided him with a familiar structure in which to
explore to the full his fascination with colour.
Explorations of colour through nature defined Mir's oeuvre, and the vigorous palette in
the present work reflects the artist's renewed self-confidence. An increased sense of
realism, balanced compositions and bold contrasts of light and dark define his work of
this period, inspired by painting excursions to Alforja, Miravet and the countryside
surrounding Tarragona.
FIG.1, Joaquín Mir, Fachada Principal de la Casa de Joaquín Mir (Facade of the artist's
house, Vilanova), Private Collection
275L10101_comp
Fig. 1
Joaquín Mir, Fachada Principal de la Casa de Joaquín Mir (Facade of the artist's
house, Vilanova), Private Collection
London | 2 Jun 2010, 2:30 PM | L10101
LOT 186
HERMENEGILDO ANGLADA-CAMARASA
SPANISH 1871 - 1959
ROMERIA EN POLLENSA (PILGRIMAGE IN POLLENSA)
signed H. Anglada-Camarasa lower left

oil on panel
52 by 54cm., 20½ by 21¼in.
ESTIMATE 150,000 - 250,000 GBP

PROVENANCE
A gift from the artist to the grandfather of the present owner
EXHIBITION
Palma de Mallorca, Casal Balaguer de Palma, Paisatgistes a Mallorca. 1850-1950, 2001
LITERATURE
Fomento de Turismo, La Última Hora, El Consell Insular de Mallorca, calendar illustration for June
CATALOGUE NOTE
Painted in Pollensa circa 1945-50. Following Anglada's years in Montserrat and exile in France the artist settled
again in Mallorca where he painted some of his most vivid compositions. Distinctive for their rich saturated colours,
the paintings of this late period re-work many of the themes that had inspired Anglada since he first moved to the
island in 1914.
In Romeria en Pollensa the blood orange of the sky, the mystical mauves of the hills and the effulgent greens of the
two dominating trees dwarf the procession of figures who make their weary way by donkey and on foot across this
distinctive Mallorcan terrain.
Anglada's return to Mallorca was greeted with enthusiasm by the islanders. In 1950 and 1954 important
retrospectives of his work were held at the Círculo de Bellas Artes in Palma, exhibitions that proved to be a huge
commercial success for the painter. The important contribution that he made to island life was also acknowledged
further afield when he was appointed an honorary member of the Real Academia de Bellas Artes de San Fernando,
Madrid in 1954.
The authenticity of this work has been confirmed by the artist's daughter, Beatriz Anglada-Camarasa Huelín and is
registered in her archive under number 166.
AUTHENTICATION
We are grateful to Francesc Fontbona for his assistance in cataloguing this work.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 187
RAMÓN CASAS
SPANISH 1866 - 1932
RETRATO DE EDUARDO NIETO, EL MARQUÉS DE VILLAMIZAR (EDUARDO NIETO, KNOWN AS THE
MARQUIS OF VILLAMIZAR)
signed R. Casas lower right

oil on canvas
135 by 75cm., 53 by 29½in.
ESTIMATE 200,000 - 300,000 GBP

PROVENANCE
Private collection, Spain
Acquired from the above by the present owner in 1988
EXHIBITION
Barcelona, Sala Parés, Primera Exposició Ramón Casas, organitzada per 'Pèl &Ploma', 1899, no. 12
Barcelona, Sala Parés, Homenatge a Ramón Casas 1866-1932 amb motiu del 50è aniversari de la seva mort,
1982, no. 29
LITERATURE
Alfonso Alcolea Albero, Ramón Casas, Barcelona, 1990, p. 173, listed &illustrated
Isabel Coll, Ramón Casas, Catálogo Razonado, 2002, p. 45, a detail illustrated; p. 226, illustrated
Museu Nacional d'art de Catalunya, Barcelona; Fundación Cultural Mapfre Vida, Madrid, Ramón Casas. El pintor
del modernismo, exh. cat., 2001, p. 267, illustrated
CATALOGUE NOTE
Painted circa 1892-94, the sitter for the present work was Eduardo Nieto, Casas' brother-in-law, sometimes referred
to by the title of his father, the Marquis of Villamizar. Casas' elegant depiction of his in-law standing in a courtyard in
the Casas family home exhibits the high regard the artist felt towards his subject.
During the mid-1890s Casas was in particular demand for his likenesses, painting the intellectual, economic and
political elite of Barcelona, Paris, Madrid and beyond. As John Richardson writes: 'Casas delighted the bourgeoisie
with portraits that could be as fashionable or informal as the sitter required; and he delighted the general public with
the boldness of his posters and (later) the joie de vivre of his decorations for Els Quatres Gats' (John Richardson, A
Life of Picasso, vol. I, 1881-1906, London, 1991, p. 115).
It was during the 1890s that Casas shared a flat in Paris with Santiago Rusiñol near the Moulin de la Galette, and
exhibited in Barcelona with both Rusiñol and Enric Clarasó. During these key years too he also embarked on some
of his most politically charged and complex multi-figural compositions, in particular Garrote Vil in 1894 and
Embarque de tropas in 1896.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 188
RAFAEL DURANCAMPS
SPANISH 1891 - 1979
SAN LORENZO DEL ESCORIAL
signed Durancamps lower right

oil on canvas
130 by 88cm., 51¼ by 34½in.
ESTIMATE 12,000 - 18,000 GBP

PROVENANCE
LITERATURE
Francesc Miralles, Durancamps, Sabadell, 1991, p. 306, catalogued &illustrated in colour
London | 2 Jun 2010, 2:30 PM | L10101
LOT 189
PROPERTY FROM THE URIARTE Y PIÑEIRO COLLECTION
JULIO ROMERO DE TORRES

SPANISH 1874 - 1930
ESCLAVA (THE SLAVE)
signed JULIO ROMERO / DE TORRES lower right; signed on the reverse

oil and tempera on canvas
83.8 by 62.2cm., 33 by 24.5in.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
Arturo Uriarte y Piñeiro (purchased directly from the artist in 1930)
Museo Nacional de Belles Artes, Buenos Aires (bequeathed by the above, 1941)
Returned to the descendants of the Uriarte y Piñeiro family, 1991; thence by descent to the present owner
EXHIBITION
Seville, Pabellón de Córdoba, Exposición Iberamericana, 1930
LITERATURE
Pedro Massa, Julio Romero de Torres, Buenos Aires, 1947 Mercedes Valverde Candil &Ana María Piriz Salgado,
Catálogo del museo Julio Romero de Torres, Córdoba, 1989, p. 48, illustrated
CATALOGUE NOTE
Painted circa 1925-29, the sitter for the present work was the actress Elena Pardo. A regular performer at the
Romea theatre in Madrid, Elena was Romero de Torres' preferred model during the 1920s. Other paintings for
which she sat included Cordobesa, Humo y Azar, La niña de los limones, En el patio, Pensativa, La Guitarra and La
Niña Torera, all of which are in private collections. Works in the Museo Romero de Torres in which she appears
include Mary Luz, En la Ribera, Marta and Nocturno.
Elena Pardo's figure embodied to perfection the archetype that Coco Chanel promoted internationally - the classic
image of the modern 1920s pin-up with a greased bob hairstyle 'comme les garçons'. Accordingly Romero de
Torres transformed Elena Pardo into the muse of the Deco style, promoted within Spain by such magazines as
Blanco y Negro and La Esfera.
Esclava was one of twenty-seven works selected by the artist for his retrospective exhibition celebrating his life's
work mounted in the Córdoba Pavilion at the Ibéromerican Exhibition, Seville in 1930.
AUTHENTICATION
We are grateful to Sra. Dña. Mercedes Valverde for her assistance in the cataloguing of this work.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 190
JOSÉ GUTIÉRREZ SOLANA

SPANISH 1886 - 1945
PROCESIÓN DE SEMANA SANTA (EASTER PROCESSION)
signed J. Solana lower left

oil on canvas
103 by 146cm., 40½ by 57½in.
ESTIMATE 300,000 - 500,000 GBP

PROVENANCE
Joaquín Lafuente, by 1954
Patricio Fernández Pérez (León), by 1961
Sale: Subastas Villares-Toro, Madrid, June 1971
Purchased at the above sale by Manuel Ambrós Escanellas; thence by descent to the
present owner
EXHIBITION Fig. 1
Paris, Exposición de obras de José Gutiérrez Solana, solo exhibition organised by the Francisco José de Goya y
Spanish Embassy, 1954, no. 16 Lucientes, Procesión de
disciplinantes (Procession of
Flagellants), 1815-19, Museo de
la Real Academia de Bellas Artes
LITERATURE de San Fernando, Madrid
'José-Gutierrez Solana. 1989-1945', Arts, Paris, May - June 1954, illustrated
Antonio Manuel Campoy, 'Crisis del Arte Religioso', ABC, 7 April 1964, illustrated
S. Cristóbal Carretero, Cisneros, 7 March 1980, discussed
CATALOGUE NOTE
Executed in the late 1930s, this grand composition depicts a Spanish Easter
procession. The Passion of Christ and popular celebrations were a continuous source
of inspiration to Solana between 1910 and his death in 1945.
Painted in Solana's unique style, the painting nevertheless shows the influence of
Goya, particularly La Procesión de Disciplinantes (fig. 1), which would have been
Fig. 2
familiar to him from his years of lessons at the Academia de San Fernando and Museo
del Prado. Both Solana and Goya favoured the use of dark palettes and dirty paint José-Gutierrez Solana, La
surfaces for the expression of moral misgiving and psychological unease. The poet Procesión, circa 1917, oil on
Antonio Machado called Solana a 'necromantic Goya' who paints with insane canvas, Grupo Santander
voluptuousness, treating life as though it were death, death as though it were life (John Collection
F. Moffitt, The Arts in Spain, New York, 1999, p. 198).
Solana's style remains difficult to categorise, even though his artistic production took
place at a time which parallels the avant-garde movements of the first half of the last
century. In spite of his two stays in Paris in 1928 and 1937, he never succumbed to the
avant-garde movements of his time and instead, as in the present work, sought his
inspiration from his native Spain, humanising the macabre and linking the heritage of
Goya to the art of his times.
The religious subject of the present work may seem an unlikely choice for a subversive
modern artist of the early twentieth century, yet the centrality of the Catholic faith to the
cultural and social framework of Spain gave Solana the opportunity to translate
traditional imagery into a language to which his contemporary audience could relate. In
his patriotic quest to re-establish national and regional pride, Solana's painting
remained faithful to the Spanish school of Velázquez, Juan de Valdés Leal, El Greco
and Goya.
Solana's subjects were drawn from the customs and people he had grown up with in
Madrid and Santander. Like the works of the other members of the Generación del 98
to which he belonged, Solana's paintings show a country in which the power and depth
of the feelings and passions have not been corrupted by modern life. Together with his
admirer Zuloaga, he belongs to the group of artists that painted the España negra. It
was Zuloaga who discovered, praised and acquired some of Solana's first paintings,
and who acted as agent in the sale of this painting to an art collector. This esteem was
reciprocated by Solana, and he dedicated his book Madrid Callejero in 1923 to the
Basque artist.
Spain to them was inspiring because of its beauty and sadness. It is interesting to note
that Sargent was so impressed with the Spanishness of Solana's works, shown in an
exhibition of Spanish Paintings at the Royal Academy in London in November 1921,
that he later acquired several works by the artist.
FIG. 1, Francisco José de Goya y Lucientes, Procesión de disciplinantes (Procession of

Flagellants), 1815-19, Museo de la Real Academia de Bellas Artes de San Fernando,
Madrid
282L10101_comp
FIG. 2, José-Gutierrez Solana, La Procesión, circa 1917, oil on canvas, Grupo

Santander Collection
267L10101_comp
Fig. 1
Francisco José de Goya y Lucientes, Procesión de disciplinantes (Procession of
Flagellants), 1815-19, Museo de la Real Academia de Bellas Artes de San Fernando,
Madrid
Fig. 2
José-Gutierrez Solana, La Procesión, circa 1917, oil on canvas, Grupo Santander
Collection
London | 2 Jun 2010, 2:30 PM | L10101
LOT 191
PROPERTY FROM A PRIVATE COLLECTION, COSTA RICA
MARIANO BARBASÁN LAGUERUELA

SPANISH 1864 - 1924
CALLE IN UN PUEBLO (VILLAGE STREET SCENE)
signed M. BARBASAN. Laguerela lower right

oil on canvas
37 by 57.5cm., 14½ by 22½in.
ESTIMATE 15,000 - 25,000 GBP
PROVENANCE
Mr Ignacio Joaristi Lanzagorta (acquired in Madrid in the 1970s); thence by descent to the present owner
London | 2 Jun 2010, 2:30 PM | L10101
LOT 192
VALENTÍN DE ZUBIAURRE
SPANISH 1879 - 1963
FLORERO DE ONDÁRROA (THE ONDARROAN FLOWER VASE)
signed and dated VALENTIN DE ZUBIAURRE 1952 lower left

oil on canvas
60 by 45cm., 23½ by 17¾in.
CATALOGUE NOTE
The present work belongs to the large series of still lifes by the artist painted between 1940 and 1960, and features
a view of the Cantabrian coast in the background.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 193
JOSÉ VITAL BRANCO MALHOA

PORTUGUESE 1855-1933
O LENHADOR (THE WOODCUTTER)
signed and dated José Malhoa / 1923 lower right

oil on canvas
40.4 by 60cm., 15¾ by 23½in.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
A wedding gift to the previous owner in 1968
Acquired from the above by the present owner in 1989
CATALOGUE NOTE
As exemplified by the present work, beyond his picturesque rural scenes, Malhoa often concentrated on the theme
of the isolation of life in the countryside, focusing on one or two figures in the forest or fields. The death of his wife
imbued his later naturalistic peasant scenes and spontaneous brushwork with a subtle melancholy.
Malhoa attended the Academia de Belas-Artes in Lisbon where he studied under Tomás José da Anunciação and
Miguel Ângelo Lupi. While exposed to the Barbizon-influenced style of António Silva Porto, his compatriot in the
Grupo do Leão (18819) as well as the work of Bastien-Lepage, Malhoa developed his own Naturalist style.
Together with Columbano Bordalo Pinheiro he was the leading proponent of Naturalist painting in Portugal in the
late nineteenth century, and paved the way for the evolution of Portuguese modernism.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 194
HERMENEGILDO ANGLADA-CAMARASA
SPANISH 1871 - 1959
FLORES (FLOWERS)
signed and dated H. Anglada-Camarasa 1935 lower right

oil on canvas
83 by 83cm., 32½ by 32½in.
ESTIMATE 150,000 - 250,000 GBP

PROVENANCE
Concepción Llumà (by 1960); thence by descent to the present owner
EXHIBITION
Barcelona, Real Círculo Artístico, Instituto Barcelonés de Arte, Exposición-Homenaje H Anglada-Camarasa, 1955
LITERATURE
Francesc Fontbona &Francesc Miralles, Anglada Camarasa, Barcelona, 1981, p. 277, no. D131, catalogued
&illustrated
CATALOGUE NOTE
The vibrant, multi-hued blooms radiate exuberantly from a pristine vase, to this day in Anglada's home in Pollença.
Emphasis is placed on the decorative patterns created by the flattened, outstretched and schematised flowers and
the contrast between light and dark. An admirer of pyrotechnic displays throughout his life, Anglada-Camarasa
painted rhythmic, dynamically-extending patterns and bright colours that mimic the configurations made by the
coloured flames and sparks of fireworks.
Painted in 1935, the present work dates from the end of Anglada's first Mallorcan phase, during which he
abandoned his bohemian lifestyle, marrying for a third time and building a home in the outskirts of Port Pollença.
Having spent much of his time engaged in domestic activities such as gardening during this first sojourn in Mallorca,
it was around the time of the present work that he returned increasingly to still life painting and textural
experimentation.
Born in Barcelona, Anglada studied there at the Llotja School under Modest Urgell, before moving to Paris in 1894.
His time in Paris and exposure to the works of artists such as Toulouse-Lautrec and Degas informed his often
nocturnal portrayals of Parisian life. Seeking distance from the avant-garde circles of Paris, Anglada settled in
Mallorca in 1914, remaining there until 1937, when he moved to Montserrat in Catalonia, before crossing the border
into France two years later to flee the ravages of the Civil War.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 195
JOAQUÍN SOROLLA
SPANISH 1863 - 1923
DIA DE TEMPESTAD, VALENCIA (APPROACHING STORM, VALENCIA)
signed and dated J. Sorolla Bastida / 1899. lower right

oil on canvas
46 by 68.2cm., 18 by 27in.
ESTIMATE 150,000 - 200,000 GBP

PROVENANCE
M Lonquety, Paris (acquired in 1906)
EXHIBITION
Paris, Galerie Georges Petit, Joaquín Sorolla y Bastida, 1906, no. 7
LITERATURE
Camile Mauclair, Art et Décoration, 1906, p. 108, illustrated
Bernardino de Pantorba, La Vida y la Obra de Joaquín Sorolla, Madrid, 1970, p. 186, no. 1499, catalogued
AUTHENTICATION
To be included in the Joaquín Sorolla catalogue raisonné being prepared by Blanca Pons Sorolla.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 196
EMILIO SÁNCHEZ-PERRIER
SPANISH 1855-1907
A ORILLAS DEL RIO, GUILLENA (ALONG THE RIVER, GUILLENA)
signed and inscribed E Sanchez-Perrier / Guillena lower right

oil on panel
21.5 by 46cm., 8½ by 18¼in.
ESTIMATE 25,000 - 35,000 GBP
PROVENANCE
Guarisco Gallery, Washington, D.C.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 197
PROPERTY FROM A SCOTTISH PRIVATE COLLECTION
DANIEL HERNÁNDEZ
PERUVIAN 1856 - 1932
MUCHACHA CON PATO (THE DUCK GIRL)
signed, inscribed and dated D. Hernandez / Paris 1887 lower right

oil on panel
32.5 by 24cm., 12¾ by 9½in.
PROVENANCE
M. Newman Ltd., London
London | 2 Jun 2010, 2:30 PM | L10101
LOT 198
MANUEL GARCÍA Y RODRÍGUEZ

SPANISH 1863-1925
JARDÍN DEL REAL ALCÁZAR DE SEVILLA (REAL ALCÁZAR GARDEN, SEVILLE)
signed Garcia y Rodriguez and dated 1919 lower right

oil on canvas
100 by 123.5cm., 39¼ by 48½in.
ESTIMATE 25,000 - 35,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 199
BENJAMÍN PALENCIA
SPANISH 1894 - 1980
BODEGÓN (STILL-LIFE)
signed and dated B. Palencia 50 upper right

oil on canvas
86 by 120cm., 33¾ by 47¼in.
ESTIMATE 80,000 - 120,000 GBP

PROVENANCE
Studio of the artist; thence by descent
EXHIBITION
Buenos Aires, Exposicion de Arte Español y Contemporáneo, Pintura y Escultura, 1947, no. 291
CATALOGUE NOTE
In the defined lines and restricted palette of the present work, Palencia celebrates the Spanish still life tradition,
while making reference to the aesthetic of Cézanne through built-up planes of colour. This still-life contains distinctly
Baroque elements, and is derived from the Spanish Baroque vanitas as seen in the work of Francisco Zurbarán,
while reflecting Palencia's strong religious beliefs.
The importance of Palencia's still-lifes was recognised when he took part in an exhibition of still life and flower
paintings of Spanish contemporary artists organized by the Museo Nacional de Arte Moderno in 1945. Palencia had
just been awarded first prize in the Exposición Nacional de Bellas Artes in 1943, and was rapidly building an
international reputation. His contact and friendships with leading Surrealists and Cubists such as Salvador Dalí and
Francisco Bores in Madrid, and a trip to Paris in 1926 where he met Picasso and Miró, left their stamp on his early
aesthetic. Thereafter he began a more realistic, objective phase that revealed his knowledge of other periods and
traditions in art.
Bodegón can be dated to 1945-50, given its inclusion in a 1947 exhibition in Buenos Aires and in keeping with the
artist's tendency to post-date works.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 200
JOSÉ GALLEGOS
SPANISH 1859-1917
INTERIOR DE IGLESIA (CHURCH INTERIOR)
signed JGallegos lower right

oil on panel
24 by 35.4cm., 9½ by 14in.
ESTIMATE 30,000 - 50,000 GBP
PROVENANCE
Acquired by the grandmother of the present owner by 1962
London | 2 Jun 2010, 2:30 PM | L10101
LOT 201
RAIMUNDO DE MADRAZO Y GARRETA

SPANISH 1841 - 1920
ALINE CON TOCADO DE FLORES (ALINE AT HER TOILETTE)
signed R Madrazo lower right

oil on panel
100 by 57.5cm., 39½ by 22½in.
ESTIMATE 50,000 - 70,000 GBP

EXHIBITION
Zaragoza, Caja Rural del Jalón, Raimundo de Madrazo. 1841-1920, 1996, no. 15, illustrated
CATALOGUE NOTE
Painted in 1878-80.
This scene of genteel sophistication, portraying a young élégante preening herself before a looking-glass in her chic
Parisian apartment, is a fine example of Madrazo's belle-époque subjects. The sense of sentimentality in the
narrative as well as the fact that the artist's muse and favourite model, Aline Masson, is clothed in eighteenth
century morning dress, pays homage to the illustrious genre tradition of the previous century. Madrazo often tied
these references into the contemporary Parisian interior scenes at which he excelled, typically featuring female
figures painting, singing, playing music and at their toilette.
Although the painter spent most of his life in Paris, he travelled to London and Madrid and was inspired by painters
such as Mariano Fortuny, who was also a friend, and the French Jean Auguste Dominique Ingres, in whose atelier
he worked for a short period.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 202
JOSÉ MONGRELL
SPANISH 1870 - 1937
GALANTEO VALENCIANO (VALENCIAN SCENE)
signed J. Mongrell lower left

oil on canvas
86 by 95cm., 33¾ by 37½in.
ESTIMATE 25,000 - 35,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 203
FERNANDO ALVAREZ DE SOTOMAYOR

SPANISH 1875 - 1960
SALIDA DE MISA EN JORNES (LEAVING MASS, JORNES)
signed Sotomayor lower right

oil on board
67 by 100cm., 26¼ by 39¼in.
ESTIMATE 60,000 - 80,000 GBP

EXHIBITION
Paris, Galerie Charpentier, Exposition Sotomayor, 1932, no. 3
Buenos Aires, Galería Witcomb, Exposición Fernando Álvarez de Sotomayor, 1932, no.
8
LITERATURE
Francisco Javier Sánchez Cantón, Fernando Álvarez de Sotomayor, Santiago de
Compostela, 1952, no. 6 Fig. 1
José Carlos Valle Pérez &Fundación Pedro Barrié de la Maza, Fernando A. de Fernando Álvarez de Sotomayor,
Sotomayor, Santiago de Compostela, 2004, p. 416, no. 631, catalogued &illustrated Joven Gallega, circa 1929, oil on
canvas, The Hispanic Society of
America, New York
CATALOGUE NOTE
With his reputation as an artist on the rise, on a visit to his native Galicia in 1905
Sotomayor's interest in the region was re-awakened. Thereafter his work centred on the
essential truths to be found in the local communities, the moral strength of the people
with whom he came into contact and the beauty of the local landscape.
A pupil of the history painter and portraitist, Manuel Domínguez y Sánchez, Sotomayor
studied in Madrid at the San Fernando Academy. At the age of twenty-four he travelled
to Rome, France and Holland. In 1907 he travelled to Chile where he became director
of the Escuela de Bellas Artes in Santiago, a post that he retained until 1911. In 1929
he was appointed Director of the Prado, and thereafter Director of the Real Academia
de San Fernando, Madrid.
The young girl in the present work (also known as 'Sunday Morning') appears in
another painting of the period, Joven Gallega (fig. 1).
FIG. 1, Fernando Álvarez de Sotomayor, Joven Gallega, circa 1929, oil on canvas, The
Hispanic Society of America, New York
276L10101_comp
Fig. 1
Fernando Álvarez de Sotomayor, Joven Gallega, circa 1929, oil on canvas, The
Hispanic Society of America, New York
London | 2 Jun 2010, 2:30 PM | L10101
LOT 204
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
JOAN ROIG SOLER

SPANISH 1852 - 1909
PAISAJE COSTERO (COASTAL LANDSCAPE)
signed Roig-Soler lower left

oil on canvas
52 by 76cm., 20½ by 30in.
ESTIMATE 10,000 - 15,000 GBP
PROVENANCE
Acquired circa 1900; thence by descent to the present owner
London | 2 Jun 2010, 2:30 PM | L10101
LOT 205
ELISEO MEIFRÉN
SPANISH 1859 - 1940
MARINA CON BARCO (SEASCAPE WITH SAILING BOAT)
signed E. Meifren lower right

oil on canvas
32.5 by 46cm., 12¾ by 18in.
AUTHENTICATION
The authenticity of this work has been confirmed by David Pironti.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 206
JOAQUÍN SUNYER
SPANISH 1875-1956
PAISAJE (LANDSCAPE)
signed Sunyer lower right

oil on canvas
53.5 by 65cm., 21 by 25½in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Ferrer Diví Togores, Barcelona
Acquired from the above by the present owner circa 1989
EXHIBITION
Barcelona, Galeria D'Arte Dau al Set, L'Avantguardia a Catalunya, 1985, no. 8
London | 2 Jun 2010, 2:30 PM | L10101
LOT 207
JOSÉ MARÍA SERT

SPANISH 1874 - 1945
LOS EQUILIBRISTAS (THE ACROBATS)
oil on canvas
50 by 80cm., 19¾ by 31½in.
ESTIMATE 18,000 - 25,000 GBP

PROVENANCE
Dr Antoni Puigvert
Acquired from the above by the family of the present owner
LITERATURE
Alberto del Castillo and Alexandre Cirici, José María Sert. Su vida y su obra, Barcelona &Buenos Aires, 1947, p.
207, the murals discussed
CATALOGUE NOTE
Painted circa 1929-31, the present work is an oil study for the large mural of the same title that was one of five
ceiling decorations in the Palacio Pereda in Buenos Aires.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 208
JOSÉ MARÍA SERT

SPANISH BARCELONA 1874-1945
DAMA SENTADA SOBRE BARANDILLA (SEATED WOMAN)
oil and silverground on board
48 by 63.5cm., 19 by 25in.
ESTIMATE 18,000 - 25,000 GBP

PROVENANCE
Dr Antoni Puigvert
Acquired by the family of the present owner from the above
LITERATURE
Alberto del Castillo and Alexandre Cirici, José María Sert. Su vida y su obra, Barcelona &Buenos Aires, 1947, pp.
302-304, the murals discussed
CATALOGUE NOTE
Painted circa 1944-45, the present work is an oil study for the decoration of one of the walls of the Music Room of
the Palacio March in Palma de Mallorca.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 209
PROPERTY FROM A NORWEGIAN PRIVATE COLLECTION
MARTINUS RØRBYE
DANISH 1803 - 1848
I KLOSTERET, PALERMO (IN THE CLOISTER, PALERMO)
signed with initials, inscribed and dated PALERMO. / MR. 1840. lower left
oil on paper laid on canvas
50.5 by 37.5cm., 20 by 14½in.
ESTIMATE 18,000 - 25,000 GBP

PROVENANCE
Bequeathed to the present owner by his father in the 1980s
CATALOGUE NOTE
Painted between 1839-41 in Palermo, Sicily, on the artist's second trip to Italy.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 210
JOHAN CHRISTIAN DAHL

NORWEGIAN 1788-1857
PARTI VED DRESDEN (VIEW OVER FIELDS NEAR DRESDEN)
signed and dated JDahl / 1830 lower centre

oil on canvas
24 by 29.8cm., 9½ by 11¾in.
ESTIMATE 15,000 - 25,000 GBP

PROVENANCE
General Siegwald Bull
Dr I.F. Lorentzen, Oslo (1937)
Theodor Lorentzen Styr, Oslo (by 1988); thence by descent to the present owner, daughter of the above
EXHIBITION
Oslo, Christiania Kunstforening, Retrospective Exhibition, 1907, no. 9
Oslo, Kunstnernes Hus, J.C. Dahl's Verk, 1937, no. 361
Oslo, Nasjonalgalleriet, J.C. Dahl Jubileumsutstilling, 1988, no. 124
LITERATURE
Marie Lødrup Bang, Johan Christian Dahl, 1788-1857. Life and Works, Oslo, 1987, vol. 2, pp. 213-14, no. 642,
catalogued; vol. 3, pl. 267, illustrated
CATALOGUE NOTE
Painted in 1830, the present work is one of two versions Dahl executed of this view. For the other version see:
Bang, no. 643.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 211
HANS GUDE
NORWEGIAN 1825 - 1903
LANDSKAP (LANDSCAPE)
signed HFGude lower right

oil on canvas
39.5 by 61.5cm., 15½ by 24¼in.
ESTIMATE 20,000 - 30,000 GBP
PROVENANCE
Acquired by the grandfather of the present owners in Berlin at the turn of the century
London | 2 Jun 2010, 2:30 PM | L10101
LOT 212
PROPERTY FROM A SCANDINAVIAN COLLECTION

NORWEGIAN 1788-1857
UTSYN FRA FEIGUMFOSSEN I LYSTERFJORDEN (VIEW OF THE FEIGUMFOSS IN LYSTERFJORD)
signed and dated Dahl / 1848 centre right

oil on canvas
42 by 57.7cm., 16½ by 22¾in.
ESTIMATE 100,000 - 150,000 GBP

PROVENANCE
Acquired by the family of the present owner by 1920
EXHIBITION
Possibly, Dresden, Sächsischer Kunstverein, 1848, no. 484 (as Norwegische
Landschaft)
Fig. 1
Johan Christian Dahl, View of the
LITERATURE Feigumfoss in Lysterfiord, 1848,
Marie Lødrup Bang, Johan Christian Dahl, 1788-1857. Life and Works, Oslo, 1987, vol. Bergen Billedgalleri, Bergen
2, pp. 322-23, no. 1083, catalogued; vol. 3, pl. 462, no. 1083 (the afterdrawing
illustrated)
CATALOGUE NOTE
Painted in 1848, the whereabouts of the present was unknown until very recently, its
existence only recorded by Dahl's 'afterdrawing' of the composition (fig. 1). Marie
Lødrup Bang cites a study of the waterfall, inscribed 'Wed Feigum Fossen i Norge d. 8
August 1826 Lyster. JDahl' in the collection of the Nasjonalgalleriet, Oslo (inv. B2831)
as the basis for the left half of the painting. She also records another oil of the
Feigumfoss dated 1840 (Bang no. 914, whereabouts unknown).
Although Dahl settled permanently in Dresden after 1820, there establishing his
international reputation, it was his love of the Norwegian landscape that fuelled his
creative energies throughout his life. Returning to his homeland for extended study trips
on various occasions, on one such visit in August 1826 he journeyed to Lyster (now
Luster) in the glacial mountains of southern Norway, where the Sognefjord begins its
path to the North Sea. There he sketched the drama of the Feigumfoss, which with a
drop of more than 200 metres, is one of the tallest waterfalls in Scandinavia.
Waterfalls had been a favourite motif for Dahl over many years, both as an example of
the phenomenon of nature and an expression of its awesome power. In his early works
they appear as generalised romantic torrents. But as his landscapes became more and
more location specific so they were either shown adjacent to a mill and thus harnessed
to man's needs, or as symbols of the Sublime. Folkloric associations also link waterfalls
with a bride's vale. The metaphor, in this instance is clearly suggested by the coursing
flow of the water down the rock face. But the present oil of the Feigumfoss is also
specifically linked to Dahl's own family. In 1847 his eldest daughter announced her
engagement to a Norwegian officer Anders Ørsted Sandøe Bull, and the couple wed
and settled in Christiania (Oslo) the year that the present work was painted. It is highly
plausible therefore, that Dahl painted the present painting as a tribute to his daughter
and her new found marital status.
FIG. 1, Johan Christian Dahl, View of the Feigumfoss in Lysterfiord, 1848, Bergen
Billedgalleri, Bergen
Fig. 1
Johan Christian Dahl, View of the Feigumfoss in Lysterfiord, 1848, Bergen Billedgalleri,
Bergen
London | 2 Jun 2010, 2:30 PM | L10101
LOT 213
EDVARD MUNCH
TO PÅ VEI MOT SKOGEN (COUPLE ON THE PATH TO THE FOREST)
signed E Munch lower left

oil on canvas
46 by 55.5cm., 18 by 21¾in.
ESTIMATE 100,000 - 150,000 GBP

PROVENANCE
Hans Halvorsen (by 1938)
Nini Gran Halvorsen; thence by descent to the present owner
LITERATURE
Gerd Woll, Edvard Munch, London, 2009, vol. 1, p. 123, no. 109, catalogued
&illustrated
Fig. 1
Edvard Munch, Forest
Landscape with Small Lake,
CATALOGUE NOTE 1887, sold Sotheby's, New York,
Painted in the mid-1880s. It was at the start of the decade, November 1880, that Munch 8 November 2007, lot 127
had written in his diary 'Now I have decided to become a painter' (quoted by Arne
Eggum in Edvard Munch, The Frieze of Life, exh. cat, National Gallery, London, 1992,
p. 15).
The two most important influences in Munch's early days were Christian Krohg (lot 216)
and Frits Thaulow (lots 222 &223) . Munch shared a studio with Krohg, who became his
self appointed tutor, while from Thaulow Munch took formal classes, and thanks to his
patronage visited Antwerp and Paris in 1885. In his early subject matter Munch already
divided his attention almost equally between painting portraits of his family and
acquaintances and the depiction of landscapes, some - as in the present work -
including figures.
The contemporary motifs he selected, his loose painterly technique, and the luminous
palette that he adopted in these early landscapes were clearly influenced by the
Impressionists, in particular Pissarro. Although having had little if any direct exposure to
such French artists' work, Munch's interpretations were to a large extent filtered through
Thaulow's eyes. In these works the locations - views of Gamle Aker, the square outside
his bedroom window, or streets in and around Olso - were less important to him than
capturing an atmosphere.
As the decade wore on, however, like the ever increasing psychological intensity that
Munch gave to his figural works, so in his landscapes Munch applied his deeply
reflective sensibility to his depiction of the Norwegian countryside (fig. 1). An added
tension is added to the present oil by the inclusion of the two figures who walk away
from the viewer. Their presence embues the scene with a sense of ominous forboding,
an atmosphere that bears comparison with the sense of fatalistic melancholy in his
seminal work of the same period The Sick Child.
FIG. 1, Edvard Munch, Forest Landscape with Small Lake, 1887, sold Sotheby's, New
York, 8 November 2007, lot 127
Fig. 1
Edvard Munch, Forest Landscape with Small Lake, 1887, sold Sotheby's, New York, 8
November 2007, lot 127
London | 2 Jun 2010, 2:30 PM | L10101
LOT 214
ARNE KAVLI
NORWEGIAN 1878-1970
LANDSKAP MED NORSK FLAGG (LANDSCAPE WITH NORWEGIAN FLAG)
signed A. Kavli lower right

oil on canvas
64 by 76.8cm., 25¼ by 30¼in.
ESTIMATE 20,000 - 30,000 GBP
PROVENANCE
H.-L. Molbach-Thellefsen, Oslo
Sale: Doyle, New York, 30 November 2005, lot 184
Private Collection, California
London | 2 Jun 2010, 2:30 PM | L10101
LOT 215
LEANDER ENGSTRÖM
SWEDISH 1886-1927
TRÄDGÅRDSMÄSTARE VID FRUKTODLING (ORCHARD WITH WORKERS AND MOUNTAINS)
signed Leander Engstrom lower left

oil on board
61 by 49.3cm., 24 by 19½in.
ESTIMATE 40,000 - 60,000 GBP

PROVENANCE
Acquired by the parents of the present owners in the 1970s
CATALOGUE NOTE
Engström was born in Ytterhogdal, and studied under Richard Bergh, Nils Kreuger and Karl Nordström in Sweden,
after which he moved to Paris to study under Matisse for a year in 1909. Following Matisse's tutelage Engström
founded the artists' collective 'The Young', together with other artists such as Isaac Grünewald and Tor Bjurström,
creating works distinctive for their simplified forms and strengthened compositional structures. While deeply
influenced by Cézanne and the Italian Primitives following trips to France and Italy, the Scandinavian landscape
and townscape would remain his favourite subjects.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 216
PROPERTY FROM AN AMERICAN PRIVATE COLLECTION
CHRISTIAN KROHG
LEIF ERIKSSON OPPDAGER AMERIKA (LEIF ERIKSSON DISCOVERS AMERICA)
signed C. Krohg lower right

oil on canvas
116.8 by 174.6cm., 46 by 68¾in.
ESTIMATE 150,000 - 250,000 GBP

PROVENANCE
Jonas Hagen, London
Christiania Rowing Club (a gift from the above in 1921 following the club's success at
the Henley Royal Regatta between 29 June - 2 July that year)
Sale: Grev Wedels Plass Auksjoner, Oslo, 27 April 1998, lot 66
EXHIBITION Fig. 1
Oslo, Astrup Fearnley Museum of Modern Art, Christian Krohg: Sjøbilder, 1996, no. 10 Christian Krogh, Leif Eriksson
Oppdager Amerika,
Sjøfartsmuseet, Oslo
CATALOGUE NOTE
Painted in 1892, this dramatic rendition of Leif Eriksson's first sighting of America is one
of two large scale oil sketches for Krohg's winning entry of a competition organised by
the Leif Eriksson Memorial Association to celebrate the Norwegian's discovery of the
New World at the end of the tenth century. Others who submitted work for the
competition included Otto Sinding, Theodor Kittelsen, Hans Heyerdahl, and Nils
Bergslien.
As the competition winner, Krohg was charged with the task of painting the subject on
an even larger scale to be shown at the Chicago World's Fair of 1893. His completed
version of Eriksson - the largest painting Krohg ever painted - now hangs in the
Sjøfartsmuseet (The Maritime Museum), Oslo (fig. 1). Krohg based the present oil
sketch and the finished work on his earlier composition På Lo Baug (now lost), to which
he added four Vikings running from the bottom of the boat. The model for Eriksson was
Emil Frøen, and sketches related to the compostion exist of Frøen dressed both as
Eriksson and a Viking.
Renewed interest in Eriksson's achievement was stimulated by the Chicago fair

honouring the 400th anniversary of Christopher Columbus' arrival in the New World in
1492. In the 1870s and 1880s there was a growing concensus that Eriksson had
reached America some five hundred years ahead of Columbus. This idea was
popularized in 1874 by the publication of America Not Discovered by Columbus by
Rasmus B Anderson, and given further impetus by the discovery of the Gokstad in
1880, to this day the largest and most intact Viking vessel in the Viking Ship Museum
near Oslo.
To press the point, the exhibition of Krohg's finished work in Chicago coincided with a
journey taken by the Viking, a replica of the Gokstad, that was rowed across the
Atlantic, crewed by nintey-two Norwegian oarsmen.
Eriksson's place in American history was officially recognised in 1925 at the Norse-
American Centennial when President Calvin Coolidge endorsed Eriksson as the
discoverer of America. October 9, the date in 1825 that the Restaurationen arrived in
New York in 1825 with its first organised party of Norwegian immigrants, subsequently
became Leif Eriksson Day, and in 1964 the United States Congress authorised 9
October to be an annual day of observance honouring the explorer.
Eriksson was the second of three sons of Erik the Red, who established a settlement in
Greenland after he was exiled from Iceland. It is believed that Eriksson visited Norway
in around 1000 where he was converted to Christianity by King Olaf I, who sent him
back to Greenland to convert the settlers there. In one story recounted in one of the
several different sagas in which his life is recorded, Eriksson sailed off-course on his
voyage to Greenland and arrived in a place he called Vinland, because of the abundant
grape vines he found there. The precise identity of Vinland remains uncertain, with
various locations on the North American coast identified. In 1963, archaeologists found
ruins of a Viking-type settlement at L'Anse aux Meadows, in northern Newfoundland,
which correspond to Eriksson's description of Vinland.
FIG. 1, Christian Krogh, Leif Eriksson Oppdager Amerika, Sjøfartsmuseet, Oslo
Fig. 1
Christian Krogh, Leif Eriksson Oppdager Amerika, Sjøfartsmuseet, Oslo
London | 2 Jun 2010, 2:30 PM | L10101
LOT 217
CARL LARSSON
SWEDISH 1853 - 1919
ESBJÖRN
signed with initials C.L. lower right; titled ESBJÖRN upper left
oil on canvas
70 by 100cm., 27½ by 39¼in.
ESTIMATE 150,000 - 250,000 GBP

PROVENANCE
Lisa Mannheimer, Gothenburg
Axel Mannheimer, Gothenburg
EXHIBITION
Stockholm, Liljevalchs Konsthall, Invigningsutställning, 1916, no. 89 Stockholm,
Liljevalchs Konsthall, Carl Larsson-100 å, Minnesutställning, 1953, no. 762 Fig. 1
Göteborg, Göteborgs Konstmuseum, Carl Larsson, 1971, no. 97 Carl Larsson, Frukost i det gröna
Modum, Blaafarveværket, (Norway), Sommaren med Carl Larsson, 1989, no. 67 (Breakfast in the Open), 1910-13,
Århus, Aarhus Kunstmuseum, Julen med Carl Larsson, 1988−1989, n.n. Konstmuseum, Norrköpings
LITERATURE
Ernst Malmberg, Larsson Liljefors Zorn. En återblick, Stockholm, 1919, illustrated
Ulwa Neergaard, Carl Larsson Signerat med pensel och penna, Stockholm, 1999, vol.
II, p. 130, no. 1395; p. 467, illustrated in colour
Michael Snodin and Elisabet Stavenow-Hidemark, Carl and Karin Larsson, Creators of
the Swedish Style, London, 1999, p. 182, no. 217, illustrated in colour
CATALOGUE NOTE
Fig. 2
Painted in 1910, the present work depicts Esbjörn, Carl and Karin Larsson's seventh
child and youngest son aged ten years old. Carl Larsson, Lisbeth vid björken,
sold in The Scandinavian Sale,
His pose is a prelude to Larsson's famous Breakfast in the Open in the Konstmuseum, Sotheby's, London, 27th June
Norrköping that shows three generations of the Larssons' family and friends gathered 2007, lot 414
for breakfast at Bullerholmen, the small island opposite the family home at Lilla Hyttnäs
(fig. 1).
In the present work Esbjörn takes up the same position as in the Norrköping painting,
his back to the viewer, arms around his knees seated on the ground. Unlike the larger
composition, however, in the present oil Esbjörn's youth is not contrasted with the be-
whiskered laplander in traditional costume. Instead, all the focus is on his contemporary
outfit. Dressed not in a traditional country smock, nor even in a sailor suit reserved for
special occasions, Larsson paints his son in the strikingly contemporary design of
shorts and shirt in two different stripes. The style follows the introduction at the turn of
the century of more comfortable children's clothes, an area that Karin, Larsson's wife,
was at the forefront of in her textile design and manufacture.
Fig. 3
Like the present depiction of Esbjörn, Larsson completed other parts of the Norrköping
The present work hanging at the
painting as separate compositions. These included the central figure of the laplander
exhibition Invigningsutställning at
and his portrayal of his eldest child Lisbeth (fig. 2).
Liljevalchs Konsthall, Stockholm
in 1916
A present from Karin's father in 1888, Lilla Hyttnäs became Carl and Karin's ideal
home, and in the years that followed Larsson's primary source of inspiration.
Fig. 1, Carl Larsson, Frukost i det gröna (Breakfast in the Open), 1910-13,
Konstmuseum, Norrköpings
Fig. 2, Carl Larsson, Lisbeth vid björken, sold in The Scandinavian Sale, Sotheby's,
London, 27th June 2007, lot 414
Fig. 3, The present work hanging at the exhibition Invigningsutställning at Liljevalchs

Konsthall, Stockholm in 1916
Fig. 1
Carl Larsson, Frukost i det gröna (Breakfast in the Open), 1910-13, Konstmuseum,
Norrköpings
Fig. 2
Carl Larsson, Lisbeth vid björken, sold in The Scandinavian Sale, Sotheby's, London,
27th June 2007, lot 414
Fig. 3
The present work hanging at the exhibition Invigningsutställning at Liljevalchs Konsthall,
Stockholm in 1916
London | 2 Jun 2010, 2:30 PM | L10101
LOT 218
PAUL FISCHER
DANISH 1860-1934
PIGER PÅ STRANDEN, BÅSTAD (GIRLS ON THE BEACH, BÅSTAD)
signed PAUL FISCHER lower right

oil on canvas
38.6 by 55.1cm., 15¼ by 21¾in.
ESTIMATE 20,000 - 30,000 GBP
PROVENANCE
Ivan Kranger
London | 2 Jun 2010, 2:30 PM | L10101
LOT 219
PEKKA HALONEN
FINNISH 1875-1933
HEINÄSUOVAT (HAYSTACKS)
signed and dated P. Halonen / 1919. lower left

45 by 31cm., 17¾ by 12¼in.
ESTIMATE 12,000 - 18,000 GBP
PROVENANCE
Acquired in the 1950s; thence by descent to the present owner
London | 2 Jun 2010, 2:30 PM | L10101
LOT 220
PEKKA HALONEN
FINNISH 1875-1933
PIHLAJA TUUSULANJÄRVEN RANNALLA (ROWAN BY LAKE TUUSULANJÄRVI)
signed and dated P. Halonen / 1915. lower left

oil on canvas
83 by 54cm., 32¾ by 21¼in.
ESTIMATE 20,000 - 30,000 GBP
PROVENANCE
London | 2 Jun 2010, 2:30 PM | L10101
LOT 221
CARL LARSSON
SWEDISH 1853-1919
MARSTRAND
signed with initials and titled C. L. / MARSTRAND lower right

60.5 by 92cm., 23¾ by 36¼in.
ESTIMATE 250,000 - 350,000 GBP

PROVENANCE
Mrs Anna Bergöö
Fritzes Kungl Hovbokhandel, Stockholm
EXHIBITION
Stockholm, Liljevalchs Konsthall, Carl Larssons minnesutställning, 1920, no. 70
LITERATURE
Ulwa Neergard, Carl Larsson, signerat med pensel och penna, Stockholm, 1999, p. 53, no. 542
CATALOGUE NOTE
Painted at Marstrand during the summer of 1893 where the Larssons were renting a cottage. Their move to the
coast followed Carl leaving his teaching job at Valands school in Gothenburg. On the west coast he found a new
zest for his work both as a result of the rich range of subject matter that the village and surrounding area presented,
and because of the birth there of his fifth child Brita.
Capturing the essence of the early Swedish summer, Larsson's delineation of space and interest in stylised
decorative forms in the present watercolour heralds a new departure in his work that would come to increasingly
define his style. The frieze-like composition defined by the garden fence in the middle distance; the convergence of
the sea captain and sailing boat beyond as they move perpendicular to the picture plain; the conscious emptiness in
the right foreground contrasted with the dynamic form of the gnarled and bending branches of the tree to the left all
point to his desire to simplify his compositions by flattening the picture surface and emphasising line and contour,
devices that suggest the strong influence of Japanese woodcuts on his compositional style at this time.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 222
FRITS THAULOW
NORWEGIAN 1847-1906
ELVELANDSKAP (RIVER LANDSCAPE)
signed Frits Thaulow lower right

oil on canvas
65.5 by 81cm., 25¾ by 31¾in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Trinity House Fine Arts, Worcestershire
Anderson Galleries, Los Angeles
Private Collection, Los Angeles; thence by descent to the present owner
CATALOGUE NOTE
Painted circa 1896, according to Vidar Poulsson, when Thaulow was living in Dieppe and regularly painted rivers
nearby. Two other similar views are known to exist, one of which is reproduced in Einar Østvedt, Frits Thaulow:
Mannen of verket, Oslo, 1951, p. 135. All three feature the church spire in the background and the red end of the
house in the village below.
AUTHENTICATION
The authenticity of this work has been confirmed by Vidar Poulsson.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 223
FRITS THAULOW
NORWEGIAN 1847-1906
FRA QUIMPERLÉ I BRETAGNE (QUIMPERLÉ, BRETAGNE)
signed Frits Thaulow lower left

oil on canvas
92 by 73cm., 36¼ by 28¾in.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
CATALOGUE NOTE
Painted in 1901.
Quimperlé is a small town in Brittany, in the department of Finistère, where Thaulow spent the months of July to
November 1901. The present work depicts the river Ellé, one of two rivers flowing through Quimperlé, and the Pont
Fleuri, surrounded by autumn splendour. Thaulow initially came to the town to simply paint studies, but it proved
inspiring, and he encouraged friends such as Auguste Rodin and Christian Krohg to visit, writing Erik Werenskiold
on 20 November 1901: 'In the beginning of the summer I found Bretagne somewhat monotone and drab ....but
October and November have been outstanding' (Frits Thaulow, Collection of Letters of the Nasjonalbibliotekets, no.
98).
AUTHENTICATION
The authenticity of this work has been confirmed by Vidar Poulsson.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 224
BRUNO LILJEFORS
SWEDISH 1860 - 1939
VINTERHARE (SNOW HARE)
signed and dated Bruno Liljefors / 1932 lower left

oil on canvas
37.1 by 52.1cm., 14½ by 20½in.
ESTIMATE 12,000 - 18,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 225
ALVAR CAWÉN
FINNISH 1886 - 1935
THE HUNTSMEN
signed Cawén lower left

oil on canvas
54 by 65cm., 21¼ by 25½in.
PROVENANCE
London | 2 Jun 2010, 2:30 PM | L10101
LOT 226
HELENE SCHJERFBECK
FINNISH 1862 - 1946
INEZ, EN FACE
signed with initials HS centre right

charcoal on paper
46 by 38cm., 18 by 15in.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Gösta Stenman, Stockholm (no. 5273 in Gösta Stenman's catalogue)
EXHIBITION
Helsinki, Amos Andersons Konstmuseum, 1995, n.n.
Sundsvall, Sundsvalls Museum, Helene Schjerfbeck. Teckningar och akvareller, 1994−1995, n.n.
Göteborg, Göteborgs Konstmuseum, Helene Schjerfbeck. Teckningar, 1994, n.n.
Stockholm, Galleri Axlund, 1994
LITERATURE
H. Ahtela (Einar Reuter), Helena Schjerfbeck, Helsinki, 1953, no. 957
Lena Holger, Helene Schjerfbeck, Teckningar och akvareller, Stockholm, 1994, p. 90-91, mentioned &illustrated
(dated 1945)
CATALOGUE NOTE
Executed in 1944.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 227
PROPERTY FROM A SCANDINAVIAN PRIVATE COLLECTION
PEDER MØNSTED
DANISH 1859-1941
FORÅRSDAG VID SÆBY (SPRING IN SÆBY)
signed, inscribed and dated P. Mônsted. / Sæby.1912 lower left

oil on canvas
100.5 by 70.5cm., 39½ by 27¾in.
ESTIMATE 20,000 - 30,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 228
HARALD SLOTT-MØLLER
DANISH 1864 - 1937
PÅ SEJLTUR VED JORDENE OMKRING SOSTRUP SLOT, GJERRILD (BOATING IN THE GROUNDS OF
SOSTRUP CASTLE, GJERRILD)
signed, inscribed and dated HARALD.SLOTT-MØLLER.GJERRILD.MCMXVII lower right

oil on canvas
63 by 127cm., 24¾ by 50in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 229
PAUL FISCHER
DANISH 1860-1934
HØJBRO PLADS, COPENHAGEN
signed and dated PAUL / FISCHER / MAI - 1921 lower right

oil on canvas
57.5 by 74.2cm., 22¾ by 29¼in.
ESTIMATE 40,000 - 60,000 GBP

PROVENANCE
Kleis Gallery, Copenhagen
CATALOGUE NOTE
Paul Fischer, the chronicler of life in Copenhagen at the turn of the century, found inspiration in the fleeting
moments of city life, injecting them with vitality and immediacy.
Reflecting contemporary artistic trends in Paris which he had observed at first hand, Fischer chose urban street
subjects favoured by the many artists who drew inspiration from the French metropolis, from Jean Béraud to
Gustave Caillebotte.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 230
JOHAN LAURENTZ JENSEN

DANISH 1800 - 1856
STILL LIFE AF BLOMSTER I EN TERRACOTTA KRUKKE (STILL LIFE OF FLOWERS IN A TERRACOTTA POT)
signed and dated I.L. JENSEN 1843 lower right

oil on panel
58.5 by 42.5cm., 23 by 16¾in.
ESTIMATE 15,000 - 20,000 GBP
PROVENANCE
Rosenkrantz Estate
Sale: Bruun Rasmussen, Copenhagen, 9 December 2003, lot 1223
London | 2 Jun 2010, 2:30 PM | L10101
LOT 231
OTTO OTTESEN
DANISH 1816 - 1892
STILL LIFE MED BLOMSTER (STILL LIFE WITH FLOWERS)
signed O.D. Ottesen and indistinctly dated 186* lower right

oil on canvas
37 by 30.5cm., 14½ by 12in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 232
JOHAN LAURENTZ JENSEN

DANISH 1800 - 1856
BLÅREGN MED ROSER, LILJER OG SOMMER BLOMSTER I EN KURV (WISTERIA WITH ROSES, LILIES AND
SUMMER FLOWERS IN A BASKET)
signed I. L. JENSEN lower right

oil on canvas
68.5 by 53.5cm., 27 by 21in.
ESTIMATE 30,000 - 50,000 GBP
PROVENANCE
Sale: Sotheby's, London, 27 March 1990, lot 5
Purchased by the present owner circa 1990
London | 2 Jun 2010, 2:30 PM | L10101
LOT 233
PROPERTY FROM A SCANDINAVIAN PRIVATE COLLECTION
CARL HOLSØE
DANISH 1863 - 1935
INTERIØR OG MALERI (INTERIOR WITH PAINTING)
signed C. Holsöe lower right

oil on canvas
49.5 by 59cm., 19½ by 23¼in.
ESTIMATE 15,000 - 20,000 GBP

London | 2 Jun 2010, 2:30 PM | L10101
LOT 234
PROPERTY OF A DANISH PRIVATE COLLECTOR
WILLIAM HENRIKSEN
DANISH 1880-1964
INTERIØR (INTERIOR)
signed and dated Wm: Henriksen. 1916-17. lower right

oil on canvas
74 by 70cm., 29¼ by 27½in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 235
PROPERTY OF A LADY
CARL HOLSØE
DANISH 1863 - 1935
KVINDE DER SIDDER I DAGLIGSTUEN (LADY SEATED IN A DRAWING ROOM INTERIOR)
signed C Holsöe lower right

oil on canvas
65.5 by 57.5cm., 25¾ by 22½in.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Private Collection, Sweden
Sale: Sotheby's, London, 7 April 2000, lot 70
CATALOGUE NOTE
The present work exemplifies Holsoe's atmospheric interiors. The model, shown from the back, remains
anonymous, the composition displays a strong geometric patterning and the whole is as much a study of light and
form as the portrayal of an individual in a domestic environment.
London | 2 Jun 2010, 2:30 PM | L10101
LOT 236
BRUNO LILJEFORS
SWEDISH 1860-1939
RÄVJAKT (FOX HUNTING)
signed and dated Bruno Liljefors / 91 lower left

oil on canvas
51.5 by 70.5cm., 20¼ by 27¾in.
ESTIMATE 15,000 - 25,000 GBP
PROVENANCE
Acquired by the family of the present owner by the 1930s
London | 2 Jun 2010, 2:30 PM | L10101
LOT 237
SIMON SIMONSEN
DANISH 1841 - 1928
PÅ VEJ TIL HESTE MARKED (GOING TO THE HORSE FAIR)
signed and dated Simon Simonsen.1894 and indistinctly inscribed lower left
oil on canvas
92 by 137cm., 36¼ by 54in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 238

NORWEGIAN 1788-1857
SKOGSTUDIE FRA GROSSER HAVEN I DRESDEN (THE GROSSER GARTEN, DRESDEN)
signed and dated d. 21 Augusti / 1822 lower centre

25 by 34.5cm., 9¾ by 13½in.
ESTIMATE 15,000 - 25,000 GBP
PROVENANCE
J. P. Schneider Jr, Frankfurt
London | 2 Jun 2010, 2:30 PM | L10101
LOT 239
ADELSTEEN NORMANN
NORWEGIAN 1848-1918
FJORD LANDSKAP (FJORD LANDSCAPE)
signed, inscribed and dated A. Normann Dsf 75 lower right

oil on board
39 by 63cm., 15¼ by 24¾in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 240
ADELSTEEN NORMANN
NORWEGIAN 1848-1918
EN SOMMERNATT I SVOLVÆR, LOFOTEN (A SUMMER'S NIGHT IN SVOLVÆR, LOFOTEN)
signed A Normann lower left

oil on canvas
60.5 by 100cm., 23¾ by 39½in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 241
OLE RING
DANISH 1902-1972
NAKSKOV HAVN (NAKSKOV HARBOUR)
signed Ole Ring lower left

oil on canvas
26.7 by 35.4cm., 10½ by 14in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 242
HARALD PRYN
DANISH 1891-1968
VINTERLANDSKAB (WINTER LANDSCAPE)
signed and dated Harald Pryn 1918. lower right

oil on canvas
85.5 by 100.7cm., 33¾ by 39¾in.
PROVENANCE
Studio of the artist; thence by descent ot the present owner
London | 2 Jun 2010, 2:30 PM | L10101
LOT 243
HARALD PRYN
DANISH 1891-1968
DYREHAVEN (THE DEER PARK, COPENHAGEN)
signed and titled Harald Pryn / Dyrehaven lower left

oil on canvas
71 by 101cm., 28 by 39¾in.

London | 2 Jun 2010, 2:30 PM | L10101
LOT 244
PROPERTY OF A NORWEGIAN PRIVATE COLLECTOR
HANS GUDE
FRA BALESTRAND (VIEW FROM BALESTRAND)
bears initials HG lower right; inscribed and dated Balestranden 31 Juli 45 lower right
oil on paper laid on card
20.4 by 47.2cm., 8 by 18½in.
PROVENANCE
Purchased by the grandfather of the present owner circa 1930; thence by descent

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19th Century European Paintings Including German, Austrian and Central European

PROPERTY FROM A GERMAN PRIVATE COLLECTION

CARL GUSTAV CARUS

ESTIMATE 12,000 - 18,000 GBP

PROPERTY FROM A GERMAN PRIVATE COLLECTION

CARL GUSTAV CARUS

oil on paper laid on board

9.7 by 12cm., 3¾ by 4¾in.

ESTIMATE 8,000 - 12,000 GBP

PROPERTY FROM A GERMAN PRIVATE COLLECTION

CARL GUSTAV CARUS

ESTIMATE 30,000 - 50,000 GBP

PROPERTY OF A GERMAN PRIVATE COLLECTOR

signed Rottmann lower right

36 by 44cm., 14¼ by 17¼in.

ESTIMATE 40,000 - 60,000 GBP

PROPERTY FROM A EUROPEAN PRIVATE COLLECTION

FRIEDRICH VON AMERLING

57.7 by 43.7cm., 22¾ by 17¼in.

ESTIMATE 60,000 - 80,000 GBP

signed and dated A.Adam.1841. lower right

50.5 by 67.5cm., 20 by 26½in.

ESTIMATE 15,000 - 20,000 GBP

PROPERTY OF A GERMAN PRIVATE COLLECTOR

signed Osw. Achenbach lower left

44 by 58cm., 17¼ by 22¾in.

ESTIMATE 10,000 - 15,000 GBP

PROPERTY OF A GERMAN PRIVATE COLLECTOR

signed with initials OA lower right

29 by 37cm., 11½ by 14½in.

ESTIMATE 6,000 - 8,000 GBP

PROPERTY OF A GERMAN PRIVATE COLLECTOR

oil on canvas laid on panel

30 by 23cm., 11¾ by 9¾in.

ESTIMATE 30,000 - 50,000 GBP

PROPERTY FROM A GERMAN PRIVATE COLLECTION

ESTIMATE 45,000 - 65,000 GBP

PROPERTY FROM A SWISS PRIVATE COLLECTION

ADOLPH VON MENZEL

signed with monogram A.M. lower right

41 by 31.5cm., 16¼ by 12½in.

ESTIMATE 15,000 - 25,000 GBP

PROPERTY OF AN AUSTRIAN PRIVATE COLLECTOR

oil on paper laid on board

42.5 by 31.5cm., 16¾ by 12½in.

ESTIMATE 15,000 - 20,000 GBP

PROPERTY FROM AN AUSTRIAN PRIVATE COLLECTION

signed and dated Leo Reiffenstein / 1891 lower right

400 by 296cm., 157½ by 116½in.

ESTIMATE 100,000 - 150,000 GBP

Fig. 1, Lawrence Alma-Tadema, The Roses of Heliogabalus, 1888, Private Collection

PROPERTY OF A GERMAN PRIVATE COLLECTOR

LADISLAUS VON CZACHORSKI

signed and dated Czaskorski / 1898 upper right

30 by 40.9cm., 11¾ by 16in.

ESTIMATE 120,000 - 180,000 GBP

MARIA MELANIA MUTERMILCH (MELA MUTER)

60.7 by 38cm., 24 by 15in.

ESTIMATE 25,000 - 35,000 GBP

PROPERTY FROM A PRIVATE COLLECTION, GERMANY

signed and dated P Baum / 1907 lower left

58 by 67cm., 22¾ by 26¼in.