galeriemichael.com—LEGACY OF A LIFETIME

Galerie Michael Legacy of a Lifetime

Legacy of a Lifetime

Two weeks ago, the Galerie Michael family sought ways to pay the highest respects to our recently-departed founder and friend, Michael Schwartz. Apparently, we found a way that resonated with our amazing clients around the world when we selected our Leg- acy of a Lifetime offerings. We chose works across the full spectrum of our collection, stretching from the 17th century to the present. From Rembrandt to the Barbizon School, and from Renoir to Picasso, Miró, Chagall, Dalí and Matisse. We even delved into our contemporary works. We wanted every one of our clients to find something to their liking, within their price-point—works of art ranging from entry-level to one-of-a-kind, museum-quality. Works dating from Rembrandt’s 17th century through to the present day—and everything in between. Because the response was so positive, and because so many people asked for more items to be included, we went back to our inventory to find what you are seeking. We are certain that you will agree that we succeeded once again—which in turn allows you to succeed right along with us. Michael’s eternal legacy is in the collections he helped build, and now you can add to both your collection and his legacy. Michael was larger than life. His legacy is as well. And now, our Legacy of a Lifetime grew to match the stature of his life and legacy. We invite you to find a perfect match for your legacy—one that you can enjoy as much now as your children and their grandchildren, for centuries to come.

224 North Rodeo Drive, Beverly Hills, California • Monday-Saturday 10-6 • Sunday 11-5 310.273.3377 • www.galeriemichael.com • art@galeriemichael.com

Carlos ALMARAZ (1941-1989) Suave Como La Noche, 1985 24 color serigraph on paper Signed, dated and numbered ‘17/90’ in pencil From the edition of 140 which includes 90 prints plus 35 artist’s proofs and 15 printer’s proofs. Screens effaced after edition. 24 3/8 x 31 4/5 in. (61.9 x 80.8 cm) Framed dimensions: 35 7/8 x 42 5/8 in. 109278

Carlos ALMARAZ (1941-1989) What Ever Happened to the Inca?, 1985 27 color serigraph on paper Signed, dated and numbered ‘60/130’ in pencil From the edition of 130 plus 12 artist’s proofs and 8 printer’s proofs. Screens effaced after edition. 28 3/4 x 40 1/2 in. (73 x 102.9 cm) 109987

Ernest CHATEIGNON (c. 1865-1910) La lavandière Oil on canvas Signed lower right 15 x 21 3/4 in. (38.1 x 55.2 cm) Framed dimensions: 25 1/16 x 31 5/8 in. 915263

Salvador DALÍ (1904-1989) Alice’s Adventures in Wonderland: Alice, 1969

Color etching on Japon nacré paper Signed in pencil on the title page

Frontispiece from the suite ‘Alice’s Adventures in Wonderland’, a deluxe edition of 200 aside from the regular edition of 2,500 on Mandeure rag paper. Each suite contains one original etching and 12 heliogravure illustrations bearing an original woodblock remarque. Each suite is signed in pencil by the artist on the title page. Numbered ‘09/200’ on the justification page. The etching and remarques were printed by Ateliers Rigal, France and the 12 illustrations were printed by M. Nourisson, France. Published by Maecenas Press - Random House, New York. With full margins.

Field 69-5A; Michler & Löpsinger 321 16 7/8 x 11 1/2 in. (42.86 x 29.21 cm) 911779

Salvador DALÍ (1904-1989) Changes in Great Masterpieces: Rembrandt ‘Portrait du peintre par lui-même’, 1974 Color lithograph on paper Signed and numbered ‘27/350’ in pencil From the suite “Changes in Great Masterpieces,” comprising six color lithographs by Dalí after original paintings by Raphael, Rembrandt, Velasquez, Vermeer, and Dalí’s own masterpiece “Persistence of Memory.” Dalí altered each painting with tempera, and the small facsimiles of the original paintings, shown in the bottom section of each piece, challenge the viewer to study and compare the two works. Published by Sidney Lucas, New York. Signed verso by Peter Lucas, 12/19/98. Field 74-2 E; Michler & Löpsinger 1474 33 x 24 3/4 in. (83.8 x 62.9 cm) Framed dimensions: 46 3⁄4 x 38 1⁄4 in. 914129

Albrecht DÜRER (1471-1528) Christ Before Pilate (The Small Passion), 1508/09 Woodcut on paper Signed with monogram in steps “The Small Passion” is a series of 36 woodcuts and a frontispiece by Albrecht Dürer. It was produced as a new set of works on Biblical themes and the life and Passion of Christ (its title distinguishes it from his earlier Great Passion). Schoch/Mende/Scherbaum 201. Bartsch 31; Hollstein 140; Meder 140 before the text edition from 1511 5 x 3 1/4 in. (12.7 x 8.26 cm) Framed dimensions: 22 1⁄2 x 21 in. 910485

Albrecht DÜRER (1471-1528) L’Agonie au Jardin des Oliviers, circa 1509 Woodcut on laid paper Signed lower right

A very strong impression, this work is astounding in its detailed execution and delicacy of line. With this work, Dürer conveys a heightened sense of emotion which is captured both with a prayerful Christ in the center as well as his sleeping disciples surrounding him. Created circa 1509, this early woodcut is from the series ‘The Small Passion’ printed on a fine laid paper. A fine dark lifetime proof impression before the Latin text edition with thread margins, this work is monogrammed in the woodblock ‘AD’ on a slate in the lower left. Bartsch 54; Meder, Hollstein 162 5 x 4 in. (12.7 x 10.2 cm) Framed dimensions: 23 1⁄4 x 21 in. 912564

Françoise GILOT (b. 1921) Oberon and Titania, 1969 Gouache, watercolor and brush and ink on Arches paper Signed lower right The authenticity of this work has been confirmed by Françoise Gilot and it is registered in the artist’s archives under no. 61878. 22 1/4 x 29 3/4 in. (56.5 x 75.6 cm) Framed dimensions: 41 5/8 x 48 7/8 in. 914193

Francisco José de GOYA Y LUCIENTES (1746-1828) Los Proverbios: Disparate pobre, 1864 Etching, aquatint and drypoint on wove paper (Two Heads are Better than One), Plate 11 from the complete set of 18 etchings of “Los Proverbios,” fifth edition. Published by the Real Academia de Noble Artes de San Fernando, Madrid, 1904. With margins. Harris 258 9 1/2 x 14 in. (24.1 x 35.6 cm) Framed dimensions: 28 x 31 3⁄4 in. 900760

Francisco José de GOYA Y LUCIENTES (1746-1828) Los Proverbios: Unas de Gato y habito de Beato, 1864 Etching and aquatint on wove paper

(The claws of a cat and the dress of a devotee - similar to Vice is often clothed in Virtue’s habit), Plate 9 from the complete set of 18 etchings of “Los Proverbios,” fifth edition. Published by the Real Academia de Noble Artes de San Fernando, Madrid, 1904. With margins. Harris 256 9 1/2 x 14 in. (24.1 x 35.6 cm) Framed dimensions: 28 x 31 3⁄4 in. 900758

Gaston MALPIGNY (late 19th/early 20th century) Les Ramasseuses de Fagots Oil on canvas Signed lower left 27 1/2 x 35 1/2 in. (69.8 x 90.2 cm) Framed dimensions: 36 1⁄4 x 44 1⁄4 in. 915133

Pablo PICASSO (1881-1973) Picador, 1959

Linoleum cut printed in colors on watermarked Arches paper Inscribed by the printer ‘le 7-10-59 à tirer/1ère épreuve/5-10-59’

A rare proof before the edition of 50 published by Galerie Louise Leiris, 1960. Printed by Arnéra. An inscription by Hidalgo Arnéra indicated this was the first impression taken from the plate. Picasso expert Brigitte Baer records three such impressions in brown over a light brown background. Ink stamp verso, “Imprimerie Arnéra Archives/Non Signé”. All impressions recorded by Baer have a stamp mentioning “7 Sept. 59” on the bottom margin on the left. Our impression has a written inscription rather than a stamp. Bloch 909; Baer 1226.I 20 7/8 x 25 1/4 in. (53 x 64 cm) Framed dimensions: 44 1⁄2 x 40 1⁄2 in. 600003

REMBRANDT Harmensz van Rijn (1606-1669), Après Rembrandt and Saskia in the Parable of the Prodigal Son Oil on canvas The present work was created after the original, circa 1635, currently located at the Gemäldegalerie Alte

Meister in Dresden, Germany. 45 1/2 x 37 in. (115.6 x 94 cm) Framed dimensions: 58 1⁄2 x 50 1/8 in. 914470 Gallery Price: $24,000 SALE PRICE: $14,000

REMBRANDT Harmensz van Rijn (1606-1669) St. Jerome Praying: Arched Print, 1632 Etching on paper Signed and dated in the plate, ‘Rembrandt ft. .1632.’

Probable 17th/possible early 18th century impression. A delicate impression of White and Boon’s third and final state with narrow margins. New Hollstein’s IV state (of V) in which the outline has been further strengthened. Many of the shadow parts darkened using a mezzotint rocker; for instance those of the background top left, inside of the grotto behind the lion and the foliage top right reworked. A preparatory drawing in pen and ink of a kneeling figure in prayer in the Rijksmuseum, Amsterdam (Benesch 59). Bartsch 101; H. 94; BB 32-B; New Hollstein 112 4 1/2 x 3 3/8 in. (11.43 x 8.57 cm) Framed dimensions: 21 1⁄4 x 19 1⁄2 in. 101904712

REMBRANDT Harmensz van Rijn, Après The Baptism of the Eunuch, 1641 Etching and drypoint on laid paper Signed and dated lower right in the plate “Rembrandt f 1641”

A very good, well-inked possible late 17th to early 18th century impression with strong contrasts and with all the details distinct. Biörklund’s second state (of 2). Usticke’s second state (of 4), before the later Basan printings. White and Boon’s second state (of 2). New Hollstein’s III state (of IV) in which a little (+) has been added in drypoint in the lower left corner. Foolscap with a 7-pointed collar watermark, circa 1714 (Heawood 2083) (Ash/Fletcher 20 L. a., they cite the same watermark on an impression of this subject in the Rijksmuseum, Amsterdam). The plate is at the Bibliothèque Nationale de France, Paris. B. 98; H. 182; BB 41-E; New Hollstein 186 7 1/4 x 8 1/2 in. (18.4 x 21.6 cm) Framed dimensions: 20 7/8 x 24 7/8 in. 098913441

Alexandre RENOIR (b. 1974) The Boating Party, 2012 Hand-colored lithograph with watercolor and gouache on grey wove paper Signed lower right

From the signed and unnumbered edition of 195. There are 20 trial artist proofs on grey paper. 24 x 33 in. (60.96 x 83.82 cm) 221543

Alexandre RENOIR (b. 1974) Venice Twilight del Monet, 2016 Oil on canvas Signed lower right 30 x 40 in. (76.2 x 101.6 cm) Framed dimensions: 43 1⁄2 x 52 1⁄2 in. 914083

André Félix ROBERTY (1877-1963) Femme à la toilette, 1908 Oil on canvas Signed and dated lower right 49 1/2 x 39 5/16 in. (125.7 x 99.8 cm) Framed dimensions: 64 x 54 1⁄4 in. 915320

Petrus van SCHENDEL (1806-1870) The Supper at Emmaus, 1844 Oil on panel Signed and dated ‘P. van Schendel. fecit / 1844’ A rediscovery, this work is the study for van Schendel’s lost monumental canvas of the same subject measuring 343 x 246 cm. The authenticity of this work has been confirmed by Dr. Jan de Meere. Literature: The artist’s inventory, March 1844; Dr. Jan de Meere, Petrus van Schendel: Een leven tussen licht en donker (A Life between Light and Dark), 2012, p. 103 37 1/4 x 27 in. (94.6 x 68.6 cm) Framed dimensions: 46 x 39 1⁄4 in. 914441

George SHERIDAN KNOWLES (1863-1931) Summer Blossoms Oil on canvas Signed lower left Provenance: Phillips & MacConnal, London, before 1948; Private Collection, UK 24 x 18 in. (61 x 45.7 cm) Framed dimensions: 33 1⁄2 x 27 1⁄2 in. 915305

Joan MIRÓ (1893-1983) Derrière le Miroir, No. 151-152: Cover, 1965 Color lithograph on background of reproductions

Cover of ‘Derrière le Miroir’, the catalogue for the exhibition ‘Cartons’, Galerie Maeght, Paris, 1965. No.151-152. Text by Jacques Dupin. Edition includes 25 pages of lithographs on a background of reproductions, of which 3 are on double-pages and one is the cover. Maeght 428 15 x 10 7/8 in. (38.1 x 27.6 cm) Framed dimensions: 25 3/8 x 20 7/8 in. 911017a

Joan MIRÓ (1893-1983) From ‘The Seers’, 1970 Color lithograph on Rives BFK paper

From the complete portfolio, “The Seers,” comprising six color lithograph proofs from the unpublished edition. Initialed in pencil verso by Patrick Cramer and inscribed with the Louis Broder inventory number. With “LB” watermark. Published by Broder, Paris. Printed by Mourlot, Paris. Maeght 665 26 x 20 1/4 in. (66.04 x 51.44 cm) Framed dimensions: 29 1⁄2 x 23 1⁄2 in. 910896

Joan MIRÓ (1893-1983) From ‘The Seers’, 1970 Color lithograph on Rives BFK paper

From the complete portfolio, “The Seers,” comprising six color lithograph proofs from the unpublished edition. Initialed in pencil verso by Patrick Cramer and inscribed with the Louis Broder inventory number. With “LB” watermark. Published by Broder, Paris. Printed by Mourlot, Paris. Maeght 662 26 x 20 1/4 in. (66.04 x 51.44 cm) Framed dimensions: 29 1⁄2 x 23 1⁄2 in. 910897

Joan MIRÓ (1893-1983) From ‘The Seers’, 1970

Color lithograph on Rives BFK paper From the complete portfolio, “The Seers,” comprising six color lithograph proofs from the unpublished edition. Initialed in pencil verso by Patrick Cramer and inscribed with the Louis Broder inventory number. With “LB” watermark. Published by Broder, Paris. Printed by Mourlot, Paris. Maeght 666 26 x 20 1/4 in. (66.04 x 51.44 cm) Framed dime nsions: 29 1⁄2 x 23 1⁄2 in. 910899

Joan MIRÓ (1893-1983) Joan Miró Lithographies Volume I: Cover, 1972 Color lithograph on wove paper

Cover of the book “Miró Lithographies Volume I”, with text by Michel Leiris. Published in French, English, Spanish, German and Japanese. Printed by Mourlot, Paris. Published by A.C. Mazo, Maeght, Paris and Polígrafa, Barcelona. Maeght 854 12 7/8 x 10 1/8 in. (32.7 x 25.7 cm) Framed dimensions: 23 1/4 x 20 1/8 in. 911713

Joan MIRÓ (1893-1983) Le Pitre Rose, 1974 Color etching and aquatint with carborundum on Arches paper Signed and numbered “4/50” in pencil From the edition of 50 copies pulled on Arches paper, numbered and signed. Published by Maeght, Paris. Printed by Morsang, Paris. Dupin 653 54 x 37 1/2 in. (137.2 x 95.3 cm) Framed dimensions: 70 1/2 x 52 1/2 in. 915045

Joan MIRÓ (1893-1983) L’Oiseau Destructeur, 1969 Etching, color aquatint and carborundum on Mandeure rag paper Signed and numbered “53/75” in pencil A strong impression from the edition of 75, signed and numbered, plus some H.C. (not for sale) copies, signed. Published by Maeght, Paris. Printed by Arte Adrien Maeght, Paris. Dupin 512 28 1/4 x 36 7/8 in. (71.8 x 93.7 cm) Framed dimensions: 40 3/8 x 48 5/8 in. 915568

Salvador DALÍ (1904-1989) Alice’s Adventures in Wonderland: The Pool of Tears, 1969 Heliogravure in colors on Japon nacré paper Signed in pencil on the title page

From the suite “Alice’s Adventures in Wonderland”, a deluxe edition of 200 aside from the regular edition of 2500 on Mandeure rag paper. Each suite contains one original etching and 12 heliogravure illustrations bearing an original woodblock remarque. Each suite is signed in pencil by the artist on the title page. Numbered ‘09/200’ on the justification page. The etching and remarques were printed by Ateliers Rigal, France and the 12 illustrations were printed by M. Nourisson, France. Published by Maecenas Press - Random House, New York. With full margins.

Field 69-5C; Michler & Löpsinger 323 16 7/8 x 11 1/2 in. (42.86 x 29.21 cm) Framed dimensions: 31 x 25 1/2 in. 911791

Salvador DALÍ (1904-1989) Hommage à Leonardo da Vinci: La machine á coudre, 1975 Drypoint with etching and pochoir in colors on Arches paper Signed and numbered “97/450” in pencil

From the suite “Hommage à Leonardo da Vinci,” comprising 12 drypoints with etching and extensive coloring. Each featuring Dalí’s interpretations and tribute to da Vinci’s innovations. From the edition of 450, signed and numbered, on Arches paper. Total tirage of 530. Published by Editions de Francony/Editions Graphiques Internationales. Printed by Atelier Rigals, Paris. With full margins.

Field 75-8D; Michler & Löpsinger 811 22 1/4 x 29 3/4 inches (56.5 x 75.6 cm) Framed dimensions: 34 x 39 3/8 in. 915626

Salvador DALÍ (1904-1989) Hommage à Leonardo da Vinci: L’automobile, 1975 Drypoint with etching and pochoir in colors on Arches paper Signed and numbered “97/450” in pencil

From the suite “Hommage à Leonardo da Vinci,” comprising 12 drypoints with etching and extensive coloring. Each featuring Dalí’s interpretations and tribute to da Vinci’s innovations. From the edition of 450, signed and numbered, on Arches paper. Total tirage of 530. Published by Editions de Francony/ Editions Graphiques Internationales. Printed by Atelier Rigals, Paris. With full margins.

Field 75-8B; Michler & Löpsinger 817 22 1/4 x 29 3/4 in. (56.5 x 75.6 cm) Framed dimensions: 34 x 39 2/8 in. 915624

Salvador DALÍ (1904-1989) Hommage à Leonardo da Vinci: L’électronique, 1975 Drypoint with etching and pochoir in colors on Arches paper Signed and numbered “97/450” in pencil

From the suite “Hommage à Leonardo da Vinci,” comprising 12 drypoints with etching and extensive coloring. Each featuring Dalí’s interpretations and tribute to da Vinci’s innovations. From the edition of 450, signed and numbered, on Arches paper. Total tirage of 530. Published by Editions de Francony/ Editions Graphiques Internationales. Printed by Atelier Rigals, Paris. With full margins.

Field 75-8C; Michler & Löpsinger 809 22 1/4 x 29 3/4 in. (56.5 x 75.6 cm) Framed dimensions: 34 x 39 3/8 in. 915625

Salvador DALÍ (1904-1989) CLes Amours jaunes: Fleur d’art, 1974 Drypoint etching, hand-colored and gilded on Japan paper Signed and numbered “LXXXII/CC” in pencil

From the rare and complete series of “Les Amours jaunes,” comprising 10 original etchings, hand-colored and embellished with gold flakes. These works illustrate the book for French poet Tristan Corbière, “Les Amours jaunes.” Of all the 24 poems in Corbière’s work, Dalí chose ten to elaborate on in his iconic and amusing way. Printed by Bellini, Paris and Atelier Jacomet, Paris. One of 200 copies on Japan paper. Total tirage of 800 + proofs. With a Certificate of Authenticity from the publisher, Éditions Pierre Belfond, dated March 26, 1974. Field 74-15 D; Michler & Löpsinger 696 15 x 10 7/8 in. (38.1 x 27.6 cm) Framed dimensions: 26 x 21 1/4 in. 915433

Salvador DALÍ (1904-1989) Les Amours jaunes: Insomnie, 1974 Drypoint etching, hand-colored and gilded on Japan paper Signed and numbered “LXXXII/CC” in pencil

From the rare and complete series of “Les Amours jaunes,” comprising 10 original etchings, hand-colored and embellished with gold flakes. These works illustrate the book for French poet Tristan Corbière, “Les Amours jaunes.” Of all the 24 poems in Corbière’s work, Dalí chose ten to elaborate on in his iconic and amusing way. Printed by Bellini, Paris and Atelier Jacomet, Paris. One of 200 copies on Japan paper. Total tirage of 800 + proofs. With a Certificate of Authenticity from the publisher, Éditions Pierre Belfond, dated March 26, 1974. Field 74-15 G; Michler & Löpsinger 699 15 x 10 7/8 in. (38.1 x 27.6 cm) Framed dimensions: 26 x 21 1/4 in. 915436

Salvador DALÍ (1904-1989) Shakespeare II: All’s Well That Ends Well, 1971 Color etching on BFK Rives paper Signed and annotated “E.A.” in pencil A rare artist’s proof from the suite of 16 original etchings. Aside from an edition of 250 on Japon paper and an edition of 200 on BFK Rives paper. Printed by Atelier Rigal, Paris. Inscribed by Denise Rigal in pencil verso, “Épreuve faisant partie notre collection Rigal”. Field 71-1 P 17 1/2 x 12 1/4 in. (44.5 x 31.1 cm) Framed dimensions: 25 9/16 x 22 7/8 in. 915657

Salvador DALÍ (1904-1989) The Mythology: Pegasus, 1963 Color etching and engraving on Arches wove paper Signed, dated and inscribed “Épreuve d’Artiste” in pencil From the rare suite, “The Mythology,” comprising 16 original etchings and engravings, some with aquatint. Total tirage of 270 + proofs. Published by Pierre Argillet, Paris. Printed by Robbe, Paris. An artist’s proof aside from the edition of 150. With full margins. Field 63-3B; Michler & Löpsinger 128 22 1/4 x 30 in. (56.5 x 76.2 cm) Framed dimensions: 29 7/8 x 31 3/8 in. 915579

Pablo PICASSO (1881-1973) Le Peintre, avec un petit chien, 1966

Aquatint, etching and drypoint on Rives wove paper Stamp signed and numbered “33/50” in pencil From the edition of 50, stamp signed and numbered in pencil. With full margins. Bloch 1443; Baer 1477 B. a.

14 7/8 x 18 5/8 in. (37.8 x 47.3 cm) Framed dimensions: 25 1/2 x 31 in. 915618

Marc CHAGALL (1887-1985) Daphnis and Chloé: Daphnis and Lycenion, 1961 Mixed media work on Arches paper, hand-painted by the artist Annotated ‘Épreuve du bon à tirer retouchée par Chagall’ lower left in pencil

A unique and vibrant mixed media bon à tirer impression, hand-painted by the artist on a lithographic touch plate. Annotated and signed by Charles Sorlier verso, before the signed and numbered edition. From the folio of 42 lithographs for ‘Daphnis and Chloé’ by Longus. Printed by Charles Sorlier at the Atelier Mourlot, Paris. Published by Tériade, Paris. Accompanied by a certificate of authenticity from Comité Marc Chagall. Mourlot 336; Cramer 46

22 1/8 x 15 1/8 in. (56.2 x 38.4 cm) Framed dimensions: 41 x 33 1/4 in. 914781

Marc CHAGALL (1887-1985) Daphnis and Chloé: Lamon’s and Dryas’s Dreams, 1961 Mixed media work on Arches paper, hand-painted by the artist Initialed ‘M.C.’ by the artist and annotated ‘Bon’ in pencil

A unique, vibrant mixed media bon à tirer impression, hand-painted by the artist on a lithographic touch plate. Annotated lower left “Épreuve du bon à tirer retouchée par Chagall.” Annotated and signed by Charles Sorlier verso, before the signed and numbered edition. From the folio of 42 lithographs for “Daphnis and Chloé” by Longus. Printed by Charles Sorlier at the Atelier Mourlot, Paris. Published by Tériade, Paris. Accompanied by a certificate of authenticity from Comité Marc Chagall. Mourlot 311; Cramer 46

22 1/4 x 14 15/16 in. (56.5 x 37.9 cm) Framed dimensions: 41 x 33 1/2 in. 914776

Marc CHAGALL (1887-1985) Moïse et les tables de la loi, 1962 Color lithograph on Arches wove paper Signed and numbered “8/50” in pencil From the edition of 50, signed and numbered. An excellent impression with full margins, before the lettering. Printed by Mourlot, Paris. Published by Musée Rath, Geneva for the exhibition “Chagall et la Bible”. Mourlot 363

25 5/8 x 19 5/8 in. (65.1 x 49.9 cm) Framed dimensions: 37 3/4 x 48 in. 915575

REMBRANDT Harmensz van Rijn (1606-1669) Student at a Table by Candlelight, circa 1642

Etching on laid paper Very good, finely wiped print of the first state with little wear. With the contour of the candle flame and forehead wrinkles over the student’s nose, but before the revisions in Mezzotinto for the second state. With fine margins around the edge of the plate. B. 148; White & Boon 148; New Hollstein 213 I (from II) 5 7/8 x 5 3/8 in. (14.9 x 13.7 cm) Framed dimensions: 23 3/4 x 22 7/8 in. 148915310

REMBRANDT Harmensz van Rijn (1606-1669) Woman Sitting Half Dressed Beside a Stove, 1658

Etching, engraving and drypoint on paper Signed and dated upper left in the plate (on flue), ‘Rembrandt f. 1658’ New Hollstein’s VI state (of VII, with the scratch above the left breast).

An excellent impression with very fine margins. B. 197; H. 296; BB 58-B; New Hollstein 307 9 x 7 1/4 in. (22.8 x 18.7 cm) Framed dimensions: 25 1/2 x 23 1/2 in. 197913949

Henri, Après MATISSE Nu au fauteuil turc, 1954 Offset lithograph on Arches wove paper Signed in the plate lower left Published by Maeght Editions, Paris. Printed by Lacourière, Paris. With full margins.

18 1/2 x 15 1/4 in. (46.99 x 38.74 cm) Framed dimensions: 40 x 33 1/2 in. 909525

Henri MATISSE (1869-1954) Pasiphaé, 1981 Linoleum cut printed in black on BFK Rives paper Numbered “17/100” in pencil and stamped with the artist’s initials From “Pasiphaé,” the posthumous edition printed in 1981. Published by the Matisse Estate, New York and with their HM blindstamp. From the edition of 100 plus 25 hors commerce impressions. Duthuit 38 bis 12 3/4 x 10 in. (32.4 x 25.4 cm) Framed dimensions: 25 1/16 x 21 9/16 in. 915242

Henri MATISSE (1869-1954) Verve Nos. 5-6 July-October 1939: Tête, 1938 Black and white lithograph on paper Signed and dated in the plate From the July-October 1939 issue of Verve (page 83). Printed in Paris by Mourlot Frères. Verve was founded in 1937 to showcase original lithographs by the leading artists of the day, with outstanding technical quality. 13 7/8 x 10 1/8 in. (35.2 x 25.7 cm) Framed dimensions: 25 7/8 x 21 5/8 in. 914488

Henri MATISSE (1869-1954) Verve Vol. 4: De la couleur, 1945 Color pochoir on paper Initialed in the plate From “Verve,” Volume 4, Number 13, November 8, 1945. Published by Teriade, Paris. Printed by Draeger Frères, Paris. Title page, frontispiece, plates and other illustrations by Matisse. Text in French. Duthuit 74 13 3/4 x 10 5/16 in. (34.9 x 26.2 cm) 915322

Alexandre RENOIR (b. 1974) Summer Bridge, 2009 Oil on canvas Signed lower right 24 x 30 in. (61 x 76.2 cm) Framed dimensions: 37 1/2 x 43 in. 914035

Andy, Après WARHOL Golden Marilyn (1 of 10), 2011 Color screenprint on archival museum board Stamped in blue ink and numbered ‘912/2000’ in pencil verso

Part of the complete set of 10, printed and published by Sunday B. Morning. From the edition of 2,000 printed in 2011. Stamped in blue ink verso “fill in your own signature”. From the 2011 release of Golden Marilyn, by Sunday B. Morning, the only authorized publisher of these works. Based on Andy Warhol’s print series, Marilyn Monroe, 1967, the first screenprint editions published and printed in his own print-publishing business, “Factory Additions.” 36 3/16 x 35 7/8 in. (91.9 x 91.1 cm) Framed dimensions: 40 x 40 in. 915487

Fred COOPER (b. 1939) City Planning, 2012-13 Acrylic on canvas Signed, titled and dated verso 24 x 36 in. (61 x 91.4 cm) 404897

Fred COOPER (b. 1939) Untitled, 2015 Acrylic on canvas Signed, titled and dated verso 20 x 20 in. (50.8 x 50.8 cm) 404915

Fred COOPER (b. 1939) 3 Pieces of Sculpture, 2014 Acrylic and collage on canvas Signed, titled and dated verso 20 x 20 in. (50.8 x 50.8 cm) 404924

Carlos ALMARAZ (1941-1989) Santa Fe Trail, 1989 Hand-colored etching on paper

Signed, dated and annotated ‘P.P.’ in pencil Printer’s proof aside from the edition of 10. Edition included 10 regular prints, 3 artist’s proofs and 2 printer’s proofs. 11 x 8 in. (27.94 x 20.32 cm) Framed dimensions: 23 1/4 x 20 3/4 in. 118244

Carlos ALMARAZ (1941-1989) Untitled, 1989 Hand-colored etching on paper Signed and numbered ‘7/10’ in pencil From the edition of 10 plus 3 artist’s proofs and 2 printer’s proofs. 11 x 8 in. (27.9 x 20.3 cm) Framed dimensions: 23 1/4 x 20 3/4 in. 118247

Carlos ALMARAZ (1941-1989) Untitled, 1989 Hand-colored etching on paper Signed, dated and annotated ‘P.P.’ in pencil One of two printer’s proofs. Regular edition of 10 plus 3 artist’s proofs and 2 printer’s proofs. 11 x 8 in. (27.9 x 20.3 cm) Framed dimensions: 23 1/4 x 20 3/4 in. 118248

Carlos ALMARAZ (1941-1989) West Coast Crash, 1990 48 color serigraph on wove paper Estate signed, dated and numbered ‘88/140’ in pencil From the edition of 140, signed and numbered. Edition: 140+15APs+6PPs+5HCs: Total 166. Aztlan blindstamp lower left. ‘EE’ blindstamp lower right. 25 x 59 1/4 in. (63.5 x 150.5 cm) 119253

Wifredo LAM (1902-1982) Visible Invisible, 1972 Etching and color aquatint on Goya wove paper Signed and numbered “29/99” in pencil

From the complete set “Visible Invisible,” comprising ten etchings with aquatint in colors. Each signed and numbered in pencil. With title, text and justification page, signed and numbered. Published by Edizioni Levi Art Center, Milan. With margins. Provenance: Edward Totah Gallery, London

19 9/16 x 27 1/2 in. (49.7 x 69.8 cm) Framed dimensions: 24 1/8 x 32 in. 915367

Wifredo LAM (1902-1982) Visible Invisible, 1972 Etching and color aquatint on Goya wove paper Signed and numbered “29/99” in pencil

From the complete set “Visible Invisible,” comprising ten etchings with aquatint in colors. Each signed and numbered in pencil. With title, text and justification page, signed and numbered. Published by Edizioni Levi Art Center, Milan. With margins. Provenance: Edward Totah Gallery, London

19 9/16 x 27 1/2 in. (49.7 x 69.8 cm) Framed dimensions: 24 1/8 x 32 in. 915371

Shah Bibi TARAKHAIL (b. 2006) I’m the Bunny, 2014 Mixed media on Somerset paper with hand-deckled edges

Signed ‘Shah Bibi’ in lower left in pencil Numbered 33/50 in pencil lower right

From a total tirage of 60, comprising of 2 artist’s proofs, signed and numbered A.P. 1/2-2/2; 2 printer’s proofs, signed and numbered P.P. 1/2-2/2; 6 hors de commerce, signed and numbered

H.C.1/6-6/6 and an edition of 50, signed and numbered 1/50-50/50. Published by Galerie Michael and printed by Kolibri Art Studio. 20 x 24 in. (50.8 x 60.96 cm) Framed dimensions: 34 3/4 x 39 in. 221605

Jules BRETON (1827-1906) La Glaneuse, 1853-1858 Oil on canvas Signed lower left The authenticity of this work has been confirmed by Annette Bourrut Lacouture, and will be included in her forthcoming catalogue raisonné on the artist. Exhibition History: Rouen, Exposition Annuelle du Musée de Rouen, 1860 Literature: Fernand Lamy, “Exposition de Rouen,” L’Artiste: Journal de la littérature et des beaux-arts, Paris, July 15, 1860, vol. 10, p. 32; Raymond Bordeaux, “Correspondances particulières, Rouen,” Journal des beaux-arts et de la littérature, Paris, March 15, 1861, vols. 3-4, no. 5, p. 56 Painted between 1853 and 1858, ”La Glaneuse” (The Gleaner) has only recently been discovered, and compels a renewed appreciation of Jules Breton’s pivotal production in his early career.

Truly a museum quality artwork. 32 1/4 x 25 3/4 in. (81.9 x 65.4 cm) Framed dimensions: 42 7/8 x 36 5/8 in. 915108

Paul CHAIGNEAU (1879-1938) Berger et ses moutons à la mare Oil on canvas Signed lower left 13 1/16 x 16 1/8 in. (33.2 x 41 cm) Framed dimensions: 21 1/4 x 24 1/2 in. 915056

Narcisse Virgile DIAZ DE LA PEÑA (1807-1876) Diane chasseresse, le depart, circa 1865 Oil on canvas Signed lower left Provenance: Sale, Hôtel Drouot, Paris, 29 March 1886, lot 41; Private Collection, France Literature: Pierre and Roland Miquel, Narcisse Diaz de la Peña: Catalogue raisonné de l’œuvre peint, Paris, 2006, p. 467, no. 2847, catalogued & illustrated 21 1/2 x 13 1/4 in. (54.6 x 33.7 cm) Framed dimensions: 21 5/16 x 19 5/8 in. 915219

Narcisse Virgile DIAZ DE LA PEÑA (1807-1876) Premières Tentations, 1857 Oil on canvas Signed and dated lower left Provenance: Sale, Sotheby’s, New York, 11 November 11 1925, lot 63; Collection of EP Albee (the playwright best known for “Who’s Afraid of Virginia Woolf?”); Kunsthaus Bühler, Stuttgart, Germany Literature: Pierre and Roland Miquel, Narcisse Diaz de la Peña: Catalogue raisonné de l’œuvre peint, Paris, 2006, p. 472, no. 2881, catalogued & illustrated

23 1/2 x 28 5/8 in. (59.7 x 72.7 cm) Framed dimensions: 35 x 40 1/2 in. 914977

Daniel Ridgway KNIGHT (1839-1924) Picking Flowers, late 19th century Oil on canvas Signed and inscribed ‘Paris’ lower right This work has been authenticated and will be included in the forthcoming catalogue raisonné on the artist. Provenance: Mr. and Mrs. A. L. Derby, Kansas (acquired circa 1910); Richard Green Gallery, London; Private Collection, London 26 x 32 in. (66 x 81.3 cm) Framed dimensions: 35 1/8 x 41 5/8 in. 915130

Johann TILL (1827-1894) The Little Goose Boy Oil on canvas Signed lower right. 39 1/4 x 29 in. (99.7 x 73.7 cm) Framed dimensions: 48 1/4 x 37 3/4 in. 915126

Auguste BONHEUR (1824-1884) Berger conduisant son troupeau, 1861 Oil on canvas Signed and dated lower left Provenance: Collection of Madame Baroness N. de Rothschild; Private Collection, France 27 1/4 x 40 in. (69.2 x 101.6 cm) Framed dimensions: 36 3/4 x 49 1/2 in. 915102

Armand Henri LEROUX (b. 1948) Flower Market at Dusk Oil on panel Signed lower right 13 x 16 1/8 in. (33.02 x 40.97 cm) Framed dimensions: 19 7/8 x 23 in. 908070

Armand Henri LEROUX (b. 1948) The Mediterranean Coast Oil on panel Signed lower right 15 x 18 in. (38.1 x 45.72 cm) Framed dimensions: 21 7/8 x 25 in. 908131

Claude LACAZE (1938-2015) Boats at the Dock Oil on panel Signed lower right 13 x 16 in. (33.02 x 40.64 cm) Framed dimensions: 20 1⁄4 x 23 1⁄2 in. 909432

Claude LACAZE (1938-2015) Still Life with Glass and Fruit Oil on canvas Signed lower right 18 x 15 in. (45.72 x 38.1 cm) Framed dimensions: 26 1/4 x 23 1/8 in. 909078

Claude LACAZE (1938-2015) Table with Fruit and Books Oil on canvas Signed lower right 18 x 15 in. (45.72 x 38.1 cm) Framed dimensions: 25 1⁄2 x 22 3⁄4 in. 909073

Pablo PICASSO ( 1 8 81—1973 ) J acqueline au Chapeau à Fleurs. II (1962)

Linoleum cut printed in colors on Arches wove paper A rare proof of this captivating impression, in which the colors are layered in the following order: beige, light brown, brown, red, blue, black, and finally the brown border. From the Galerie Louise Leiris edition, published in 1963, aside from the signed and numbered edition of 50. Printed by Arnéra, Vallauris. Another example can be found at the Musée Picasso, Barcelona, dedicated to Jaime Sabartés (1881-1968), an artist, poet and writer who was close friends with Picasso. Framed dimensions: 42 1/8 x 36 1/4"

Bloch 1149; Baer 1304 B.b. 24 3/4 x 17 1/2 inches (62.9 x 44.5 cm) 700174

Claude LACAZE (1938-2015) Two Women Drinking Oil on canvas Signed lower right 36 x 29 in. (91.44 x 73.66 cm) Framed dimensions: 44 x 36 in. 909422

Salvador DALÍ (1904-1989) Alice’s Adventures in Wonderland: A Caucus Race and a Long Tale, 1969 Heliogravure in colors on Mandeure rag paper Signed in pencil on the title page From the complete portfolio of one etching and 12 heliogravures with original woodcut remarques, illustrating Lewis Carroll’s “Alice’s Adventures in Wonderland.” Stamp numbered ‘844’ on the justification page. From the edition of 2,500 on Mandeure rag paper. With text in English. Printed by Atelier Rigal, France. Published by Maecenas Press, New York. Field 69-5D; Michler & Löpsinger 324 17 x 11 1/2 in. (43.2 x 29.2 cm) Framed dimensions: 31 x 25 1/2 in. 915506

Salvador DALÍ (1904-1989) Alice’s Adventures in Wonderland: The Queen’s Croquet Ground, 1969 Heliogravure in colors on Mandeure rag paper Signed in pencil on the title page

From the complete portfolio of one etching and 12 heliogravures with original woodcut remarques, illustrating Lewis Carroll’s ”Alice’s Adventures in Wonderland.” Stamp numbered ‘844’ on the justification page. From the edition of 2,500 on Mandeure rag paper. With text in English. Printed by Atelier Rigal, France. Published by Maecenas Press, New York. Field 69-5 I; Michler & Löpsinger 329 17 x 11 1/2 in. (43.2 x 29.2 cm) Framed dimensions: 31 x 25 1/2 in. 915511

Salvador DALÍ (1904-1989) Alice’s Adventures in Wonderland: Who Stole the Tarts?, 1969 Heliogravure in colors on Japon nacré paper Signed in pencil on the title page

From the suite “Alice’s Adventures in Wonderland”, a deluxe edition of 200 aside from the regular edition of 2500 on Mandeure rag paper. Each suite contains one original etching and 12 heliogravure illustrations bearing an original woodblock remarque. Each suite is signed in pencil by the artist on the title page. Numbered ‘09/200’ on the justification page. The etching and remarques were printed by Ateliers Rigal, France and the 12 illustrations were printed by M. Nourisson, France. Published by Maecenas Press - Random House, New York. With full margins.

Field 69-5L; Michler & Löpsinger 332 16 7/8 x 11 1/2 in. (42.86 x 29.21 cm) Framed dimensions: 31 x 25 1/2 in. 911789

Salvador DALÍ (1904-1989) Imaginations and Objects of the Future: Melting Space-Time, 1975

Color lithograph and etching on Arches paper Signed and numbered “139/250” in pencil

From the suite “Imaginations and Objects of the Future” comprising 10 lithographs with etching, six of which contain collage. From the edition of 250 on Arches with text in English (there is also an edition of 250 with text in French). Printed by Desjobert, Paris (lithograph), Chicago Serigraphy Workshop (screenprint) and Ateliers Rigal, Paris (etching). Published by Merrill Chase, Chicago. Field 75-11 G; Michler & Löpsinger 829

30 1/4 x 21 7/8 in. (76.8 x 55.6 cm) Framed dimensions: 47 x 38 1/2 in. 915668

Salvador DALÍ (1904-1989) Shakespeare II: Henry IV, 1971 Color etching on BFK Rives paper Signed and annotated “E.A.” in pencil A rare artist’s proof from the suite of 16 original etchings. Aside from an edition of 250 on Japon paper and an edition of 200 on BFK Rives paper. Printed by Atelier Rigal, Paris. Inscribed by Denise Rigal in pencil verso, “Épreuve faisant partie notre collection Rigal”. Field 71-1 D 17 5/8 x 12 1/4 in. (44.8 x 31.1 cm) Framed dimensions: 25 9/16 x 22 7/8 in. 915659

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Salvador DALÍ (1904-1989) Shakespeare II: Two Gentlemen of Verona, 1971

Color etching on BFK Rives paper Signed and annotated “E.A” in pencil

A rare artist’s proof from the suite of 16 original etchings. Aside from an edition of 250 on Japon paper and an edition of 200 on BFK Rives paper. Printed by Atelier Rigal, Paris. Inscribed by Denise Rigal in pencil verso, “Épreuve faisant partie notre collection Rigal”. Field 71-1 K 17 5/8 x 12 1/4 in. (44.8 x 31.1 cm) Framed dimensions: 25 9/16 x 22 7/8 in. 915658

Pablo PICASSO (1881-1973) Femme au chapeau de paille bleue, 1962 Linoleum cut printed in colors on Arches wove paper A rare impression printed in red, yellow and blue. Picasso expert Brigitte Baer records only 86 such impressions made (there was no edition, only proofs of the “unfinished” plate). With full margins. Printed by Imprimerie Arnéra, Vallauris. Provenance: The artist; By descent to his granddaughter Marina Picasso, with her collection stamp verso, inventory number 53930 Baer 1282 B.b.

25 x 17 1/2 in. (63.5 x 44.5 cm) Framed dimensions: 40 x 35 in. 915548

Pablo PICASSO (1881-1973) Minotaure caressant du Mufle la Main d’une Dormeuse, 1933-1934 Drypoint on vergé de Montval laid paper

Signed and annotated ‘363’ in pencil lower left; inscribed ‘Boisgeloup 18 juin XXXIII’ in plate lower left From the Vollard Suite. An exceptional impression from the edition of 260. Picasso expert Brigitte Baer’s second and final state. With Vollard watermark. Aside from an edition of 50 on vergé de Montval paper with wide margins and Montgolfier watermark, an edition of 3 on parchment, and 3 trial proofs on vergé de Montval paper. Printed by Lacourière, Paris. Bloch 201; Baer 369 II.B.d.

13 1/2 x 17 1/2 in. (34.3 x 44.5 cm) Framed dimensions: 28 1/16 x 30 in. 915396

Lélia PISSARRO (b. 1963) Village South of France, 2007

Hand colored lithograph on Arches paper Signed and numbered “12/160” in pencil 14 7/8 x 18 1/4 in. (37.8 x 46.4 cm) Framed dimensions: 31 3/4 x 36 in. 909899

Marc CHAGALL (1887-1985) Chagall Lithographe Vol. I: The Angel, 1960 Color lithograph on wove paper From Volume I of the Catalogue Raisonné documenting Chagall’s lithographs. From the unnumbered book edition, aside from the signed and numbered edition on Arches paper, plus proofs. Edited by André Sauret, Monte Carlo. Printed by Mourlot Frères, Paris. Published by George Braziller, New York. Mourlot 288; Cramer 43

12 9/16 x 9 5/8 in. (31.91 x 24.45 cm) Framed dimensions: 25 3/4 x 22 1/2 in. 910710

Marc CHAGALL (1887-1985) Daphnis and Chloé: Spring, 1961 Color lithograph on Arches wove paper

Double page from the folio of 42 lithographs for “Daphnis and Chloé” by Longus. A proof without the central vertical fold, aside from the unsigned edition of 250 (there was also a signed and numbered edition of 60 with margins.) Printed by Mourlot, Paris. Published by Tériade, Paris. Printed to the edges of the full sheet. The colors fresh and vibrant. Mourlot 335; Cramer 46 16 1/2 x 25 in. (41.9 x 63.5 cm) Framed dimensions: 36 3/8 x 44 5/8 in. 915296

Marc CHAGALL (1887-1985) Derrière le miroir, 1964

Color lithograph on Vélin d’Arches paper Signed and numbered “10/75” in pencil Created for the Chagall Exhibition held at Galerie Maeght, 1964. From the edition of 75, signed and numbered. With margins. Published by Maeght, Paris. Mourlot 412; Cramer 59 18 7/8 x 25 5/8 in. (47.9 x 65.1 cm) Framed dimensions: 27 1/4 x 39 1/4 in. 915578

Henri MATISSE (1869-1954) La Cité - Paris, 1937

Etching on cream wove paper Signed in the plate lower right Published for ‘Paris 1937’ commemorating the International Exposition. Published by Daragnès. Edition size of 500. Duthuit 7 17 1/2 x 13 1/2 in. (44.5 x 34.3 cm) Framed dimensions: 30 1/4 x 26 1/8 in. 906166a

Alexandre RENOIR (b. 1974) Peaceful Pond, 2011 Oil on canvas Signed lower right 30 x 40 in. (76.2 x 101.6 cm) 915247

Carlos ALMARAZ (1941-1989) Southwest Song, 1988 Serigraph in colors on wove paper Signed, dated and numbered ‘68/120’ in white pencil

From the edition of 120 plus proofs. A strong impression with rich coloring. 34 1/2 x 48 in. (87.6 x 121.9 cm) 116876

Marc CHAGALL (1887-1985) Paravent (Les fiancés aux deux bouquets) 1963

Color lithograph on wove paper A set of two incredibly rare trial proofs, created prior to the cutting and mounting to four waxed oak folding screens, per the artist's specifications. Aside from the signed and numbered edition of 100. An extraordinary piece, worthy of a museum collection. Literature: André Sauret & Fernand Mourlot, Chagall lithographer, Monte-Carlo, 1969, vol. III, 1962-1968, no. 390 (another example illustrated); Marc Chagall-Gérald Cramer, Thirty Years of Work and Friendship (another example illustrated); Marc Chagall National Biblical Message Museum, Nice, 1992, no. 144, pp. 11 & 35 (another example illustrated)

Framed dimensions: each 68 3/8 x 52 1/2 inches Mourlot 390 914887

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