FINE ART, DESIGN & OBJECTS OF VERTU MANUSCRIPTS, RARE BOOKS & PHOTOGRAPHS HOTEL HERMITAGE MONTE-CARLO 28 OCTOBER 2020

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501 • After being noticed by the art collector Laurent Laperlier in , the ALBERT MARIE LEBOURG (1849-1928) city where he did his Fine Art studies, Lebourg accepted a teaching post A windmill near Rotterdam in Algiers. In 1877, after marrying Marie Guilloux and leaving his job in Signed, extensively inscribed and dated ‘A Lebourg Algeria, Lebourg moved to Paris where he worked in the workshop of Rotterdam 1896’ (lower left) Jean-Paul Laurens from 1878 to 1880. It was at this time that he became Oil on canvas acquainted with . He participated twice in the Impressionist 39 x 65 cm exhibitions in 1879 and 1880. His works were exhibited by numerous Painted in 1896 Parisian art dealers like Antonio Mancini in 1896 and Rosenberg in 1903 and 1906. He was a member of the Société Nationale des Beaux-Arts and took part in almost all the Salons from 1891 to 1914. The most important 8,000 - 12,000 € exhibition devoted to him took place in 1918 in Paris at the Georges Petit Gallery.

5 502 • HENRI LE SIDANER (1862-1939) Painted in 1915, La rue au claire de lune, La rue au clair de lune, Villefranche-sur-Mer Villefranche-sur-Mer (1915) is a picturesque work Signed ‘Le Sidaner’ (lower left) of French post-impressionist artist Henri-Eugène Oil on board Le Sidaner (1862-1939). This painter spent a lot of 40,6 x 26,8 cm time in Villefranche-sur-mer, first in 1910 and then Executed in 1925 on several occasions between 1924 and 1928, staying at the Welcome Hotel. Seduced by Villefranche-sur- Provenance: Mer, Le Sidaner created a series of paintings inspired Louis Le Sidaner, the artist’s son from whom by the tranquillity of this idyllic town of the Côte purchased by Maurice Sternberg Galleries, Chicago d’Azur. La rue au claire de lune, Villefranche-sur- Purchased from the above by present owner Mer and the rest of the series were painted during his Christie’s auciton intimist period, when the artist played with light in Private European Collection tribute of the French countryside.

Literature: Born in Mauritius, he studied in Paris, where he Y. Farinaux-Le Sidaner, Le Sidaner, L’oeuvre-peint discovered impressionism and , the art movements that played a big role in his glorious et grave, Paris, 1989, no 1194 (illustrated p.374) phase of landscape . In the early 20’s, he abandoned human figures to throw himself into a 15,000 - 20,000 € neo-impressionist technique that merged together sweet tones and mysterious atmospheres, where the central theme were all kinds of light plays, especially on water. When asked which artistic movement he identified himself with, he simply answered “None. But if you absolutely insist on categorizing me, I am an Intimist.»

6 7 503 • MAURICE UTRILLO (1883-1955) La Butte Pinson à Montmagny Signed 'Maurice Utrillo. V.' (lower left) Oil on canvas laid on board 45.7 x 60 cm Painted circa 1905-1908

PROVENANCE: Louis Libaude, Paris. A. Comard, Paris. Private collection, Switzerland. Bernard d'Escayrac, Long Island. Carstairs Gallery, New York. Collection of James Pearson Duffy, May 1958. Acquired by the current owner in 2012

EXHIBITED: - Japan, “Maurice Utrillo, 130e anniversaire de sa naissance” by Jean Fabris, 2013. Illustrated in the exhibition catalogue (p.39, cat. No.15)* - Paris, “Valadon, Utrillo & Utter in the rue Cortot studio: 1912-12926”, Musee de , October 2015-March 2016. Illustrated in the exhibition catalogue (p.74, cat. No.45)**

* Maurice Utrillo’s 130th birth anniversary traveling exhibition took place in: Kyoto, Takashimaya Art Gallery, 24 April-May 13; Tokyo, Takashimaya Art Gallery, Nihonbashi, 12 June-June 24; Hokkaido, Hokkaido Hakodate Museum of Art, 24 July-08 September; Kanakawa, Takashimaya Art Gallery, Yokohama, 18 September-September 30.

** The “Valadon, Utrillo & Utter in the rue Cortot studio: 1912-12926” exhibition took place in occasion of the 150th anniversary of the birth of , mother of Maurice Utrillo. At the end of the 19th century, the ateliers of rue Cortot were important places for creation and many artists lived here, including Utrillo, with his mother and her partner, André Utter. The works on display came from the collections of the Société d’Histoire et d’Archéologie “Le Vieux Montmartre” and, more importantly, from external loans of, among others, the Centre Pompidou, the Musée d’Art Moderne de la Ville de Paris, the Musées des Beaux-Arts in Liège and Brussels and other private collections. 120,000 - 140,000 €

8 “In point of fact, naiveté and ingeniousness are more apparent than real, however, for one has only to examine with care a canvas by Utrillo to see to what extent one is dealing with a true painter”[…] his work “imparts something magnificently luxurious to the dejected, desperate aspects of modern life» (Edmond Jaloux, quoted in A.Tabarant, Utrillo, Paris, 1926, p. 234).

The son of painter and Suzanne Valadon and an unknown father, Maurice Utrillo was one of the few Montmartre artists to be born there and grew up living between the Parisian neighbourhood and Montmagny, on the northern outskirts of the city. Sharing his mother’s studio at 12 rue Cortot, he sold his first painting in 1905, and had work shown in 1909’s Salon d’Automne. For many years he battled alcoholism and mental illness, and his family encouraged his painting in part to help him deal with his daily struggles.

Painted circa 1908-1910, La Butte Pinson à Montmagny is a good example of Utrillo’s urban landscapes, and is both typical of his admired early period, and points towards his esteemed white period, with the colour and texture of the building on the left side of the image. The artist lived in the Butte Pinson from 1896 with his grandmother, his mother and her husband. He began painting here and created a series of paintings of Montmagny from 1905 to 1908. While his mother was the first woman to be admitted into the Société Nationale des Beaux-Arts in 1894, Utrillo, like her, had great talent but received little formal artistic training. His confident yet soft brushstrokes demonstrate a lingering influence of Impressionism, and the colours of the fence and trees in the front of the image are echoed by some of the multi-coloured rooftops one can see in the distance

Utrillo is celebrated for his cityscapes, and his early paintings from 1904 onwards of Montmagny and Montmartre in particular helped establish his reputation. If a street or monument fascinated him, he could make numerous paintings of the same subject, and many of his paintings are noted for their energy and a deceptive naiveté of style. In particular, Utrillo is famous for his “white period” which spanned the years 1909-1914, and where he used a thick white impasto which he applied to the canvas with a palette knife, and sometimes mixed in plaster.

9 504 • HENRY MOORE (1898-1986) Tree Figure Signed and numbered ‘Moore 2/9’ (on the base) Bronze with a brown patina on a stone base H: 18 cm (without base)

Provenance: Private collection, Canada Private collection, United Kingdom

Literature: Alan Bowness (ed.), Henry Moore, complete Sculpture, Volume 5, Lund Humphries, London, 1988, cat.no.771 (illustrated in black and white, another cast). John Hedgecoe, A Monumental Vision, The Sculpture of Henry Moore, Collins & Brown, London, 1998, pp.242-243, cat.no.651 (illustrated in colour, another cast).

15,000 - 20,000 €

“I have always had a great liking for trees, and for tree trunks in particular. I like the bare trees in winter more perhaps than summer trees in full leaf. The trunks of trees have, for me, a connection with the human body – their limbs branch out like arms and legs from the trunk of a figure. For me, too, trees have a definite affinity with sculpture. The immobility of a tree, rooted in the ground, has the kind of stability that I like in sculpture.”

From exhibition catalogue for Henry Moore: Drawings 1969 – 79 Wildenstein, New York (14 November 1979 – 18 January 1980) pg.18

Certainly one of the most admired post-war British artists, Moore was frequently inspired by the forms and textures Henry Moore is famous for his biomorphic forms. Whilst of natural objects, such as rocks and pebbles, as well as by his most famous sculptures tend to focus on the female landscapes and trees. Additionally, in the later part of his form, particularly reclining women, or the subject of career Moore made many drawings and etchings of trees, mother and child, Moore’s love of nature, particularly the and he was particularly interested in the trunks of trees, in English landscapes that he grew up with in Yorkshire, and their shapes and in their rootedness. The influence of nature later in Hertfordshire, is well known. This can be seen in can certainly be felt in many of Moore’s abstract figurative much of his oeuvre, and speaking in 1979 of his interest in works, but in Tree Figure we see this relationship from a trees, Moore said the following: different perspective, in the way that the curves and lines of the tree trunk almost take on a human form.

10 11 505 • LÉOPOLD SURVAGE (1879-1968) La ville, feuilles et main Signed and dated ‘Survage 31’ (lower right) Gouache on paper 48 x 60 cm Executed in 1931

Provenance: Sotheby’s Paris, 3 July 2007, lot 115 Private collection 12,000 - 15,000 €

12 13 506 • LÉOPOLD SURVAGE (1879-1968) Abstract composition Signed and dated ‘Survage 1938’ (lower right) Oil on canvas 38 x 46 cm Painted in 1938

Provenance: Private collection, Aix en Provence Art Market, Saint-Tropez Martin du Louvre, Paris Private collection, New York Leonard Hutton Galleries, New York Private collection, Europe 30,000 - 40,000 €

After turning away from the family Piano business, at the age of 22 Leopold Survage (born in 1879 in Vilmanstrand, Finland) studied at the Moscow School of Painting, Sculpture and Architecture, and thus began his artistic career. Survage was active in the Russian avant-garde scene, and he showed an interest in symbolism, which would continue to influence his work later on. In 1908 he went to Paris, where he eventually settled, and became involved with the Cubist movement for a time. Survage knew many of the top artists of this period, and counted such luminaries as Guillaume Apollinaire as fans. In fact, in 1917 Apollinaire helped to organise an exhibition of Survage’s paintings at a Parisian gallery. At the time Survage was sharing a studio with his friend Amadeo Modigliani, though he would soon move to Nice for a couple of years, before once again returning to Paris. Back in the capitol, he designed some sets and costumes for Sergei Diaghilev’s Ballets Russe, beginning with Igor Stravinsky’s comic opera Mavra at the Paris Opéra in 1922.

Having moved more towards the neo-classical forms and away from in the 1920s, Survage was fond of sets of leitmotifs, frequently including groups of symbolic such as man, building, bird, flower, window, curtain. Several of these can be seen in the gouache La ville, feuilles et main (1931). In the late 1930s Survage’s work sees a return to more geometric structures, as his paintings took a more mystical turn with a growing interest in symbols, in part due to the influence of Surrealism and André Masson. This development can be seen in Abstract composition (1938), which shares some leitmotifs with his earlier gouache, but differs dramatically in form.

In 1963 Survage was inducted into ’s Légion d’Honneur. His work is held in many museums around the world, including the Art Institute of Chicage, the Museum of in New York, the National Gallery of Art in Washington, D.C., the Hermitage Museum in St. Petersburg, and the Centre Georges Pompidou in Paris, amongst others.

14 15 507 • All lots marked with the symbol are under temporary importation are subject to import tax (5.5%) EDWARD CUCUEL (1879 – 1954) Portrait of the Great Operatic and Concert Singer Renee Thornton Signed ‘Cucuel’ (upper right) and dated at New York (on the reverse) Oil on canvas 127 x 99 cm Painted in 1930

Provenance: Private Collection, United States; Private Collection, Germany 15,000 - 20,000 €

Cucuel, American artist from San Francisco, showed his talent from an early age, attending an academy of arts when he was only fourteen. He then studied in Paris at the Academie Julian and Colarossi, and then at the L’Ecole des Beaux Arts. He worked as illustrator in New York, to then travel in Europe to study the old masters and settled in Munich for a long part of his life, where he joined the artistic group called die Scholle, under the influence of the famous Leo Putz (1869- 1940). His style is similar to that of the French Impressionists, both in colors and themes, and is mostly known for nudes and portraits of women. This painting belongs to the period he spent between the Ammersee and New York.In 1939, he left Germany for good and passed his late yearsin Pasadena, California.

16 17 This work will be included in the catalogue raisonné currently being prepared by Jacques Chalom des Cordes under the sponsorship of Wildenstein Institute.

Painted in bright and vivid colours, Bateaux à quai is an example of the fauves’ propensity to represent nature. Van Dongen endows it with a strong expressivity, with the formal simplifications of Cubism and the emotional experiences of .

A Dutch-French painter, Kees Van Dongen, pseudonym of Cornelis Theodorus Marie van Dongen (1877-1968), was one of the leading figures of . Along with , , André Derain and others, van Dongen exhibited at the Salon d’Automne 1905. The critic described the artists as “fauves” (wild beasts) for their expressive and spontaneous brushwork, intensely vivid and exuberant colours.

He lived spent his life His life was spent between Rotterdam and Paris, but he spent his last years, from 1949 to 1968, in Monte-Carlo, Monaco. In 2012 Villa Sauber (Nouveau Musée National de Monaco)features an exhibition with van Dongen’s masterpieces, which were acquired by the Principality between 2004 and 2008.

18 508 • KEES VAN DONGEN (1877-1968) Bateaux à quai (Boats at dock) Signed ‘K. Van Dongen’ (lower right) Oil on panel 23.5 x 30.5 cm

Provenance: Artcurial, Paris, 13 Oct 2011, lot 226 Private Collection 40,000 - 60,000 €

19 509 • ACHILLE-ÉMILE (1879–1949) Port de Cherbourg Signed and dated ‘E Othon Friesz 29’ (lower right) Oil on canvas 38 x 46 cm Painted in 1929

Provenance: Private Collection, United States 8,000 - 12,000 €

20 510 • FAUSTO GIUSTO (1867–1941) The Parade Signed ‘F. Giusto’ (lower right) Oil on canvas 68 x 108 cm

Provenance: Private Collection, United Kingdom 5,000 - 7,000 € 511 • HENRY MORET (1856 – 1913) Bateaux de pêche, Audierne Signed and dated ‘Henry Moret 1906’ (lower left), titled (on the reverse) Oil on canvas 54.4 x 81 cm Painted in 1906

Provenance Private collection, by whom acquired circa 1950, and thence by descent; Sale, Christie’s, New York, 15 May 2015, lot 1297; Acquired at the above sale by the present owner

Jean-Yves Rolland will include this work in his forthcoming Moret catalogue raisonné. 50,000 - 70,000 €

22 23 512 • ROBERT ANTOINE PINCHON (1886-1943) Two drawings of Cliffs at Varengeville (Falaises a Varengeville) both signed ‘Robert A Pinchon’ (lower right) Watercolour each: 45 x 62 cm

Provenance: Private Collection, France 3,000 - 5,000 €

24 513 • VICTOR VIGNON (1847 – 1909) Les Falaises Signed ‘Vr. Vignon’ (lower right) Oil on canvas 54.9 x 44.7 cm

Provenance: Anonymous sale; Sotheby’s, London, 14 March 1995, lot 211; Private Collection, United States 5,000 - 7,000 €

25

514 • RUSSIAN OR FRENCH SCHOOL, XIX CENTURY Soldiers on the March Bearing signature ‘Timm’ Oil on canvas 34 x 49 cm 5,000 - 7,000 €

27 515 • SIMON LISSIM (1900-1981) Ascent to heaven Signed and dated ‘Simon Lissim 59’ (lower right) Mixed media, oil and gold paint on board 76.2 x 60.9 cm Executed in 1959

Provenance: Skinner, Boston, 20.05.2005, lot 458 Borodulin Collection

3,000 - 5,000 €

Simon Lissim is known for theatre set design, decorative art, china design.

Simon Lissim was born in Kiev, Ukraine at the turn of the 19th century. He studied at the art school of A.S. Monko as of 1917. In 1919, Lissim emigrated, and as of 1920, he was studying at the art school of Reimann in London and living in Wiesbaden and London.

He lived in Paris in the 1920s and 1930s and was closely associated with Diaghilev, Bakst, Benois, and many others. His work is full of Orientalist themes.

The painting is made by Simon Lissim - A porcelain designer, illustrator, stage designer, painter. Lissim lived in Paris, where he studied at the French National School of Decorative Arts, and after he worked at the famous Theatre de L’Oeuvre in Paris. His set design for that theatre’s 1924 production of Hamlet won Lissim, a Silver Medal from the 1925 International Exhibition of Decorative Arts in Paris. He designed for Lenox and Royal Copenhagen. Simon was born in Russia and moved to the United States in 1941. 29 516 • JOSEPH B. GROSSMANN (1889-1979) Nudes in the forest Signed ‘J B Grossman’ (lower right) oil on canvas laid on board 76 x 63 cm

Provenance: Pook & Pook,Downington PA, 28.20.2005, lot 192 Borodulin Collection

2,000- 4,000 €

30 Moses Soyer (December 25, 1899 – September 3, 1974) was a significant figure in the American realist movement of the early 20th century.

Soyer was born in Borisoglebsk, Russian Empire, in 1899. His father was a Hebrew scholar, writer and teacher. His family emigrated to the United States in 1912.

His paintings belong to the collections of the Metropolitan Museum of Art, , Detroit Institute of Arts, and many more museums. Moses Soyer was elected to the National Academy of Design and the National Institute of Arts and Letters.

517 • MOSES SOYER (1899-1974) Floral still life with dasies in a vase Signed ‘M Soyer’ (lower right) Oil on canvas 40.6 x 30.6 cm Painted in 1956

Provenance: Doyle, New York, NY, 12.10.2005, lot 120 Borodulin Collection

2,000 - 3,000 €

31 518 • ALEXANDRE SACHA GARBELL (1903-1970) Port de Marseille Signed and dated ‘Garbell 60’ (lower left) Oil on canvas 88 x 100 cm Painted in 1960

Provenance: Doyle, New York, NY, 12.10.2005, lot 3 Borodulin Collection

6,000 - 8,000 €

32 519 • ART DECO. PARIS SCHOOL, STYLE OF GEORGE BARBIER Oil on canvas 81 x 65 cm

2,000 - 5,000 €

33 520 • Born in Bombay, India and immigrated to Israel as BEN AVRAM (1941) a teenager. Ben Avram graduated from the Bezalel Street Academy of Art and Design in 1965 and continues Signed ‘B Avram’ (lower left) to call Jerusalem his home. Oil on canvas 51 x 40 cm Most of Avram’s oil paintings and watercolors portray Israeli cities, religious festivals, and Bible Provenance: stories. Safrai Art Gallery, Jerusalem Israel Doyle auction, sale 44578, lot 13 Borodulin Collection

1,500 - 2,500 €

34 521 • BENJAMIN KOPMAN (1887-1965) An American-Russian painter, lithographer, Two Old Clowns etcher, illustrator, sculptor, Benjamin Signed and dated ‘Kopman 1952’ (lower right) Kopman was born in Vitebsk and Oil on canvas immigrated with his parents to the United 74 x 54 cm States, where he studied in the New York Painted in 1952 National Academy of Art. His works belong to the collections of Whitney Museum of Provenance: American Art, , World House Galleries, 987 Madison Avenue, Ner York 21, Brooklyn Museum, Metropolitan Museum N-Y, Lehugh 5-4700, Catalog 3902 of Art, and the Pennsylvania Academy of Freeman Fine Arts, PA, 24.06.2005, lot 221 Fine Arts. Borodulin Collection 2,000 - 4,000 €

35 522 • ABRAHAM P HANKINS (1903-1963) Portrait of a Woman Signed ‘A P Hopkins’ (upper left) and signed again (on the reverse) Oil on board 30 x 25 cm

Provenance: Freeman Fine Arts, Philadelphia PA, 24.06.2005, lot 165 Borodulin Collection

1,200 - 1,500 €

An American modernist painter, Abraham Hankins was born in Russia and emigrated to the United States in 1914. His paintings have been displayed in the Museum of Fine Arts in New York, the Pennsylvania Academy of the Fine Arts, the Philadelphia Art Museum, and in the Lessing J. Rosenwald collection. The holds his work. His papers are in the Archives of American Art.

523 • MINNA ALEXANDER, 20TH CENTURY Untitled (cubist still life) Signed ‘Minna Alexander’ (lower left) Oil on canvas American school, 20th century 61 x 46 cm

Provenance: Skinner, Boston, lot 414 Borodulin Collection 2,000 - 3,000 €

36 524 • RIFKA ANGEL (1899-1988) A colourful arrangement Signed and dated ‘Rifka Angel 1965’ (lower right) Mixed media with oil on panel 41 x 30 cm Executed in 1965

Private collection, acquired directly from the artist Skinner, Boston, 20 May 2005, lot 412 Borodulin Collection. 1,500 - 2,500 €

‘A colourful arrangement’ is a vibrant example of Rifka Angel’s native technique.

Her upbeat and colourful style were inspired by her interest in French impressionism. All of her paintings are full of positivity and light. Born in Soviet Union, she moved to New York at the age of 15. She studied briefly at the Art Students League with Boardman Robinson, as well as in the Moscow Art Academy where she studied the techniques of Soviet Realism. She also went to Paris, where she was inspired by masterpieces of Matisse and Cezanne.

525 • OLGA I. SEARS (1906-1990) Modern composition Estate stamp ‘Olga I Sears 1906-Estate-1990’ (on the reverse) Oil on canvas 40.6 x 50.8 cm

Provenance: Skinner, Boston 20.05.2005, lot 441, Borodulin Collection

1,000 - 1,500 €

An American female painter from Massachusetts, Olga Itasca Sears was exhibited frequently at the Rockport Art Association, maintaining a Rockport studio for a long time.

37 THE GREAT AMERICAN IMAGISTS AND THE GOLDEN AGE OF AMERICAN ILLUSTRATION

Paper production was becoming cheaper, railways facilitated distribution throughout the continent, and the population was expanding and becoming wealthier as industrialization progressed.

National magazines such as Harper’s Monthly, Collier’s, Scribner’s Harper’s, Redbook, and Saturday Evening Post took advantage of all these circumstances to build enormous circulations—and they needed artwork for their pages.

These iconic images were created during the Golden Age of American Illustration, when «American Imagists» visualized, romanticized and propagated the American Dream. A dream of a life where everyone is happy, wealthy, free, and tolerant. Their mission was to define the American Dream, the American spirit, and American culture.

The Golden Age of illustration represents a concept which American politician Leonard Boswell mentioned as a pure American Dream: one of success, home, ownership, college education for one’s children, and having a secure job to provide these and other goals.

526 • PRUETT CARTER (1891-1955) Pilot with a magazine Signed (upper left) Oil on panel

Provenance: Private collection, Italy 4,500 - 5,000 €

Probably included in the August 1944 issue of McCall’s magazine.

38 527 • Movie poster with William Powell and Janeth Leigh. REN WICKS (1911-1998) Artist opened to many mediums, Wicks started his career working at the NASA. Mr Peabody and the murmaid During World War II, he worked for Lockheed and realized artworks for fighters Gouache on board and bombers, which were used for propaganda. He made illustrations for numerous 30 x 51 cm magazines such as Esquire, Redbook, Saturday Evening Post or Coronet and also did Executed in 1948 some advertising work for different brands and Casinos. Wicks’s art mainly revolves around women, planes and wings, which became his signature over time. Provenance: Private collection, Italy 2,000 - 2,500 €

528 • EDWIN GEORGI (1896-1964) Date With Death Gouache on board 40 x 48 cm Executed circa 1950s

Provenance: Private collection, Italy 1,800 - 2,500 €

This work is an illustration of a film called Date with Death, a thriller about a drifter (Gerald Mohr) who takes a slain policeman’s identity to avenge his murder and break up gangster rackets. Edwin Georgi was a leader of the second wave of «pretty-girl» pin-up movement. However, some experts do not want to classify his colorful works as an exact representation of this style. In every work, Edwin experiments with warm shadows and the combination of dark and bright colors to find a perfect way to highlight the details in his works. His way of painting brought him illustration projects for magazine such as Esquire, Cosmo,Fortune, Liberty, and many others. 39 529 • RICHARD F. WILLIAMS (1908-1981) Valentine’s gift Gouache on board 44 x 50 cm Executed circa 1950

Provenance: Private collection, Italy 2,000 - 2,500 €

Born in Buffalo, New York, Richard F. Williams attended the Buffalo School of Fine Art, where his teachers, discovering a real talent and potential, encouraged him to pursue a career in the art world.

Williams became very successful in commercial art but also as a portrait artist and landscape painter. His oeuvres often show a strong speech in a fun and approachable manner, which made him popular in the advertising world.

530 • COBY WHITMORE (1913-1988) Couple on the beach Oil on canvas 39.4 x 31cm Executed circa 1950s

Provenance: Private collection, Italy 2,800 - 3,500 €

Illustration for a story published on The Saturday Evening Post.

American painter and magazine illustrator known for his publications and covers for the Saturday Evening Post. Coby Whirmore was a commercial artist whose work included advertisement for Gallo Wine and numerous national brands. He is more specifically famous for his postwar images representing ideal white American families and pretty, middle class housewives living joyfully in their new houses along with their perfect children, dogs and new cars. He also illustrated many women’s magazines such as McCall’s, Ladies Home Journal or Good Housekeeping.

40 531 • EARL CORDREY (1902-1977) New years’s eve Signed (lower right) Gouache on board 52 x 36 cm

Provenance: Private collection, Italy 1,500 - 2,000 €

Illustration for “The F. Scott Fitzgerald Story” published in American Weekly.

Watercolorist and illustrator from the 1950s, Earl Cordrey is primarily known for his men’s fashion work and his narrative short stories for Collier, American Magazine and American Weekly. Born and raised in California, he studied at the Chouinard School of Art in Los Angeles, but also at the Grand Central School of Art in New York City where he moved definitely in 1927. There, he worked as a professional illustrator for the Hearst’s Magazines including Cosmopolitan, Redbook, etc.)

532 • ROBERT PATTERSON (1898-1981) Little Sisters Are Such Pest Signed (on the reverse) Gouache on canvas 39 x 62 cm Executed in 1948

Provenance: Private collection, Italy 1,500 - 2,500 €

Illustration for a story published on Woman’s Home Companion Magazine From America.

Robert Patterson studied at the Art Institute of Chicago. Part of the Society of illustrators, he is mostly known for his various styles which he inherited from teachers such as Pierre Brissaud, Carl Erickson, Ralph Barton and others. His works were published by numerous magazines such as Vogue, McCall’s, Snappy Stories, Ladies’ Home Journal, Rebook, Cosmopolitan.

41 533 • WILLIAM REUSSWIG (1902-1978) Couple looking apprehensively towards left Signed (lower right) Oil on canvas 75 x 46 cm Executed in 1970

Provenance: Private collection, Italy 1,800 - 2,500 €

Illustration for a story published in Redbook.

William Reusswig was an American painter known for his prints. His name first appeared in 1923 in an article in the New York Times about a baseball game in which he played in college. After graduating from Amherst University, he took advanced painting classes at the Art Student League where he met his future wife, Martha Sawyers. His first published works were interior illustrations for Colliers. He also illustrated articles for Cosmopolitan, Liberty, Redbook, The Saturday Evening Post and many more. Reusswig and his wife made a good artistic team together as they were both fascinated by exotic lands, comic illustrations of classic novels and men’s adventures that we will find continuously in his portfolio.

534 • LOU FECK (1925-1981) American Football Gouache on board 44 x 34 cm Executed circa 1960

Provenance: Private collection, Italy 400 - 500 €

Illustration for a novel.

Lou Feck was an American Postwar and Contemporary artist best known for his book cover art and his illustrations specialized in the Sci-Fi and Fantasy genres such as A canticle for Leibowitz (1969), Star Trek (1971), Door into Terror (1972) and The Janus Syndrome (1981) the same year he passed away.

42 535 • WALTER MARTIN BAUMHOFER (1904-1987) Illustration for a story published on Redbook. This Different Springtime Oil on canvas American illustrator best known for his cover paintings on the pulp 50 x 120 cm magazines of Street & Smith, Adventure, Esquire and other publishers. Executed in 1950 He grew up in Brooklyn with his parents, originally from Germany, and studied at the Pratt Institute with Dean Cornwell and H. Winfield Scott Provenance: as teachers. Along his illustrations, he also dedicated himself to fine art: Private collection, Italy portraits, landscapes and western scenes. 5,500 - 7,500 €

536 • ALBERT HAMPSON (1911-1990) Couple Enjoying Ice Creams Oil on canvas 100 x 83 cm Executed in 1950

Provenance: Private collection, Italy 5,000 - 6,500 €

Illustration for Weiller Co.

Born in Philadelphia, Albert W. Hampson is an illustrator recognized for featuring everyday people in humorous settings. He designed images for a number of magazines including Look and the Saturday Evening Post. He studied illustration in college under the direction of Charles W. Hawthorne and Henry Hensche. Hampson’s style is close to Norman Rockwell’s as he portrays the common man in everyday, comic situations.

43 537 • WALTER MARTIN BAUMHOFER (1904-1987) No Matter What Happens Oil on canvas 42,5 x 56,5 cm Executed in 1948

Provenance: Private collection, Italy 4,500 - 6,500 €

Illustration for a story published in Redbook.

538 • PHIL BERRY(ACTIVE 1940-60) Welcome home Gouache on board 56 x 41 cm Executed in 1970

Provenance: Private collection, Italy 800 - 1,200 €

Illustration for a novel.

44 539 • 540 • FREDERIC VARADY (1908-2002) JOSEPH BOWLER (B. 1928) Girl under apple tree with birthday card Lady in the hat with a rose Gouache on panel Signed (lower right) Approx. 120 x 90 cm Gouache on panel Provenance: Approx. 120 x 90 cm Private collection, Italy 1,500 - 2,000 € Provenance: Private collection, Italy Story illustration. 2,300 - 2,500 € Story illustration.

45 541 • VERNE TOSSEY (1920-2002) Multiple scenes and hugging couple Oil on cardboard 50 x 60 cm

Provenance: Private collection, Italy 900 - 1,000 €

Known for his very realistic Westerns illustrations, Tossey was an American painter who studied in New York with the famous illustrator Frank J. Riley.

542 • EDWIN A. GEORGI (1896-1964) A man in her room Gouache on board 43 x 52 cm Executed in 1950

Provenance: Private collection, Italy 1,900 - 2,000 € Story illustration

46 543 • 544 • WALTER M. BAUMHOFER (1904-1987) RALPH BARTON (1891-1931) Open the door, 1941 Woman standing in car picking blossoms (pin-up) Oil on canvas Calendar illustration Signed (lower left) Oil on board 49 x 98 cm 32 x 22 cm Provenance: Provenance: Private collection, Italy Private collection, Italy 12,000 - 13,000 € 3,000 - 3,500 € Illustration for the story “Open the door” by Rita Weiman, appeared on This Week on 28/12/1941. Barton was a talented artist, cartoonist and drama critic. His career started as a illustrator for the humor magazine Puck in New York. To this, followed work for Cosmopolitan, Vanity Fair, Life, Collier’s and others. He is most- ly known for his cartoons and caricatures of celebrities but he also illustrated many book covers. His work was included in several exhi- bitions at the National Portrait Gallery in Washington.

47 545 • RUSS HILL Pin up Signed (lower left) Mixed media on board 50 x 38 cm

Provenance: Private collection, Italy 800 - 1,200 €

American painter and illustrator who worked for popular magazines. Gannam realized watercolor series for advertisements inspired by Edward Hopper and Winslow Homer. His main works were dedicated to sheets and blanket commercials. In fact, he managed to portray deep and emotional relationships between housewives and their new blankets. He also painted many flower watercolors in his free time.

546• GLEN FORTUNE BANSE (B.1948) Franck Sinatra Pencil on paper 50 x 38 cm Executed in 1970

Provenance: Private collection, Italy 750 - 950 €

Born and raised in New Jersey, Banse attended Ottawa University, Kansas State University and the New School in New York City where he studied Social Research. He has been the art director of for leading publishers of lithographs in the USA and has taught numerous artists such as Peter Max, John Pitre, Sarah Churchill and William Nelson. Most specifically, he has been art director for Apple Arts, LTP since 1975 and has focused on his own works presenting a diversified subject matter, like these various portraits of Frank Sinatra at different ages.

48 547 • DEAN CRONWELL (1892-1960) To the conquest of time and space Gouache on paper 43 x 47 cm Executed in 1944

Provenance: Private collection, Italy 3,500 - 5,000 €

Original project for the construction of an Eastern Airlines mural done at the Rockfeller Center.

Nicknamed the « Dean of Illustrators, » Dean Cornwell (1892-1960) was an American illustrator and muralist, often featured in popular magazines such as Cosmopolitan, Harper’s Bazaar or Redbook and books written by Pearl S. Buck, Lloyd Douglas, Ernest Hemingway and many more authors of the second half of the 20th Century. He realized many illustrations, advertisements and posters promoting the war effort. He is most famous for his murals at the Los Angeles Public Library, the Lincoln Memorial Shrine in Redlands, California and for the New England Telephone headquarters building in Boston. Alumnae of the Art Institute of Chicago, we recognize his œuvre with a realistic yet original and ingenious brushstroke.

548 • ANDY VIRGIL (1925-1980) Maynard Ferguson Signed (along the lower edge) Pencil and gouache on board Framed 61 x 55,8 cm Executed in 1960

Provenance: Private collection, Italy 2,500 - 3,500 €

Mayland Ferguson, who is portrayed in this picture, was one of the biggest jazzmen from Canada. Ferguson won the Down Beat Readers’ Poll for the best trumpeter, and in 1992, he was inducted into the Down Beat Jazz Hall of Fame. He also formed Big Bop Nouveau. This illustration was painted by Andrew Virgil Calafatello, who was born in New York in the family of Sicilian immigrant parents. He did commercial drawings, w hich allowed him to survive, and painted his favorite jazz artist. He graduated from Pratt, then went on to Cooper Union. Andy continued to pursue his studies under Reginald Marsh at the Art Students’ League. After that, he worked in the Cooper Studios and Ralph Studios. Virgil suffered from tuberculosis, which he managed to cure.

49 549 • JOHN GANNAM (1907-1965) Teenager sitting on stairs talking on phone Story illustration, Good Housekeeping, April 13, 1944 Watercolor 41 x 31 cm

Provenance: Private collection, Italy 5,200 - 5,500 €

American painter and illustrator who worked for popular magazines. Gannam realized watercolor series for advertisements inspired by Edward Hopper and Winslow Homer. His main works were dedica- ted to sheets and blanket commercials. In fact, he managed to portray deep and emotional relationships between housewives and their new blankets. He also painted many flower watercolors in his free time.

550 • VICTOR KALIN (1919-1991), ATTRIBUTED TO Book cover illustration Book cover illustration Oil on cardboard 30 x 45 cm Painted 1950

Provenance: Private collection, Italy 1,900 - 2,000 €

Originally from Kansas, Kalin he began drawing and painting during his teenage years and pursued Fine Arts studies at university. His first assignments were colorful and realistic story illustrations for magazines like Esquire, American Weekly, Liberty, and Colliers. In the 50s, he illustrated the cover of hundreds of paperback books for Avon, Dell, Signet, Berkley, Ace and Pocket Books. Later, he also worked at music album covers.

50 FRANK STELLA

The Waves

From 1985 until 1997 Frank Stella worked on one of his most important series, creating over 200 works with titles based on the chapters of Moby Dick, Herman Melville's nineteenth century novel. This series includes works across various mediums, from prints to reliefs and sculptures, and also contains smaller series. The first of these smaller series was The Waves (1985- 1989), a series of 13 printsthat display Stella's creativity and technical unders- tanding of prints. Each image was created in an edition of 60 with 10 artist proofs and 4 printer's proofs. They utilise a variety of techniques including lithography, linoleum block printing, marbling, hand-colouring and collage, and required a complicated series of runs and overlays to achieve their end results. Throughout this series certain motifs keep reappearing, namely the namesake wave shapes, some whale-like shapes, and also lattice shapes that help to hold these complicated compositions together. In fact, for each image in the series Stella selected a specific lattice pattern fromthe twelve hun- dred that Daniel Sheets Dye classified in A Grammar of ChineseLattice. Stella spent a long time working on these prints, which took four years to complete, and the imagery that appear in them clearly play a role in other works in the Moby-Dick series.

The Waves were always intended as a part of a much larger project that woul- dinclude a range of formats. Moby-Dick was important for Stella, who knew from the very start that he would create at least one work for every chapter in the novel (all 135 main chapters plus «Etymology», «Extracts», and «Epi- logue»). It has often been noted that Moby Dick was a novel that interested many Abstract Ex-pressionist painters, including Jackson Pollock, whose 1943 painting Paiphaë was originally called Moby Dick, and who also created a smaller gouache called Blue (Moby Dick) (1943). Indeed, through his Moby-Dick works Stella can be seen to be exploring ideas around abstrac- tion, figuration and perception in ways thatdiffer dramatically from his earlier, minimalist series of Black Paintings from the late 1950s. In a 2001 interview, Stella described his Moby-Dick series as both a response and a tribute to the abstract expressionists. «They’re still the generation I admire. This is paying my debt, or not so much paying my debt as expressing my admiration for the abstract expressionist generation that I grew up with and that I admired the most, and that I still admire.» However, Stella did not simply rehash old ideas, but looked to move abstraction forwards, saying «Abstraction in the 20th cen- tury is dependent on cubism, which is arranging planes in space, but the planes are arranged in a kind of stiff and geometric kind of way [...] Once the planes begin to bend and curve and deform then you get into what happens in Moby Dick - it’s a way of opening things up for abstraction.» 551 • FRANK STELLA (B. 1936) The Quarter-Deck Silkscreen, litograph, colour linocut, marbled, hand-coloured, collage on paper Edition 58/60 109 x 171 cm Executed in 1989

Stella’s Quarter-Deck is full of sharp, bright colours, and displays a number of techniques such as marbling. The piercing dark shape in the upper half of the image has been likened to Ahab’s fractured leg, which makes sense in the context of the work’s title. This piece is named after the 36th chapter of Moby Dick, which contains a key moment in the story, when Ahab convinces the rest of the ship’s crew to be a part of his personal quest to seek revenge on the White Whale. Thus while it is an abstract work, elements of figuration seem to creep in, reflecting some of the complexities of abstract painting that Stella was working through. In an interview in 1995 he discussed the difficulty of abstraction, commenting that «it’s pretty impossible to have truly abstract painting, even if you begin with the abstract, non-figurative base, which I actually do.» 25,000 - 35,000 €

52 552 • FRANK STELLA (B. 1936) The Whale as a Dish Silkscreen, litograph, colour linocut, marbled, hand-coloured, collage on paper Edition 58/60 171 x 139 Executed in 1989

This image takes its title from the 65th chapter of Moby Dick, where Ahab, perhaps recognising that it was no longer common practice, discusses why eating whale meat is morally no different than eating any other type of animal. In this work chaos appears to be mostly (but not entirely) contained in a central circle, with a bright yellow background. A lattice pattern is still detectable in the white lines within the circle, from which an almost tail-like shape seems to have escaped. 25,000 - 35,000 €

53 553 • KOLOMENKOV ALEXANDER (1948-2008) Nude Oil on canvas 80 x 100 cm Painted in 1989

Provenance: Private Collection, Europe

8,500 - 9,000 €

54 554 • KONSTANTIN TROICKIY (1953) Half-landscape with half-figures Oil on canvas 98 x 98 cm Painted in 1988

Provenance: Private Collection, Europe 6,500 - 7,000 €

Painting consits of four inter-changeable panels

55 555 • GAVRILTCHIK VLADLEN (1929-2017) Chieftain Thesis Oil on canvas 68 х 80 cm Painted in 1989

Provenance: Private Collection, Europe 8,500 - 9,500 €

556 • GAVRILTCHIK VLADLENН (1929-2017) Choral singing. 1988 Oil on canvas 135 х 135 cm

Provenance: Private Collection, Europe

11,200 - 11,500 €

56 557 • VLADLEN GAVRILCHUK (1929-2017) The Turnip Oil on canvas 80 х 100 cm

Provenance: Private Collection, Europe 10,000 - 11,000 €

57 558 • TATYANA NAZARENKO Evening in Nessebar Signed (lower right) Oil on canvas 100 х 100 cm Painted in 2016 13,000 - 14,000 €

58 559 • TATYANA NAZARENKO Susanna and old Men Oil on canvas 80 x 110 cm Painted in 2017 11,000 - 12,000 €

59 560 • TATYANA NAZARENKO Exit to the sea Oil on canvas 100 х 100 cm Painted in 2014

14,000 - 15,000 €

60 61 DESIGN OBJECTS OF VERTU JEWELLERY 561 • PAIR OF FRENCH PORCELAIN, GILDED BRONZE VASES Signed P. Pecchioli, XIX century France, in the manner of Manufacture de Sèvres 96 x 45 cm

Turquoise body decorated with painted medallions, one portraying three figures with musical instruments, the other a peaceful natural landscape. Ornated with charming gilded bronze foliage and standing on a gilded bronze mount of truncated circular shape.

Very good condition. 6,000 - 8,000 €

63 562 • FABERGE IMPERIAL HERITAGE TEA SET Fine contemporary original Limoges porcelain set of six gold encrusted and cobalt cups and saucers and one tea/coffee pot. The set of 6 and the kettle are contained in two original Fabergé blue velvet cases. Cups: 8.57 cm across x 6 cm tall. Saucers: 15.9 cm across. New, excellent condition.

Provenance: Private collection, Monaco 3,000 - 4,000 €

64 563 • A PAIR OF ANTIQUE CARRARA MARBLE AND GILT BRONZE TABLE LAMPS, LOUIS XVI STYLE, FRANCE Each placed on rounded marble stands and decorated with gilt-sculptures of long-horned ibex and floral designs. H: 61 cm, diameter of base: 40 cm

Provenance: Private collection, Monaco 3,000 - 4,000 €

65 564 • RARE EMPIRE MARBLE BRASS BRONZE GILDED BOX WITH GOLDEN MUSICAL INSTRUMENTS MOTIF JARDINIÈRE Style Louis XVI, XIX centruy Marble, gilded bronze decoration Exceptional jardinière which was probably the underside of a musical pendulum. The four sides are entirely covered with white marble plates, fluted columns at the corners. Feet, friezes and garlands in gilded bronze. Rich decoration in ormolu on the larger sides including leaf motif and attributes of music (flute, mandolin, trumpet, viola and sheet music). Leaf motif decoration on the smaller sides. The frame is made of oak wood, veneered with mahogany on top. Size: 47 x 32 x 29 cm 10,000 - 14,000 €

66 67 565 • 566 • GILDED BRONZE FRAMED MIRROR MOTHER OF PEARL SET ON MARBLE COLUMN WITH JEWELLERY BOX SQUARE BASE. 33 x 19 x 7,5 cm The mirror is held by a kneeling gilded figure 300 - 400 € 42 x 21 cm 500 - 700 €

567 • PAIR OF GUILTED BRONZE AND MARBLE FRENCH CHENETS, 19TH CENTURY They display a boy and a girl sitting on red/brown marble base with gilded bronze feet. The gilding is of very fine quality. The chenets are in perfect condition. H 38 cm, L 33 cm, W 18 cm

1,600 - 1,800 € 68 568 • SILVER TEAPOT WITH LID WITH A MONOGRAM OF MARY QUEEN OF HANOVER PRINCESS OF SAXE-ALTENBURG Ernst Friedrich Kemnis, Germany, mid-XIX century. A very fine round-shaped smooth body, engraved with a monogram under the crown «MR», on scroll feet, and with a carved bone handle. Silver, cast, engraved, mounted, bone Hallmarks: 12 lot standard, master «Kemnis». Height 13.6 cm; width-15.5 cm; weight 395 g.

Provenance: Sotheby’s, Munich, 05-15.10.2005 Property from the royal house of Hanover

Mary Queen of Hanover Princess of Saxe-Altenburg (1818-1907) married George V King of Hanover on 18 November 1843. She was the eldest daughter of Joseph, Duke of Saxe –Altenburg: her full name being Alexandrine Mary Wil- helmine Catharine Charlotte Therese Henriette Louise Pauline Elisabeth Frederica Georgina. Her first-born son Ernest Augustus (1845-1923) succeeded his blind father as Head of the Royal House of Hanover. She died at Gmunden, Aus- tria and was buried there, whereas her husband was laid to rest in St. George’s Chapel, Windsor in 1878

3,000 - 5,000 €

69 569 • A PAIR OF EMPIRE STYLE GILT AND PATINATED BRONZE FIGURAL THREE-BRANCH CANDELABRA, FRANCE Each modeled as a bronze winged woman, on cylindrical decorated pedestals and square bases. H: 81cm

Provenance: Private collection, Monaco 6,000 - 8,000 €

70 570 • A. CHERVET (BORN 1944) CONSOLE TABLE SCULPTURE, 1985 Signed ‘Chervet 85’ (engraved) Glass, base with 4 leaf-shaped arms in gilded brass H:81 cm, L:145 cm, P:48.5 cm Very rare

Provenance: Private collection, Monaco 12,000 – 14,000 €

71 571 • ART DECO STYLE TABLE CLOCK, CARTIER PARIS, 1980 Rare and elegant Art Deco style table clock, in blood jasper, mother-of-pearl, enamel and gilded brass, quartz movement. Octagonal carrure with sloping jasper sides, octagonal gilt brass frames, stepped stem made of several rings and stone ball, rectangular jasper base, with support and stylized feet in golden brass and black enamel. Mother of pearl mosaic dial forming a pattern radiating from the base, pierced golden hands. Case and movement signed. 22 x 14.5 x 7.5 x cm. In excellent condition. It comes with original case in red calfskin.

12,000 - 14,000 €

72 572 • CARTIER TABLE CLOCK, 1939 Signed Cartier on the dial, numbered 71 Moulded onyx, silver, rose-cut diamond hands set in platinum, silver dial with black Roman numerals, brass folding strut. 7,4 cm square French silver mark (boar’s head)

Provenance: Private Collection, France

9,500 – 11,000 €

73 573 • 574 • PAIR OF CRYSTAL VASES, WHITE MODERN VASE LALIQUE FRANCE Murano, signed Mazzucato Gino Pair of Ichor vases in fine crystal, clear and frosted. 40 x 32 cm Ichor represents the blood of the Gods, the fluid of life. Designed by Marie-Claude Lalique in 1993, they resemble ginkgo leaves. 300 - 400 € Signed 35 x 25 x 12 cm Excellent condition. 1,800 - 2,000 €

575 • ALESSANDRO BARBARO, MURANO MASTER GLASSMAKER, XX CENTURY Chariot Sculpture in colourless blown Murano glass with inclusions of golden spangles, the hitch in golden brass. Signed ”Barbaro” Dimensions: 75 x 39 x 40 cm Excellent condition 2,500 - 3,000 €

74 576 • SILVER DOUBLE JAM / CONDIMENT HOLDER Signed Cartier New York Crystal and silver 1950s

Provenance: Private Collection, France

400 – 600 €

577 • SILVER PLATE Signed Cartier Puiforcat Minerva hallmark, numbered S 694 silver 208 gr

Provenance: Private Collection, France 450 – 600 €

578 • VINTAGE VAN CLEEF & ARPELS SILVER GILT DOUBLE-SIDED HANDBAG MIRROR Signed ‘Van Cleef & Arpels’, maker’s mark and Minerva mark (French hallmark for silver) (Gilt worn with time) silver, silver gilt 10,5 x 7 cm, 88 gr circa 1950

Provenance: Private Collection, France

300 – 500 €

75 579 • A PAIR OF SILVER AND GLASS COASTERS Signed Cartier Sterling (NY) silver, glass D. 11cm, 125gr Circa 1950s 100 – 300 €

580 • FRENCH ANTIQUE FAIENCE PLATE WITH PORTRAIT OF PRESIDENT FELIX FAURE, 19TH CENTURY Wall plate featuring the portrait of Félix Faure, President of France from 1895 to 1899. Pottery company Sarreguemines. Decorated with transferware images in shades of brown and blue. The large central portrait is surrounded by with four medallion scenes of the President’s life. Mark on the back Diameter: 21,7 cm 150 – 200 €

581 • VIENNESE SILVER TOILET SET 3 PARTS, CONSISTING OF HAND MIRROR, HAIR AND CLOTHES BUST COMPANY LOGO ALEXANDER STURM Mirror length 25,5 cm Viennese toucan head punch from 1922

500 - 700 €

76 582 • CARTIER SILVER CUP AND SAUCER Signed Cartier Sterling (NY), saucer Signed Cartier Sterling silver H. 5cm, 84 gr Circa 1960s with original Cartier pouches

350 – 500 €

583 • ART DECO CARTIER SILVER CUP French and British hallmarks, Handles swivel up and down Signed Cartier London, numbered 5942 silver with a Cartier fitted case. made in 1930.

6,500 – 7,500 €

77 An item of status, this elegant Champagne swizzle from circa 1927 has an Art deco appeal and is an object that still could be used. Initially such swizzle stands were popular in the US in the 1930s to remove bubbles from sparkling wines.

Art Deco style, first called Modern Style, was the major artistic movement of the 1920s and was led by Cartier Paris with its beautiful creations. Elegant and geometric, rich in decoration, with use of hard stones such as rock crystal or onyx is distinctive of this period and ensured Cartier public interest.

584 • ART DECO CHAMPAGNE SWIZZLE STAND 12 bone swizzle sticks of one design with cabochon moonstone finials set in silver Signed Cartier and numbered S 5 French silver hallmarks. Silver and gold, rock crystal. Height: 22 cm Diameter of base: 8.5 cm Original fitted Cartier case. 12,500 – 15,000 €

78 585 • AGATE AND SILVER ART DECO FRAME Signed Maquet Paris Nice Agate gold, white enamel, silver

1,500 – 2,000 €

586 • FLASH LIGHT Signed Cartier New York. Gold 14k, engraved JS 9.29.55 350 – 400 €

587 • VINTAGE ONYX SEAMAN SCHEPPS LETTER OPENER Onyx, coral 18k gold 750 Signed Seaman Schepps Circa 1940

Provenance: Private Collection, France

2,500 – 3,500 €

588 • SILVER LETTER OPENER FROM CARTIER LONDON 925 silver, signed ‘Cartier London’ English silver mark, numbered 3508 (UK date letter for the year 1939), in a Cartier pouch. Length 18 cm, 82 g

Provenance: Private Collection, France

700 – 1,000 €

79 589 • ROYAL YELLOW GOLD AND DIAMONDS MEN RING 18K (750) gold ring, with “R” diamond monogram, lapis lazuli Weight: 24,5 gr 2,000 - 4,000 €

590 • PRINCESS CUT DIMOND RING 2.47 CT With natural diamond certificate from the Institute of Gemology HRD Antwerp Excellent condition 7, 44 x 7,42 x 5,39 cm 30,000 - 35,000 €

80 591 • AQUAMARINE NECKLACE, XXI CENTURY Natural aquamarine, silver 925/1000 Made of four rows of faceted pear-shaped stone (briolettes) with magnetic clasp With Monaco Gem Lab certificate 4,500 - 6,500 €

592 • ART DECO DIAMOND GOLD BOW BROOCH, 1940S The bow carries 4.5 ct diamonds and is made in 18k yellow gold 8,5 x 3,5 cm 48 grams 2,500 - 4,500 €

81 593 • 594 • THREE JOINED DIAMONDS BRACELETS PAIR OF GRAND SAPPHIRES CREOLS 18k yellow gold 18K rose gold, natural pink sapphires 28 ct 21,6 carats diamonds 4,5 cm, 31,30 gr 119 gr 4,000 - 6,000 € 12,000 - 16,000 €

82 595 • 596 • TIFFANY & CO WHITE GOLD AND SILVER CUFFLINKS ADJUSTABLE SILVER BRACELET 18k white gold (750), sterling silver silver 925, buckle claps, 25 cm long Decorated with onyx and gold braided chain 126 gr Signed 300 - 400 € 11,2 gr 400 - 600 €

83 597 • VINTAGE VAN CLEEF & ARPELS TIE PIN / MONEY CLIP WITH SAPPHIRES Ca. 1950/70s 18k gold, cabochon sapphires, French hallmark with a depiction of an owl Signed and numbered, signed ‘VCA NY’. Length 3.5 cm, 14g

Provenance: Private Collection, France 1,900 – 2,100 €

598 • CARTIER 18K GOLD AND LAPIS LAZULI « ANNEAUX DE PONT » CUFFLINKS Signed Cartier Paris Déposé, Cartier workshop hallmark, numbered 02969 with a Cartier case. 1931 3,500 – 4,000 €

599 • CARTIER 14K GOLD SQUARE « ANNEAUX DE PONT » CUFFLINKS Signed Cartier (NY) with a Cartier white box

1,000 – 1,200 €

84 600 • ART DECO ROUND JADE, GOLD, CABOCHON EMERALD AND CORAL SAUCER AND ONE MALACHITE MARQUETRY JADE, CORAL, GOLD AND CABOCHON ONYX CUP. Saucer: 11,8 cm Cup: 6,4 cm Circa 1925 3,000 – 3,500 €

601 • ANTIQUE SET OF CHINESE PIERCED CARVED WHITE JADE AND A LEATHER CARD BOX, WITH WHITE JADE AND SILVER CLASP Set: • 1 square piece, 7 cm • 1 round piece with Chinese “shou” sign in the middle, diameter 6 cm • Pair of round pieces, diameter 4,3 cm • 1 oblong piece, 6,9 cm • 1 piece representing a vase, 5,7 cm • 1 semi-spherical piece, broken, 5,5 cm

Leather box: Jade and silver clasp French silver hallmarks Dimensions: L. 21 cm W. 7,5 cm H. 5 cm 1,000 – 1,500 €

85 GENERAL TERMS AND CONDITIONS OF SALE

Buyers and Sellers are requested to read carefully the explanations of cataloguing practice and conditions set out below 7. PAYMENT which contain terms on which Hermitage Fine Art (“Hermitage” or “the auctioneer”) conducts sales and handles other 7.1 Before bidding on a lot a buyer must: related matters. a) give to Hermitage proof of identity, and b) sign a bidding form, but even if no such form is signed, the buyer will be bound by the terms set out in the catalogue All auctions held in the Principality of Monaco take place under the supervision of a Monegasque official known as the and/or which are announced by the Huisser or the auctioneer before or during the sale and, Huissier, who draws up the certified record of the sale, and who, as the representative of the Monegasque Authorities, c )on purchasing a Lot must pay to Hermitage the total amount due in euros. is responsible for all legal matters relative to the sale. 7.2.Any payments made by a buyer to Hermitage may be applied towards any sums owing by the buyer to Hermitage on any account whatever, without regard to any direction of the buyer or his agent. 1.BIDDING PROCEDURES AND THE BUYER 1.1.Bidders are required to register their particulars (providing satisfactory proof of identity, as well as his/her bank 8. TITLE AND COLLECTION OF PURCHASES references) before bidding, and to satisfy any security arrangements before entering the auction room to view or bid; 8.1.The fall of the hammer and the pronouncement of the word ‘adjugé’ by the Huisser will indicate the conclusion of 1.2.Each Bidder shall receive a paddle number after completing a registration form the purchase contract between the seller and final bidder, now considered to be the buyer. 1.3.If a Bidder wishes to Bid on behalf of a third party, the Bidder shall expressly notify Hermitage Fine Art before the 8.2.The buyer shall at his risk and expense COLLECT any lots that he has purchased and paid for from Hermitage’s Auction begins, stating the name and address of the party the Bidder is representing, as well as submitting a written premises not later than 5 working days following the day of the auction or upon the clearance of any cheque used power of attorney recently granted. for payment (if later) after which the buyer shall be responsible for any COLLECTION, storage and insurance charges. 1.4.The maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer 8.3.Payments have to be made by wire transfer to Hermitage Fine Art’s bank account. price, and any dispute about a bid shall be settled at the Huissier’s and the auctioneer’s absolute discretion by reoffering 8.4.Payment by cheque will only be accepted if the cheque is issued by a bank located in Monaco or in France, and the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. even then collection of the lot will only be possible once the amount of the cheque has been credited to Hermitage Fine 1.5.Bidders shall be deemed to act as principals Art’s bank account. 1.6.Hermitage Fine Art’s right to bid on behalf of the seller is expressly reserved up to the amount of any reserve, and 8.5 Payment by cash will be possible below 30,000.00 euros if the payment is made in Monaco. the right to refuse any bid is also reserved 8.6 The Seller can give Hermitage Fine Art the right to grant, at its sole discretion, the possibility for the Buyer to pay 1.7.Hermitage Fine Art shall reserve the right to refuse the participation of the third party. the total of the purchase price by wire transfer to Hermitage Fine Art’s bank account within a period of 5 working days after the Auction. 8.2.No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has 2. 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REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES necessary to outbid another offer. 10.1.If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of 2.3. Bids made by telephone – Bids made by telephone are carried out for the Bidder by Hermitage Fine Art. these Condition, Hermitage Fine Art, as agent for the seller and on its own behalf, shall at Hermitage Fine Art’s absolute Hermitage Fine Art may record any telephone conversation. discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following The Bidder consents to such recording automatically by applying to Bid by telephone. rights and remedies: 2.4. Hermitage Fine Art will not be responsible for any errors or omissions in connection therewith. (i) to proceed against the buyer for damages for breach of contract; 2.5. Hermitage Fine Art uses the services of external online platforms. Therefore, the Bidder will have the possibility to (ii) to rescind the sale of that lot and/or any other lots sold by Hermitage to the buyer; Bid through those platforms. (iii) to resell the lot (by auction or private treaty) in which case the buyer shall be responsible for any resulting deficieny 2.6. Hermitage Fine Art declines responsibility for - but not limited to -negligence, lost profits or any special, incidental, in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall or consequential damages that result from the use of, or the inability to use, these platforms. belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month of the total amount due to the extent it remains unpaid for 3. COMMISSION BIDS more than 5 working days after the sale Whilst prospective buyers are strongly advised to attend the auction and always responsible for any decision to bid for (vi) to retain that or any other lot sold to the buyer until the buyer pays the total amount due; a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, Hermitage (vii) to reject or ignore bids from the buyer or his agent at future auctions or to impose conditions before any such bids will if so instructed clearly, and in writing, execute bids on a buyer’s behalf. Neither the auctioneer nor Hermitage’s shall be accepted; employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two (viii) to apply any proceeds of sale of other Lots due or in future becoming due to the buyer toward the settlement of the or more commission bids at the same lever are recorded we reserve the right in our absolute discretion to prefer the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for first bid so made. any purpose until the debt due is satisfied). 8.2.Hermitage shall, as agent for the seller and on its own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions. 4. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion 11. THIRD PARTY LIABILITY All members of the public on Hermitage’s premises are there at their own risk, and must note the lay-out of the 5. THE PURCHASE PRICE accommodation and security arrangements. Accordingly neither the auctioneer not its employees or agents shall incur 5.1 The Buyer shall pay the hammer price together with a premium thereon as part of the Purchase Price. liability for death or personal injury (except as required by law by reason of Hermitage’s negligence) or similarly for the 5.2. Hermitage Fine Art’s premium is calculated as follows: safety of the property of persons visiting prior to or at a sale. 27% of the Hammer Price (32.4% VAT included) of the Lot up to and including 250,000,00 euros; 21.5% of the Hammer price (25.8% VAT included) of the Lot between 12. WARRANTY OF TITLE AND AVAILABILITY 250,001,00 euros and 2,500,000.00 euros; The seller warrants to the auctioneer and to the buyer that the seller is the true owner of the property consigned or 12.5% increased by VAT (15% VAT included) of the Lot above 2,500,001.00 euros. is properly authorized by the true owner to consign it for sale and is able to transfer good and marketable title to the 5.3. Any Lot purchased through the online platform of Hermitage Fine Art or any other sales and auction platforms (such property free from any third party claims. as Invaluable, Drouot live, Auction.fr, Bidspirit etc.) will be subject to an additional premium of 3% (5% for Invaluable) of the Hammer Price (VAT included). Extra fees may vary. The Buyer is obliged to verify the amount with each particular platform. 13. AGENCY 13.1. The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13.2. Hermitage Fine Art will not be responsible in the event of any Buyer or Seller failing to fulfil their respective 6. TEMPORARY IMPORTATION agreements. 6.1. Any Lot marked with a symbol “plus (+)” are “free port” and are subject to import tax. The Buyer intending to import the aforesaid Lot into the European Union should be aware that an import tax will be due on the Hammer Price. This import tax shall be paid to Hermitage Fine Art in addition to other fees (e.g.: 5.5% for 14. TERMS OF SALE antiques and works of art in Monaco). The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety, and on the 6.2. Any other Lots are in free circulation within the European Union. Terms of Consignment as notified to the consignor at the time of the entry of the lot. 6.3.The Buyer shall be responsible for checking and fulfilling all the conditions for the transportation of the Lots to their destination, including, but not limited to, checking the import status of the Lots, and the regulations for importation at destination. 15. DESCRIPTIONS AND CONDITIONS (a)Whilst Hermitage Fine Art seeks to describe lots accurately, it may be impractical for Hermitage Fine Art to carry out exhaustive due diligence on each Lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective buyers also bid on the understanding that, inevitably, representations of statements by Hermitage as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. Hermitage undertake that any such opinion shall be honestly and reasonable given. Neither Hermitage Fine Art, nor its employees or agents nor the seller accept liability for correctness of such opinions, and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. All lots are sold “as is”.

16. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to Hermitage by the buyer within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If Hermitage are satisfied by accepted experts from the evidence presented that the lot is a deliberate forgery Hermitage shall refund the money paid by the buyer for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) the buyer personally is not able to transfer a good and marketable title to Hermitage, the buyer shall have no rights under this Condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

17. GENERAL Hermitage shall have the right at its discretion, to refuse admission to its premises or attendance at its auctions by any person.

18. 18.1.Any right to compensation for losses liabilities and expenses incurred in respect of, and as a result of, any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auction house as appropriate. 18.2.Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or of the auction house who may itself enforce them. ≠≠≠

19. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or email in which case it shall be deemed to have been received by the addressee 48 hours after posting.

20. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

21. Any indulgence extended to bidders, buyers or sellers by Hermitage notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only, in all other respects these Conditions shall be construed as having full force and effect.

22. EXPORT OF PURCHASES 22.1 In view of the Customs Union existing between France and Monaco, any exports outside the Principality of Monaco are subject to the rules and regulations applicable in France. 22.2 Any Lot coming from the Customs Union or benefiting from a temporary importation, if it remains in the Customs Union, may be removed upon presentation of a proof of payment of the Purchase Price. If the Buyer intends to export the Lot outside of the Customs Union, it will be up to him to perform all the necessary procedures and formalities required by the applicable law. Under no circumstances shall Hermitage Fine Art or the Huisser be pursued for non-compliance or non-completion of the said formalities.

23. ARTIST RESALE RIGHTS (OR DROIT DE SUITE) According to the European Union’s Artist’s Resale Rights Directive, which has been adopted by the EU, living artists and artists who died within 70 years prior to the date of the sale are entitled to receive a resale royalty each time their art work is sold by an art market professional in the European Union, subject to certain conditions. Hermitage Fine Art will collect the resale royalty due to the artists or their estates from buyers of lots with a hammer price (excluding buyer’s premium and excluding VAT) in excess of €1000. Any purchaser of a lot to which Artist’s Resale Right applies will be charged the amount of the resale royalty, which will be added to the invoice.

24. LAW AND JURISDICTION. The General Conditions are regulated by and constructed in accordance with the laws of the Principality of Monaco. Any legal action or dispute arising out of or in connection with these Terms and Conditions shall be settled by the Courts of Monaco.

Lot 540 - Joseph BOWLER (B. 1928) Lady in the hat with a rose.

Maître Claire Notari Huissier de Justice à Monaco

ABSENTEE/TELEPHONE BIDDING FORM The auction will take place in accordance with the General Terms and Conditions and the auction itself shall be regulated by these same Terms and Conditions. You are invited to read the General Terms and Conditions of Sale as well as the important information appended thereto, which indicate the costs you will be obligated to pay in the event of successfully purchasing a Lot, among other clauses relating to the auction sale. Do not sign this form unless you have received answers to all of your questions pertaining to the General Terms and Conditions. These Terms and Conditions are contractual commitments which bind and limit bidders and successful purchasers, in particular the Bailiff’s responsibility in regards to bidders as well as successful purchasers.. Privacy Policy Your personal data shall be kept by the Bailiff and the Organizer. We are committed to not provide your personal data to any extraneous person. However, we may occasionally contact you with information on goods and services we believe may be of interest to you, including those offered by third parties. In case you do not wish to receive such information (with the exception of information you may request), please check the box below. q

Would you like to receive information concerning our business via email? If not, please check the box below. q Be sure to obtain all the information concerning a Lot at least 24 hours before the sale. The bidding will be rounded to the nearest increment. Please refer yourself to the important information found in the catalogue concerning your instructions made to the Organizer for the execution of your purchase orders. The Bailiff will seek to execute these orders on your behalf but shall not be held liable for any error.

Paddle number Name of sale ART RUSSE Date Location of sale MONACO Company Name First name Last name Address Customer Number City Zip code Country Tel. No Fax Tel. No E-mail Mobile phone Are you an individual bidder q or a company bidder q VAT Number

Telephone No. the day of the sale : If you wish to be called during the auction, please write « TEL » in the box « your bid ». For security reasons calls may be registered. Telephone No. the day of the sale :......

Lot n° Brief Description Your bid excluding VAT, commissions and fees in Euros

By signing this form, you acknowledge that you have been in possession, have read and understood the General Terms and Conditions presented by Madam Claire Notari, Bailiff in Monaco, in particular Article 20, and further acknowledge having accepted the Terms and Conditions without reservation. If you are a first-time client of Madam Claire Notari, please attach your bank account details.

Your Signature Date

UPCOMING AUCTION Spring/ Summer 2021 Monte-Carlo

We are currently inviting consignments for our next auction Jewellery & Watches

[email protected]

CARTIER - Tank « Normale » wrist watch Made in 1925 Sold 32,000 euros

25, Avenue de la Costa - 98000 Monaco Tel: +377 97773980 Email: [email protected] www.hermitagefineart.com