A5_20&21 Cenury Art_Flip by Bonhams

INCLUDING A LASTING IMPRESSION: THE RENOIR COLLECTION OF GABRIELLE RENARD

New York | May 20 – 21, 2026

RENARD

ONLINE | SUNDAY, MAY 10, 2026 AT 12PM ET – WEDNESDAY, MAY 20, 2026 AT 12PM ET

Reference catalogue. For full catalogue see www.bonhams.com/auction/32380

20TH AND 21ST CENTURY ART EVENING SALE

MAY 20, 2026 AT 5PM ET

Reference catalogue. For full catalogue see www.bonhams.com/auction/31875

IMPRESSIONIST & MODERN ART

MAY 21, 2026 AT 12PM ET

Reference catalogue. For full catalogue see www.bonhams.com/auction/31845

POST-WAR & CONTEMPORARY ART

MAY 21, 2026 AT 2PM ET

Reference catalogue. For full catalogue see www.bonhams.com/auction/31876

A LASTING IMPRESSION: THE

RENOIR COLLECTION OF GABRIELLE RENARD

Online, New York | Sunday, May 10, 2026 at 12pm ET – Wednesday, May 20, 2026 at 12pm ET

Reference catalogue. For full catalogue see www.bonhams.com/auction/32380

Bonhams

111 West 57th Street

New York, New York 10019 bonhams.com

Sale Number

32380

Lots 1 - 21

Renard Cover Page

Illustrations

Front cover: Lot 6A

Inside front cover: Lot 240

Opposite page: Lot 10

Inside back cover: Lot 242

Back cover: Lot 116

PREVIEW

Friday, May 8, 10am-5pm Saturday, May 9, 10am-5pm Sunday, May 10, 12pm-5pm Monday, May 11, 10am-5pm Tuesday, May 12, 10am-5pm Wednesday, May 13, 10am-5pm Thursday, May 14, 10am-5pm Friday, May 15, 10am-5pm Saturday, May 16, 10am-5pm Sunday, May 17, 12pm-5pm Monday, May 18, 10am-5pm Tuesday, May 19, 10am-5pm Wednesday, May 20, 10am-12pm

INQUIRIES

New York

Frederick Millar

Senior Specialist

+1 (212) 644 9020 frederick.millar@bonhams.com

Emilie Garner

Sale Coordinator

+1 (917) 206-1622

emilie.garner@bonhams.com

BIDS

Bid online/VIA OUR APP

Alternatively, contact our Client Services department at: bids.us@bonhams.com +1 (212) 644 9001

BIDDER REGISTRATION

Verification of a valid credit card in your name may be required before you are able to place bids. If you will bid on behalf of a company, you must disclose this at the time of bidder registration. Successful bidders may be required to provide personal, or, if applicable, entity KYC documentation (including government issued ID and other information we may reasonably require). For telephone or absentee bids a completed Bidder Registration Form must be submitted in advance of the sale. The Bidder Registration Form can be found at the back of every catalogue and on our website at www. bonhams.com and should be returned by email to Client Services at bids.us@bonhams.com 24 hours ahead of the start of the sale.

SHIPPING & COLLECTION

For eligible lots, we endeavor to extended a shipping quote to buyers within 5 business days of the sale. Lots marked “W” are oversized and may be subject to off-site post-sale storage and shipping; please refer to the Oversized Lot information section in the Buyer’s Guide. You may collect or ship your purchases after your payment in full has been received. If you are sending a third party to collect, we will require your advance, written authorization to release the property to your nominee. To schedule a collection, contact our Client Services department at invoices.us@ bonhams.com. Preallocated 30-minute slots are available Monday through Friday between 9:00am and 4:30pm.

NOTICE TO BIDDERS

Please note that starting on June 28, 2025, the import into the European Union of certain property of non-EU origin may be subject to additional import requirements. If you are an EU buyer of such items, please ensure you are fully informed of the applicable EU regulatory requirements regarding import prior to bidding.

PIERRE-AUGUSTE RENOIR (1841-1919)

Gabrielle à la blouse blanche stamped with the artist's signature 'Renoir' (upper left) oil on canvas

11 13/16 x 9 7/16 in (30 x 24 cm)

Painted in 1907

$220,000 - 320,000

£160,000 - 240,000

HK$1,700,000 - 2,500,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

This work will be included in the second supplement to the Catalogue raisonné des tableaux, pastels, dessins et aquarelles de Renoir , currently being prepared by Guy-Patrice and Floriane Dauberville.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943, no. 29.

San Francisco, California Palace of the Legion of Honor, Paintings by Pierre Auguste Renoir , November 1-30, 1944.

PIERRE-AUGUSTE RENOIR (1841-1919)

Roses et tête de Gabrielle

stamped with the artist's signature 'Renoir' (upper left) oil on two joined canvases

12 3/16 x 13 in (31 x 33 cm)

Painted circa 1912

$150,000 - 200,000

£110,000 - 150,000

HK$1,200,000 - 1,600,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943, no. 38.

San Francisco, California Palace of the Legion of Honor, Paintings by Pierre Auguste Renoir , November 1-30, 1944 (titled 'Roses').

PIERRE-AUGUSTE RENOIR (1841-1919)

Paysage signed 'Renoir' (lower left) oil on canvas

8 1/4 x 12 5/8 in (20.9 x 32 cm)

Painted circa 1897

$100,000 - 150,000

£74,000 - 110,000

HK$780,000 - 1,200,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited (Possibly) Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943.

PIERRE-AUGUSTE RENOIR (1841-1919)

Tête de femme et paysage , also titled L'Italienne signed 'Renoir' (upper right) oil on canvas

4 3/4 x 3 9/16 in (12.1 x 9 cm)

Painted circa 1885

$40,000 - 60,000

£30,000 - 44,000

HK$310,000 - 470,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist).

John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

San Francisco, California Palace of the Legion of Honor, Paintings by Pierre Auguste Renoir , November 1-30, 1944 (titled 'Italian Girl').

PIERRE-AUGUSTE RENOIR (1841-1919)

Paysage, Cagnes

stamped with the artist's signature 'Renoir' (lower right) oil on canvas

8 3/4 x 10 5/8 in (22.2 x 27 cm)

Painted in 1913-1914

$80,000 - 120,000

£59,000 - 89,000

HK$630,000 - 940,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited (Possibly) Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943.

San Francisco, California Palace of the Legion of Honor, Paintings by PierreAuguste Renoir , November 1-30, 1944 (dated '1910').

PIERRE-AUGUSTE RENOIR (1841-1919)

Portrait de Charles Le Coeur signed 'Renoir' (center left)

oil on canvas

12 3/16 x 9 7/16 in (31 x 24 cm)

Painted in 1874

$250,000 - 350,000

£190,000 - 260,000

HK$2,000,000 - 2,700,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943, no. 30 (titled 'Portrait of M. Lecoeur').

San Francisco, California Palace of the Legion of Honor, Paintings by Pierre Auguste Renoir , November 1-30, 1944 (titled 'Portrait of a Man' and dated '1870').

Literature

J. MacAgy, 'Birthday Show at the Legion of Honor Palace,' in Artnews 43, November 1-14, 1944, no. 14 (illustrated p. 15; titled 'Portrait of M. Lecoeur' and dated '1870').

F. Daulte, Auguste Renoir, Catalogue raisonné de l'oeuvre peint , Vol. I, Figures, 1860-1890 , Lausanne, 1971, no. 100 (illustrated).

PIERRE-AUGUSTE RENOIR (1841-1919)

Tête de Coco

signed 'Renoir' (lower center) oil on canvas

3 9/16 x 3 1/4 in (9.1 x 8 cm)

Painted circa 1903

$12,000 - 18,000

£8,900 - 13,000

HK$94,000 - 140,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943, no. 37 (titled 'Coco').

Tête de Coco captures Renoir's youngest son, Claude, who was affectionately nicknamed Cloclo by his family, later Coco. He was immortalized by his loving father's numerous depictions of him as a young child, having taken over from Jean as Renoir's favored model in 1901.

"It was while we were living in the rue Caulaincourt that my father had me pose for him most often. A few years later my brother Claude, who was seven years younger than I, was to take my place in the studio. Coco certainly proved one of the most prolific inspirations my father ever had" (J. Renoir, Renoir, My Father , New York, 1958, p. 364).

The iconic blonde locks, held in place with a pink bow, are seen frequently throughout Renoir's extensive portraits of Coco, whose plump rosy cheeks represent the aging artist's affectionate joy in the youth and health of his youngest son.

With its circular composition and small scale, the present work could in fact be a study for a small medallion, a number of which Renoir produced in bronze. Nevertheless, with its large signature, Renoir clearly considered Tête de Coco a finished work, fit for his iconic autograph and Coco's loving nanny's collection.

PIERRE-AUGUSTE RENOIR (1841-1919)

Étude de têtes et de paysages, La Rochelle stamped with the artist's signature 'Renoir' (upper left) oil on canvas

10 5/8 x 8 1/16 in (27 x 20.5 cm)

Painted in 1896

$70,000 - 100,000

£52,000 - 74,000

HK$550,000 - 780,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943, no. 49 (titled 'Sketches at La Rochelle').

"WHEN PAINTING FLOWERS, MY BRAIN RESTS. I DO NOT SPEND THE MENTAL EFFORT ON THEM AS I DO WHEN STANDING BEFORE A MODEL. WHEN I PAINT FLOWERS, I PUT DOWN TONES, I BOLDLY TRY OUT VALUES, UNCONCERNED AS TO WHETHER I AM BOTCHING A CANVAS. I WOULD NOT DARE TO DO THAT WITH A FIGURE, FOR FEAR

OF SPOILING EVERYTHING. AND THE EXPERIENCE I GAIN FROM THESE EXPERIMENTATIONS,

I APPLY IT LATER TO MY [FIGURE] PAINTINGS."

- PIERRE-AUGUSTE RENOIR

PIERRE-AUGUSTE RENOIR (1841-1919)

Anémones signed 'Renoir.' (lower right) oil on canvas

7 5/8 x 11 in (19.5 x 28 cm)

Painted between 1912-1915

$80,000 - 120,000

£59,000 - 89,000

HK$630,000 - 940,000

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943, no. 34.

Literature

The Wildenstein Plattner Institute, Inc. (eds.), Pierre-Auguste Renoir: Catalogue Raisonné Project , online catalogue, no. PR2ZUA (illustrated).

PIERRE-AUGUSTE

RENOIR (1841-1919)

Portrait de Gabrielle signed 'Renoir.' (lower left) oil on canvas

10 5/8 x 8 11/16 in (27 x 22.1 cm)

Painted in 1910

$300,000 - 500,000

£220,000 - 370,000

HK$2,400,000 - 3,900,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

Los Angeles, Los Angeles County Museum, Pierre Auguste Renoir 1841-1919, Paintings, Drawings, Prints and Sculpture , July 14 - August 21, 1955, no. 65 (dated 'circa 1905').

PIERRE-AUGUSTE RENOIR (1841-1919)

Paysage nuageux

signed 'Renoir' (lower left) oil on canvas

7 1/16 x 11 in (18 x 28 cm)

Painted circa 1885

$180,000 - 250,000

£130,000 - 190,000

HK$1,400,000 - 2,000,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959).

Thence by descent to the present owner.

Exhibited (Possibly) Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943.

PIERRE-AUGUSTE RENOIR (1841-1919)

Paysage avec une maisonnette signed 'Renoir' (lower right) oil on canvas

5 1/8 x 8 3/8 in (13 x 21 cm)

Painted in 1887

$150,000 - 200,000

£110,000 - 150,000

HK$1,200,000 - 1,600,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited (Possibly) Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943.

PIERRE-AUGUSTE RENOIR (1841-1919)

Paysage de Provence stamped with the artist's signature 'Renoir' (upper left) oil on canvas

6 3/4 x 9 1/16 in (17.2 x 23 cm)

Painted circa 1900

$50,000 - 70,000

£37,000 - 52,000

HK$390,000 - 550,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited (Possibly) Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943.

PIERRE-AUGUSTE RENOIR (1841-1919)

Paysage du midi

stamped with the artist's signature 'Renoir' (upper left) oil on canvas

5 1/2 x 7 7/8 in (14 x 20 cm)

Painted in 1913-1914

$50,000 - 70,000

£37,000 - 52,000

HK$390,000 - 550,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited (Possibly) Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943.

"MADAME RENOIR ALWAYS KEPT FLOWERS IN THE HOUSE, ARRANGED IN THOSE INEXPENSIVE, PRETTY GREEN VASES THAT CAUGHT RENOIR'S FANCY IN THE SHOP WINDOWS."

- AMBROISE VOLLARD

PIERRE-AUGUSTE RENOIR (1841-1919)

Vase de fleurs des champs signed 'Renoir' (lower left)

oil on canvas

14 15/16 x 11 13/16 in (38 x 30 cm)

Painted circa 1887

$500,000 - 700,000

£370,000 - 520,000

HK$3,900,000 - 5,500,000

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943, no. 33 (titled 'Wild Flowers').

Literature

The Wildenstein Plattner Institute, Inc. (eds.), Pierre-Auguste Renoir: Catalogue Raisonné Project , online catalogue, no. PR1778 (illustrated).

PIERRE-AUGUSTE RENOIR (1841-1919)

Étude de rose et maison

stamped with the artist's signature 'Renoir.' (upper right) oil on canvas

10 11/16 x 6 11/16 in (27.1 x 17 cm)

Painted circa 1902

$40,000 - 60,000

£30,000 - 44,000

HK$310,000 - 470,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943, no. 41 (titled 'Sketch-Pink Rose').

PIERRE-AUGUSTE RENOIR (1841-1919)

Étude de roses, de têtes et de nus stamped with the artist's signature 'Renoir' (lower left) oil on canvas

16 1/8 x 13 1/16 in (41 x 33.2 cm)

Painted circa 1905

$100,000 - 150,000

£74,000 - 110,000

HK$780,000 - 1,200,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943, no. 48 (titled 'Study Roses and Nude').

PIERRE-AUGUSTE RENOIR (1841-1919)

Étude de têtes et de buste de Maillol stamped with the artist's signature 'Renoir.' (upper center) oil on canvas laid down on canvas 13 1/4 x 8 1/4 in (33.5 x 21 cm)

Painted circa 1907

$60,000 - 80,000

£44,000 - 59,000

HK$470,000 - 630,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943, no. 32 (titled 'Studies of Maillol Bust').

PIERRE-AUGUSTE RENOIR (1841-1919)

Personnage au bord de mer stamped with the artist's signature 'Renoir.' (lower right) oil on canvas

7 1/2 x 13 1/16 in (19.1 x 33.2 cm)

Painted circa 1889

$80,000 - 120,000

£59,000 - 89,000

HK$630,000 - 940,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Exhibited

Los Angeles, Dalzell Hatfield Galleries, Renoir, 1841-1919 , September 15 - October 15, 1943, no. 40 (titled 'Seascape').

PIERRE-AUGUSTE RENOIR (1841-1919)

Portrait de Gabrielle stamped with the artist's signature 'Renoir.' (lower left) oil on canvas

5 9/16 x 4 in (14.2 x 10 cm)

Painted in 1913

$50,000 - 70,000

£37,000 - 52,000

HK$390,000 - 550,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

PIERRE-AUGUSTE RENOIR (1841-1919)

Tête de femme (Gabrielle)

pen and ink on paper

6 5/16 x 5 1/8 in (16 x 13 cm)

Executed in 1895

$10,000 - 15,000

£7,400 - 11,000

HK$78,000 - 120,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Gabrielle Renard-Slade Collection, Cagnes & Los Angeles (a gift from the artist). John Slade Collection, Beverly Hills (by descent from the above circa 1959). Thence by descent to the present owner.

Conditions of Sale

These Conditions of Sale (as defined below) constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale and sold by Bonhams and the sellers of such property for whom Bonhams acts as agent. By registering to bid and/or by bidding on or buying any property offered in the auction, you agree to be bound by these Conditions of Sale.

As used herein, the term “Conditions of Sale” includes (a) the terms and conditions contained in this document, (b) if online bidding is available for the subject auction, the Conditions of Website use at www. bonhams.com/WebTerms which terms and conditions are incorporated by reference herein, (c) the Lot Symbols Key, and (d) the additional information contained in the Buyer’s Guide, and any other notices published for this auction, in each case as may be amended prior to or during the auction by saleroom notices published in writing or made by oral announcement. Any post-auction sale of property offered in this auction shall be made subject to these same Conditions of Sale.

The terms “Bonhams,” “we,” “us” and “our” refer to Bonhams & Butterfields Auctioneers Corp., a Delaware corporation. The terms “you” and “your” refer to the auction registrant, bidder or buyer of a lot, as applicable.

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We may also request a financial reference and/or deposit from bidders before approving the bidder registration. In the event a deposit is submitted, and you are not the successful bidder, your deposit will be returned to you. If you are the successful bidder, any such deposit will be credited to offset the appropriate portion of the purchase price.

We reserve the right to request further information, including regarding the source of funds, in order to complete bidder identification and registration procedures (including completing any anti-money laundering and/or anti-terrorism financing checks we may require) to our satisfaction. If our bidder identification and registration procedures are not satisfied, we may, in our sole discretion, decline to register any bidder or reject any bid or cancel any sale to such bidder.

Every bidder shall be deemed to act as a principal unless prior to the commencement of the sale there is a written acceptance by Bonhams of a bidder registration form completed and signed by the principal which clearly states that the authorized bidding agent is acting on behalf of the named principal. Absent such written acceptance by Bonhams, any person placing a bid as agent on behalf of another (whether or not such person has disclosed that fact or the identity of the principal) may be jointly and severally liable with the principal under any contract resulting from the acceptance of a bid.

Every bidder shall be responsible for any use of its assigned paddle or bidding account, regardless of the circumstances. For all auctions and sales, should your bid be successful, you irrevocably agree to pay the full purchase price. We are not responsible for any errors that you make or that are made through your bidding account in placing a bid on a lot.

3. You represent and warrant that:

(i) you have provided to us, or will provide upon request, true and correct copies of valid identification and proof of residence and, if applicable, financial and/or corporate documents;

(ii) neither you, your principal (if applicable, and subject to Bonhams’ prior written acceptance pursuant to paragraph 2 above), nor any individual or entity with a beneficial or ownership interest in either the purchased property or in the purchase transaction is on the Specially Designated Nationals List maintained by the Office of Foreign Assets Control of the U.S. Department of the Treasury nor subject to any other sanctions or embargo program or regulation in effect in the United States, European Union, England and Wales, or other applicable jurisdictions (such programs and regulations, collectively, “Sanctions”);

(iii) if you are acting as an agent for a principal, you have conducted appropriate due diligence into such principal, and agree that Bonhams shall be entitled to rely upon such due diligence, you will retain adequate records evidencing such due diligence for a period of five (5) years following the consummation of the sale, and will make these records available for inspection upon Bonhams’ request;

(iv) neither the purchase transaction (including your bidding activity) nor the purchase funds are connected with nor derive from any criminal activity, and they are not designed to nor have they or shall they, violate the banking, anti-money laundering, or currency transfer laws or other regulations (including without limitation, import-export laws) of any country or jurisdiction, or further any other unlawful purpose, including without limitation collusion, anti-competitive activity, tax evasion or tax fraud; and

(v) property purchased by you or your principal (if applicable) hereunder is not and will not be transferred to or used in a country in contravention of any Sanctions.

You acknowledge and agree that we may rely upon the accuracy and completeness of the foregoing warranties.

4. On the fall of the auctioneer’s hammer (or, for online-only sales, on the close of the lot by Bonhams’ online bidding system), the highest bidder accepted for the lot shall have purchased the offered lot in accordance and subject to compliance with all of the conditions set forth herein and (a) assumes full risk and responsibility therefor, (b) if requested will sign a confirmation of purchase, and (c) will pay the purchase price in full or such part as we may require for all lots purchased. No lot may be transferred.

Unless otherwise agreed, payment in good, cleared funds is due and payable within five (5) business days following the auction sale. Whenever the buyer pays only a part of the total purchase price for one or more lots purchased,

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we may apply such payments or any deposits, in our sole discretion, to the lot or lots we choose. Payment will not be deemed made in full until we have received good, cleared funds for all amounts due. Title in any purchased property will not pass until full and final payment has been received by Bonhams. Accounts must be settled in full before property is released to the buyer. In the event property is released earlier, such release will not affect the passing of title or the buyer’s obligation to timely remit full payment.

We reserve the right to refuse to accept payment from a source other than the registered bidder or buyer of record. Once an invoice is issued, we cannot change the buyer’s name on an invoice. Payment for purchases must be made in the currency in which the sale is conducted. Bonhams’ preferred payment method is by wire transfer. For final purchases exceeding US $25,000, all payments must be in the form of wire transfer unless other arrangements have been approved in advance. For final purchases below US $25,000, payment may also be made in or by the following methods:

(i) Cash. Please note that the amount of cash that can be accepted from a given buyer is limited to US $5,000 per auction sale (whether by single or multiple related payments). If the amount payable exceeds that sum, the balance must be paid by another method.

(ii) Cashier’s check, money order, or personal check with approved credit drawn on a U.S. bank. A processing fee will be assessed on any returned checks.

(iii) Visa, MasterCard, American Express or Discover debit or credit card issued in the name of the buyer or record. Only one debit or credit card may be used for payment of an account balance. This method of payment may not be available to first time buyers.

To the fullest extent permitted by applicable law, the buyer grants us a security interest in the property, and we may retain as collateral security for the buyer’s obligations to us, any property and all monies held or received by us for the account of the buyer, in our possession. We also retain all rights of a secured party under the Uniform Commercial Code (which shall mean the New York Uniform Commercial Code, except where the Uniform Commercial Code of another state governs the perfection of a security interest in collateral located in that state), and you agree that we may file financing statements without your signature. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to all other remedies available to us and the seller by law, we may at our election:

(a) hold the buyer liable for the full purchase price and any late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages incurred by us or the seller arising out of the buyer’s breach;

(b) cancel the sale, retaining as liquidated damages all payments and deposits made by the buyer;

(c) cancel the sale and/or resell the purchased property, at public auction and/or by private sale, and in such event the buyer shall be liable for the payment of all consequential damages, including any deficiencies or monetary losses, and all costs and expenses of such sale or sales, our commissions at our standard rates, all other charges due hereunder, all late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages; and/or

(d) reveal the buyer’s identity and contact details to the seller.

In addition, where two or more amounts are owed in respect of different transactions by the buyer to us, to Bonhams 1793 Limited and/ or to any of our other affiliates, subsidiaries or parent companies worldwide within the Bonhams Group, we reserve the right to apply any monies paid in respect of a transaction to discharge any amount owed by the buyer. If all fees, commissions, premiums, hammer prices and other sums due to us from the buyer are not paid promptly as provided in these Conditions of Sale, we reserve the right to impose a finance charge equal to 1.5% per month (or, if lower, the maximum nonusurious rate of interest permitted by applicable law), on all amounts due to us beginning on the 31st day following the sale until payment is received, in addition to other remedies available to us by law.

5. We reserve the right to withdraw any property and to divide and combine lots at any time before such property’s auction. Unless otherwise announced by the auctioneer at the time of sale (or, for online-only sales, explicitly stated in the lot description), all bids are per lot as numbered in the catalog and no lots shall be divided or combined for sale.

6. We reserve the right to reject a bid from any bidder, to split any bidding increment, and to advance the bidding in any manner we, as auctioneer, may decide. In the event of any dispute between bidders, or in the event we, as auctioneer, doubt the validity of any bid, we, as auctioneer, shall have sole and final discretion either to determine the successful bidder, reopen the bidding, or to cancel the sale and re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in all respects. We further reserve the right to cancel the sale of any property if: (i) you are in breach of your representations and warranties as set forth in paragraph 3 above; (ii) we, in our sole discretion, determine that such transaction might be unlawful or might subject Bonhams or the seller to any liability to any third party; or (iii) there are any other grounds for cancellation under these Conditions of Sale.

7. If we are prevented by fire, theft or any other reason whatsoever from delivering any property to the buyer or a sale otherwise cannot be completed, our liability shall be limited to the sum actually paid therefor by the buyer and shall in no event include any compensatory, incidental or consequential damages.

8. All lots in the catalog are offered subject to a reserve unless otherwise indicated in the catalog. The ¤ symbol next to the lot number denotes no reserve. The reserve is the confidential minimum hammer price at which such lot will be sold and it does not exceed the low estimate value for the lot. If a lot is offered subject to a reserve, we may implement such reserve by bidding on behalf of the seller, whether by opening bidding or continuing bidding in response to other bidders until reaching the reserve. If we have an interest in an offered lot and the proceeds therefrom other than our commissions, we may bid up to the reserve to protect such interest. If any opening or subsequent bid is below the reserve for a lot, the auctioneer (or, for online-only sales, on the close of the lot by Bonhams’ online bidding system), may reject such opening bid and withdraw the item from sale. SELLERS ARE NOT ALLOWED TO BID ON THEIR OWN ITEMS.

9. Other than as provided in the “LIMITED RIGHT OF RESCISSION” section of these Conditions of Sale with respect to identification of authorship, all property is sold “AS IS” and any statements contained in the catalog or in any advertisement, bill of sale, announcement, condition report, invoice or elsewhere as to period, culture, source, origin, media, measurements, size, quality, rarity, provenance, importance, exhibition and literature of historical relevance, merchantability, fitness for a particular purpose, or physical condition ARE QUALIFIED STATEMENTS OF OPINION AND NOT REPRESENTATIONS, WARRANTIES, OR ASSUMPTION OF LIABILITY. Neither Bonhams nor the seller shall be responsible for any error or omission in the catalog description of any property. No employee or agent of Bonhams is authorized to make on our behalf or on that of the seller any representation or warranty, oral or written, with respect to any property.

10. All purchased property shall be removed from the premises at which the sale is conducted by the date(s) and time(s) set forth herein, and, if applicable, as further specified in the “Buyer’s Guide” portion of the catalog. Lots designated with a “W” and associated purchased lots, if not removed promptly following sale, will be transferred to an offsite warehouse at the buyer’s risk and expense, as set forth in more detail in the “Buyer’s Guide.” Purchased property that is permitted to remain onsite at Bonhams’ facility must be removed at the buyer’s expense not later than 5:00 p.m. local time five (5) business days following the date of the sale. If not so removed, a storage fee of US $5.00 per lot per day will be payable to us by the buyer beginning at the close of the 14th day following the sale, and we may thereafter transfer such property to an offsite warehouse at the buyer’s risk and expense.

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Accounts must be settled in full before property will be released. Packing and handling of purchased lots are the responsibility of the buyer and at the buyer’s entire risk, as are the identification, application for, and cost(s) of obtaining any necessary export, import, restricted material (e.g. endangered species) or other permit for such lots.

11. The copyright in the text of the catalog and the photographs, digital images and illustrations of lots in the catalog belong to Bonhams or our licensors. You will not reproduce or permit anyone else to reproduce such text, photographs, digital images or illustrations without our prior written consent. Bonhams and the seller make no representation or warranty as to whether the buyer acquires any copyrights on the purchase of an item of property.

12. Bonhams may, in our discretion, as a courtesy and free of charge, execute bids on your behalf if so instructed by you, provided that neither Bonhams nor our employees or agents will be liable for any error or default (whether human or otherwise) in doing so or for failing to do so. Without limiting the foregoing, Bonhams (including our agents and employees) shall not be responsible for any problem relating to telephone, online, or other bids submitted remotely through any means, including without limitation, any human error, telecommunications or internet fault or failure, or breakdown or problems with any devices or online platforms, including third-party online platforms, regardless of whether such issue arises with our, your, or such third-party’s technology, equipment, or connection.

By participating at auction by telephone or online, bidders expressly consent to the recording of their bidding sessions and related communications with Bonhams and our employees and agents, and acknowledge their acceptance of these Conditions of Sale as well as any additional terms and conditions applicable to any such bidding platform or technology.

13. These Conditions of Sale shall bind the successors and assigns of all bidders and buyers and inure to the benefit of our successors and assigns. No waiver, amendment or modification of the terms hereof (other than posted notices or oral announcements during the sale) shall bind us unless specifically stated in writing and signed by us. No act or omission of Bonhams, its employees or agents, nor any failure thereof to exercise any remedy hereunder, shall operate or be deemed to operate as a waiver of Bonhams’ rights under these Conditions of Sale. If any part of these Conditions of Sale is for any reason invalid or unenforceable, the rest shall remain valid and enforceable.

14. You accept and agree that Bonhams will hold and process your personal information and

may share and use it as required by law and as described in, and in line with Bonhams’ Privacy Policy, available online at http://www. bonhams.com/legals/9945/. If you desire access, update, or restriction to the use of your personal information, please email data.protection@bonhams.com.

15. These Conditions of Sale and the buyer’s and our respective rights and obligations hereunder shall be governed by and construed and enforced in accordance with the laws of the State of New York. Any dispute, controversy or claim arising out of or relating to this agreement, or the breach, termination or validity thereof, brought by or against Bonhams (but not including claims brought against the seller by the buyer of lots consigned hereunder) shall be resolved by the procedures set forth in the “MEDIATION AND ARBITRATION PROCEDURES” section of these Conditions of Sale.

SPECIAL TERMS AND CONDITIONS FOR WINES AND SPIRITS AUCTIONS

a. Bidders and buyers must be at least 21 years of age to participate in the auction and have the legal authority to buy, receive and possess the alcoholic beverage lots offered in the sale. Each winning bidder shall present satisfactory legal documentation that he or she is at least 21 years of age. In the case of a purchaser that is a corporation, partnership or similar entity, the person receiving the purchased lots on its behalf must meet the foregoing requirements.

b. All payments for purchased property must be made directly to Bonhams. Accounts must be settled in full before property will be released. All purchases must be removed from the offsite, third-party storage facility designated in the “COLLECTION OF PURCHASES FROM WINE AND SPIRITS AUCTIONS” section of the Buyer’s Guide, where it is stored in climate-controlled conditions, within 30 days of the auction. Bonhams accepts no responsibility or liability for any damage to property that is not collected more than 14 days after the auction. Any property not so collected will incur storage charges, starting on day 15, at the then applicable rates charged by the third-party facility where sold property is stored for post-sale collection by buyers. Such third-party storage facility may charge, and the buyer agrees to pay, storage fees per lot, on a daily or a monthly basis. If any property has not been collected within 30 days from the date of sale, at the option of Bonhams the property may be transferred to and stored at a bonded warehouse the buyer’s sole risk and expense, and the buyer agrees to pay all transfer and storage expenses associated therewith.

c. Packing and handling of purchased lots are the sole responsibility of the buyer. Buyer will bear the cost and risk of any packing, pickup, shipping, insurance and any applicable

taxes thereon. Bonhams assumes no liability for assisting with any packing, shipping or insurance arrangements. Packing and handling arrangements may be available through the third party storage facility where the property is stored for post-sale collection or through other third party service providers. Buyers must arrange for such services directly with the third party provider independently at the buyer’s sole risk and expense. Bonhams and the sellers will not be liable for any acts or omissions of any packers or carriers, whether or not recommended by us.

d. Bonhams makes no representations as to the legal rights of anyone to ship or import alcoholic beverages into or within any state or jurisdiction. Purchasers are required to comply with their respective states’ or jurisdictions’ regulations regarding the importation, exportation and shipment of alcoholic beverages, and purchasers are solely responsible for the importation, exportation and shipment of alcoholic beverage products purchased. All alcoholic beverage property, however shipped or received, requires the recipient to be in possession of photo identification confirming that he or she is 21 years of age or older. In addition, many jurisdictions prohibit the importation, or limit the quantity, of alcoholic beverages entering such jurisdiction, and some jurisdictions require the purchaser, seller and/or shipper to obtain certain permits or licenses prior thereto. It is the purchaser’s sole responsibility to determine whether any such restrictions, limitations or prohibitions are applicable prior to bidding and to obtain any required permits or licenses, and any delay in obtaining or the denial of any such permit or license shall not serve as the basis for any cancellation or rescission of any purchase made hereunder or any delay in making full payment for the purchase when due.

e. All Wines and Spirits lots are sold in Massachusetts and title passes to the buyer in Massachusetts. All sales are subject to applicable taxes.

SPECIAL TERMS AND CONDITIONS FOR COINS AND BANKNOTES AUCTIONS

a. Bonhams has utilized adjectival, descriptive grading to describe the conditions of coins and banknotes in the catalog rather than the Sheldon numerical scale. Grading is subjective and open to interpretation. Prospective bidders are encouraged to make their own examination of the numismatic lots offered and not rely on any other party’s opinion as to grade or other attributes, as opinions differ and grading standards change over time.

b. Many of the numismatic lots have been graded by third party grading service(s) including but not limited to PCGS, NGC, and/ or ANACS. To the extent Bonhams provides such grading information in the cataloguing

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of a lot, it does so without any express or implied warranty or guarantee, and such information’s inclusion does not mean that Bonhams or the seller agrees or disagrees with the information that such third party grading service(s) have provided. Bonhams and its sellers shall not be bound by any prior or subsequent opinion or certification (or lack thereof) by any third party grading service, and bidders on numismatic lots hereby acknowledge and agree that any such opinion or certification (or lack thereof) shall not be used as the basis for any attempted rescission of sale. THE BUYER ASSUMES ALL RISKS RELATING TO GRADING, CONDITION, RARITY AND VALUATION OF NUMISMATIC LOTS.

c. Catalog illustrations of numismatic lots may not be to scale or reflect the depicted items’ actual size.

SPECIAL TERMS AND CONDITIONS FOR ARMS AND MILITARIA AUCTIONS

a. Certain classifications of firearms require licensures and/or are subject other regulatory restrictions. Prospective bidders are responsible for checking with their local (e.g. state) regulatory authorities regarding any applicable restrictions and/or license/ permit requirements before bidding. Each lot offered in the sale will be classified as “Antique Pre-1899,” “Curio/Relic,” Modern firearm,” or “Modern handgun.” Firearms classified as “Antique Pre-1899” do not require any licensing to purchase and can be released directly to the buyer. Firearms classified as “Modern firearm” or Modern handgun” will only be released to persons possessing a valid Federal Firearms Dealer License. Firearms classified as “Curio/Relic” may be released to persons possessing a valid Federal Firearms Dealer License or persons possessing a valid Federal Firearms Collector of Curios and Relics License. Items that meet the age requirements but have been altered from their original configuration may NOT be delivered on a Federal Firearms Collector of Curios and Relics License. The transfer of certain types of firearms (including without limitation handguns and certain rifles) to residents may be regulated by certain state (including Massachusetts) laws. It is the prospective buyer’s responsibility to determine the legality of possession or ownership of any firearms, including transference of such, in his or her state of residence prior to bidding. Additionally, some states have restrictions on transfers to persons holding a Federal Firearms Collector of Curios and Relics License. If you determine after purchasing a firearm that it is not transferrable in your state, Bonhams will not cancel the sale and you will be responsible for payment in full

b. Persons holding a valid Federal Firearms Dealer License may take possession of any purchase on the day of the sale upon presenting a signed copy of their Federal Firearms Dealer License provided payment to Bonhams has been made in full. If a person holding a Federal Firearms Dealer License is sending an agent to pick up purchased lot(s), that agent must be a bona fide, paid employee of the company.

c. If you possess a valid Federal Firearms Collector of Curios & Relics License, any purchased lots that qualify as such may be transferred directly to you at time of pickup. You must provide a signed copy of your current Federal Firearms Collector of Curios & Relics License at time of pickup. A Massachusetts resident presenting a Federal Firearms Collector of Curios & Relics at time of pickup must also present a copy of their valid Massachusetts License to Carry, Firearms Identification Card, or Machine Gun License.

d. If you are a Massachusetts resident and are the successful bidder on a firearm classified as “Curio/ Relic,” “Modern firearm,” or “Modern handgun” and do not possess a valid Federal Firearms License, you must arrange for the transfer of the firearm from Bonhams to a dealer in Massachusetts holding a Federal Firearms Dealer License of your choice who will then conduct the necessary background check and document the transfer in accordance with Massachusetts law. Any such fees charged by a dealer are solely the responsibility of the buyer.

e. If you live in a state other than Massachusetts, you must arrange for the shipment of firearms lots classified as “Curio/Relic,” “Modern firearm,” or “Modern handgun” to a dealer in your state holding a Federal Firearms Dealer License who will then transfer the firearm to you. A holder of a valid Federal Firearms Dealer License who lives in another state is permitted to pick up firearms lots designated as “Curio/Relic,” “Modern firearm,” or “Modern handgun.” A holder of a valid Federal Firearms Collector of Curios & Relics License who lives in another state is permitted to pick up firearm lots designated as “Curio/ Relic” at Bonhams’ Marlborough office. Some states have restrictions on transfers to Federal Firearms Collector of Curios & Relics license holders. It is the buyer’s responsibility to be familiar with all applicable laws and regulations. To purchase with a Federal Firearms Collector of Curio & Relic License, the firearm must be listed as acceptable on the ATF list for collectors of curios, accessible at: https://www.atf.gov/file/128116/ download and https://www.atf.gov/file/2026/ download. Buyers are responsible for checking all regulatory authorities regarding any applicable restrictions and/or license/ permit requirements before shipping any lot.

SALES AND USE TAX

New York sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property collected or delivered in New York State, regardless of the state or country in which the buyer resides or does business. Buyers who make direct arrangements for collection by a shipper who is considered a “private” or “contract” carrier by the New York Department of Taxation and Finance will be charged New York sales tax, regardless of the destination of the property. Property collected for delivery to a destination outside of New York by a shipper who is considered a “common carrier” by the New York Department of Taxation and Finance (e.g. United States Postal Service, United Parcel Service, and FedEx) is not subject

to New York sales tax, but if it is delivered into any state in which Bonhams is registered or otherwise conducts business sufficient to establish a nexus, Bonhams may be required by law to collect and remit the appropriate sales tax in effect in such state. Property collected for delivery outside of the United States by a freight-forwarder who is registered with the Transportation Security Administration (“TSA”) is not subject to New York sales tax.

LIMITED RIGHT OF RESCISSION

If within one (1) year from the date of sale, the original buyer (a) gives written notice to us alleging that the identification of Authorship (as defined below) of such lot as set forth in the UPPERCASE TYPE heading of the catalog description of such lot (as amended by any saleroom notices or verbal announcements during the sale) is not substantially correct based on a fair reading of the catalog (including the terms of any glossary contained therein), and (b) within ten (10) days after such notice returns the lot to us in the same condition as at the time of sale, and (c) establishes the allegation in the notice to our satisfaction (including by providing one or more written opinions by recognized experts in the field, as we may reasonably require), then the sale of such lot will be rescinded and, unless we have already paid to the seller monies owed him in connection with the sale, the original purchase price will be refunded.

If, prior to receiving such notice from the original buyer alleging such defect, we have paid the seller monies owed him in connection with the sale, we shall pay the original buyer the amount of our commissions, any other sale proceeds to which we are entitled and applicable taxes received from the buyer on the sale and make demand on the seller to pay the balance of the original purchase price to the original buyer. Should the seller fail to pay such amount promptly, we may disclose the identity of the seller and assign to the original buyer our rights against the seller with respect to the lot the sale of which is sought to be rescinded. Upon such disclosure and assignment, any liability of Bonhams as seller’s agent with respect to said lot shall automatically terminate.

The foregoing limited right of rescission is available to the original buyer only and may not be assigned to or relied upon by any subsequent transferee of the property sold. The buyer hereby accepts the benefit of the seller’s warranty of title and other representations and warranties made by the seller for the buyer’s benefit. Nothing in this section shall be construed as an admission by us of any representation of fact, express or implied, obligation or responsibility with respect to any lot. THE BUYER’S SOLE AND EXCLUSIVE REMEDY AGAINST BONHAMS FOR ANY REASON WHATSOEVER IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION.

“Authorship” means only the identity of the creator, the period, culture and source or origin of the lot, as the case may be, as set forth in the UPPERCASE TYPE heading of the catalog entry for the lot. The right of rescission does not extend to: (a) works of

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art executed before 1870 (unless these works are determined to be counterfeits created since 1870), as this is a matter of current scholarly opinion which can change; (b) Chinese, Japanese and Korean paintings and calligraphy (unless, within 21 days of the sale of any such lot, the original buyer gives written notice to Bonhams alleging that the lot is a counterfeit and within ten (10) days after giving such notice returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a counterfeit), as current scholarship in these respective fields does not permit unqualified statements as to Authorship or date of execution; (c) titles, descriptions, or other identification of offered lots, which information normally appears in lower case type below the UPPERCASE TYPE heading identifying the Authorship; (d) Authorship of any lot where it was specifically mentioned that there exists a conflict of specialist or scholarly opinion regarding the Authorship of the lot at the time of sale; (e) Authorship of any lot which as of the date of sale was in accordance with the then generally-accepted opinion of scholars and specialists regarding the same; or (f) the identification of periods or dates of creation in catalog descriptions which may be proven inaccurate by means of scientific processes that are not generally accepted for use until after publication of the catalog in which the property is offered or that were unreasonably expensive or impractical to use at the time of such publication. For purposes of subsections (a) and (b) above, “counterfeit” is defined as a work created with intent to deceive.

LIMITATION OF LIABILITY

EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL PROPERTY IS SOLD “AS IS.” NEITHER BONHAMS NOR THE SELLER MAKES ANY REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, AS TO THE MERCHANTABILITY, FITNESS OR CONDITION OF THE PROPERTY OR AS TO THE CORRECTNESS OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE OR PERIOD OF THE PROPERTY OR AS TO WHETHER THE BUYER ACQUIRES ANY COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS OR OTHER RESIDUAL RIGHTS OF THE ARTIST. THE BUYER EXPRESSLY ACKNOWLEDGES AND AGREES THAT IN NO EVENT SHALL BONHAMS BE LIABLE FOR ANY DAMAGES INCLUDING, WITHOUT LIMITATION, ANY COMPENSATORY, INCIDENTAL OR CONSEQUENTIAL DAMAGES. IN NO EVENT SHALL THE AGGREGATE LIABILITY OF BONHAMS AND ITS SELLER TO A BUYER EXCEED THE PURCHASE PRICE ACTUALLY PAID FOR A DISPUTED ITEM OF PROPERTY.

MEDIATION AND ARBITRATION PROCEDURES

(a) Within 30 days of written notice that there is a dispute, the parties or their authorized and empowered representatives shall meet by telephone and/or in person to mediate their differences. If the parties agree, a mutually acceptable mediator shall be selected and the parties will equally share the fees and expenses of mediation. The mediator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling mediations. Any communications made during the mediation process shall not be admissible in any subsequent mediation, arbitration or judicial proceeding. All proceedings and any resolutions thereof shall be confidential, and the terms governing arbitration set forth in paragraph (c) below shall govern.

(b) If mediation does not resolve all disputes between the parties, or in any event no longer than 60 days after receipt of the written notice of dispute referred to above, the parties shall submit the dispute for binding arbitration before a single neutral arbitrator. Such arbitrator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling arbitrations. Such arbitrator shall make all appropriate disclosures required by law. The arbitrator shall be drawn from a panel of a national or international arbitration service agreed to by the parties, and shall be selected as follows: (i) If the arbitration service has specific rules or procedures, those rules or procedures shall be followed; (ii) If the arbitration service does not have rules or procedures for the selection of an arbitrator, the arbitrator shall be an individual jointly agreed to by the parties. If the parties cannot agree on an arbitration service, the arbitration shall be conducted by Judicial Arbitration and Mediation Services, Inc. (“JAMS”) or another national or international alternative dispute resolution (“ADR”) provider of Bonhams’ choice, and the arbitrator shall be selected in accordance with JAMS’ Streamlined Arbitration Rules and Procedures or the rules of the other ADR provider selected by Bonhams. The arbitrator’s award shall be in writing and shall set forth findings of fact and legal conclusions.

(i) The arbitration shall occur within 60 days following the selection of the arbitrator;

(ii) The arbitration shall be conducted in New York, New York; and

(iii) Discovery and the procedure for the arbitration shall be as follows:

A. All arbitration proceedings shall be confidential;

B. The parties shall submit written briefs to the arbitrator no later than 15 days before the arbitration commences;

C. Discovery, if any, shall be limited as follows: (I) Requests for no more than 10 categories of documents, to be provided to the requesting party within 14 days of written request therefor; (II) No more than two (2) depositions per party, provided however, the deposition(s) are to be completed within one (1) day; (III) Compliance with the above shall be enforced by the arbitrator in accordance with New York law;

D. Each party shall have no longer than eight (8) hours to present its position. The entire hearing before the arbitrator shall not take longer than three (3) consecutive days;

E. The award shall be made in writing no more than 30 days following the end of the proceeding.

Judgment upon the award rendered by the arbitrator may be entered by any court having jurisdiction thereof. To the fullest extent permitted by law, and except as required by applicable arbitration rules, each party shall bear its own attorneys’ fees and costs in connection with the proceedings and shall share equally the fees and expenses of the arbitration.

LOT SYMBOLS KEY

The lot symbols used in the catalog have the following meanings:

¤ No Reserve

Unless indicated by the ¤ symbol next to the lot number (or bearing an explicit statement such as “No Reserve” or “Without Reserve”), which denotes no reserve, all lots in the catalog are subject to a reserve. The reserve is the minimum hammer price that the seller is willing to accept for a lot. This amount is confidential and does not exceed the low estimate value.

▲ Bonhams’ Ownership Interest in Property Offered at Auction

The ▲ symbol indicates that Bonhams or one of its affiliated companies within the Bonhams Group owns the lot in whole or in part or has an economic interest equivalent to an ownership interest in the lot.

∏ Bidding by Interested Parties

We will mark the lost with the ∏ symbol when a party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot. Such interested parties may be beneficiaries of an estate that consigned the lot or a joint owner of a lot. Any interested party who is recognized as the successful bidder on a lot must pay the purchase price in full and is subject to these Conditions of Sale.

○ Guaranteed Property/Third Party Irrevocable Bid

The ○ symbol indicates that the seller of the lot has been guaranteed a minimum price for its property by Bonhams or by a third party, or jointly by Bonhams and a

Conditions of Sale -

third party (called third party guarantor). Such guaranteed minimum price may apply only to the lot or on an aggregate basis to all or a portion of the seller’s consigned property, which may be offered in one or more auctions. Bonhams and/or any third parties providing a guarantee may benefit financially if the guaranteed property is sold successfully and may incur a financial loss if its sale is not successful. The third party guarantor typically provides an irrevocable written bid on the guaranteed lot prior to the auction at a level that ensures the lot will sell. If there are competing bids at the auction, the third party guarantor may also bid a higher amount than the irrevocable bid submitted. In exchange for sharing or assuming in full this risk, Bonhams may compensate the third party guarantor by paying it a fixed and/or contingent financing fee based on the hammer price achieved. Where the third party guarantor is the successful bidder on the lot, the financing fee for providing the bid may be netted against the full purchase price owing, and in such case Bonhams will report the purchase price net of such financing fee. Third party guarantors are required by Bonhams to disclose their financial interest to anyone whom they are advising in connection with the guaranteed lot.

Ω Import Duty

The Ω symbol indicates that the lot is subject to US Customs duty or tariff and/or related import fees payable by the buyer as part of the purchase price. Please refer to the Specialist Department managing the auction for details.

Y Restricted Materials

A lot with the Y symbol has been identified at the time of cataloguing as made of or containing certain restricted plant or animal material such as tortoiseshell, coral, whalebone, Brazilian rosewood or certain types of reptilian or other exotic skins, fur or feathers woods that may be subject to import or export restrictions or may otherwise require the granting of one or more export or import licenses or certificates, or that may be subject to similar restrictions regulating intrastate or interstate transport or trade within the United States at the state or federal level, or may be banned from export or import altogether by some countries. Please refer to paragraph 10 in the Conditions of Sale or to the Specialist Department managing the auction for details.

ↂ Lot Shown with a Display-Only Part

A lot with the ↂ symbol may be pictured or displayed with a component, such as a stand, a watchband, or snuff bottle stopper, that is shown for display purposes only and is not part of the lot being offered for sale. In certain instance, the display-only component may be made of or incorporate restricted materials and may be available for personal pick-up, free of charge (separate from the purchased lot) from the saleroom location where the lot was sold. Please refer to paragraph 10 in the Conditions of Sale or to the Specialist Department managing the auction for details.

W Oversized Lot

The W symbol indicates that the lot is oversized or otherwise such that it must be collected from our designated warehouse.

Please refer to the Offsite Sold Property Storage section of the Buyer’s Guide for details.

P Premium (“Purple Paddle”) Lot Subject to Restricted Bidding

Lots bearing the “P” symbol will not be available for online bidding, and bidders wishing to register to bid on such lots must do so in advance and may be required to provide a bank letter of reference or other credentials in advance of being permitted to bid on the lot. If you will not be attending the auction in person, contact the Specialist Department managing the auction or Bonhams’ Client Service Office at least one business day in advance of the auction date to arrange a telephone bid or an absentee bid.

Lot symbols appear adjacent to the subject lot number in the catalog and are provided as a convenience to bidders; we do not accept any liability for errors or omissions in marking lots.

IMPORTANT NOTICE TO BIDDERS

Starting on June 28, 2025, the import into the European Union (“EU”) of non-EU origin property of a certain age (and in some categories, property above a certain value) is subject to additional EU regulatory requirements. It is the Buyer’s sole and exclusive responsibility to investigate whether property (including any lot) meets the requisite regulatory criteria for import into the EU and to obtain any relevant import(er) license or statement.

Please note that this process is governed by local authorities and may take time. Regardless of any delay in the obtaining of an import(er) license or statement, or denial thereof, purchased lots shall be paid for in accordance with the Conditions of Sale, and any such delay or denial shall not serve as the basis for cancellation or rescission of any sale. Prospective buyers are advised to obtain information from the relevant regulatory authorities regarding import restrictions, requirements, and costs prior to bidding.

Certain third-party agents may be available to assist the buyer in attempting to obtain the appropriate import(er) license or statement, however, there is no assurance that any necessary licenses or statements can be obtained.

BUYING AND BIDDING AT AUCTION

Whether you are an experienced bidder or an enthusiastic novice, auctions provide a stimulating atmosphere unlike any other. Bonhams previews and sales are free and open to the public. As you will find in these directions, bidding and buying at auction is easy and exciting. Should you have any further questions, please visit our website at www.bonhams.com or contact our Client Services Department at Tel: 1-800-959- 4383 (toll free, within the US) or Tel: 1-908-707-0077 (outside the US).

Catalogs

Before each auction we publish illustrated catalogs. Our catalogs provide descriptions and estimated values for each “lot.” A lot may refer to a single item or to a group of items auctioned together. The catalogs also include the dates and the times for the previews and auctions. We offer our catalogs by subscription or by single copy. For information on subscribing to our catalogs, you may refer to the subscription form in this catalog, call our Client Services Department, or visit our website at www.bonhams.com/us.

Previews

Auction previews are your chance to inspect each lot prior to the auction. We encourage you to look closely and examine each object on which you may want to bid so that you will know as much as possible about it. Except as expressly set forth in the Conditions of Sale, items are sold “as is” and with all faults; illustrations in our catalogs, website and other materials are provided for identification only. At the previews, our staff is always available to answer your questions and guide you through the auction process. Condition reports may be available upon request and are strongly recommended for all intending bidders who cannot view the property in person.

Estimates

Bonhams’ catalogs include low and high value estimates for each lot, exclusive of the buyer’s premium and tax. The estimates are provided as an approximate guide to current market value based primarily on previous auction results for comparable pieces, and should not be interpreted as a representation or prediction of actual selling prices. They are determined well in advance of a sale and are subject to revision. Please contact us should you have any questions about value estimates

Reserve

Unless indicated by the ¤ symbol next to the lot number, which denotes no reserve, all lots in the catalog are subject to a reserve. The reserve is the minimum auction price that the seller is willing to accept for a lot. This amount is confidential and does not exceed the low estimate value.

Auction House’s Interest in Property Offered at Auction

On occasion, Bonhams may offer property in which it has an ownership interest in whole or in part or otherwise has an economic interest. Such property, if any, is identified in the catalog with a ▲ symbol next to the lot number(s). Bonhams may also offer property for a seller that has been guaranteed a minimum price for its property by Bonhams or jointly by Bonhams and a third party. Bonhams and any third parties providing a guarantee may

benefit financially if the guaranteed property is sold successfully and may incur a financial loss if its sale is not successful. Such property, if any, is identified in the catalog with a ○ symbol next to the lot number(s).

Bidding at Auction

You must be 18 years old or over to bid. At Bonhams, you can bid in many ways: in person, via absentee bid, over the phone, or via Bonhams’ live online bidding facility. Absentee bids can be submitted in person, online, or via email. Irrespective of previous bidding activity a valid Bonhams’ client account is required to participate in bidding activity. You will be required to provide government issued proof of identity, proof of residence, and if you are a company, your certificate of incorporation or equivalent documentation with your name and registered address, proof of your current address, documentary proof of your beneficial owners and directors, and proof of authority to transact. We may also request a financial reference and/or deposit from you before allowing you to bid. By bidding at auction, whether in person or by agent, by absentee bid, telephone, online or other means, the buyer or bidder agrees to be bound by the Conditions of Sale. Lots are auctioned in consecutive numerical order as they appear in the catalog. Bidding normally begins below the low estimate. The auctioneer will accept bids from interested parties present in the saleroom, from telephone bidders, from online bidders, and from absentee bidders who have left written bids in advance of the sale. The auctioneer (or, for online-only sales, Bonhams’ online bidding system) may also execute bids on behalf of the seller up to the amount of the reserve, but never above it. We assume no responsibility for failure to execute bids for any reason whatsoever.

In Person

If you are planning to bid at auction for the first time, you will need to register at the reception desk in order to receive a numbered bid card. To place a bid, hold up your card so that the auctioneer can clearly see it. Decide on the maximum auction price that you wish to pay, exclusive of buyer’s premium and tax, and continue bidding until your bid prevails or you reach your limit. If you are the successful bidder on a lot, the auctioneer will acknowledge your paddle number and bid amount.

Absentee Bids

As a service to those wishing to place bids, we may at our discretion accept bids without charge in advance of auction online or in writing on bidding forms available from us. “Buy” bids will not be accepted; all bids must state the highest hammer price the bidder is willing to pay. Our auction staff will try to bid just as you would, with the goal of obtaining the item at the lowest hammer price possible. In the event identical bids are submitted, the earliest bid submitted will take precedence. Absentee bids shall be executed in competition with other absentee bids, any applicable reserve, and bids from other auction participants. A friend or agent may place bids on your behalf, provided that we have received your written authorization prior to the sale. Absentee bid forms are available in our catalogs, online at www.bonhams.com/ us, at offsite auction locations and at our Los Angeles, San Francisco and New York galleries.

By Telephone

We can arrange for you to bid by telephone. To arrange for a telephone bid, please contact our Client Services Department a minimum of 24 hours prior to the sale Online

We offer live online bidding for most auctions and accept absentee bids online for all our auctions. Please visit www. bonhams.com/us for details.

In order to bid online in a sale, you must be 18 years old or over and you must register to bid via MyBonhams. com. Once you have registered, you should keep your account details strictly confidential and not permit any third party to access your account on your behalf or otherwise. You will be liable for any and all bids made via your account. Please note payment must be made from a bank account in the name of the registered bidder.

Online Bidding Registration for Individuals: Enter your full name, email, residential address, date of birth and nationality and provide a valid credit card in your name which will be verified via Stripe before you are able to bid. If your credit card fails verification, you will not be permitted to bid and you should contact the Client Services Department for assistance. We may in addition request a financial reference and/or deposit from you prior to letting you bid. If you are bidding as agent on behalf of another party, you agree: (i) to disclose this fact to the Client Services Department; (ii) to provide such information as we require to enable us to complete bidder identification and registration procedures (including completing any anti-money laundering and/or anti-terrorism financing checks) on that third party; and (iii) that where your bid is successful, you are jointly and severally liable with that other party for the full amounts owing for the successful bid (whether or not you have disclosed that fact or the identity of the principal). Where you are the successful bidder for any lot with a hammer price equal to or in excess of US $10,000, and if you have not provided such documents previously, you will be required to upload or provide to the Client Services Department your government issued photo ID and (if not on the ID) proof of your address before the purchased lot can be released to you. Notwithstanding the foregoing, we reserve the right to request ID documentation from any bidder or buyer and to refuse to release any purchased lot until such documentation is provided.

Online Bidding Registration for Companies or Other Legal Entities: You must select the option to set up a business account and then provide your full name, email, residential address, date of birth and the full name of the entity. You must provide a credit card for verification either in your name or the name of the entity but payment must be made from an account in the entity’s name. If your credit card fails verification, you will not be permitted to bid and should contact the Client Services Department for assistance. We may, in addition, require a bank reference or deposit prior to letting you bid. For all successful bids, we require the entity’s certificate of formation/incorporation or equivalent documentation confirming the entity’s name and registered address, documentary proof of each beneficial owner owning 25% or more of the entity, and proof of your authority to transact before the lot can be released to you.

We reserve the right to request any further information from any bidder that we may require in order to carry out any identification, anti-money laundering or anti-terrorism financing checks conducted by us. We may at our discretion postpone or cancel your registration, not permit you to bid and/or postpone or cancel completion of any purchase you may make.

Bid Increments

For live auctions, Bonhams generally uses the following increment multiples as bidding progresses:

$50-200..............................by $10s

$200-500............................by $20/50/80s

$500-1,000.........................by $50s

$1,000-2,000......................by $100s

$2,000-5,000......................by $200/500/800s

$5,000-10,000…................by $500s

$10,000-20,000..................by $1,000s

$20,000-50,000..................by $2,000/5,000/8,000s

$50,000-100,000................by $5,000s

$100,000-200,000..............by $10,000s

above $200,000..................at auctioneer’s discretion

For online-only auctions, Bonhams generally uses the following increment multiples as bidding progresses:

$50-200..................................by $10s

$200-500................................by $20/40/60/80s

$500-1,000.............................by $50s

$1,000-2,000..........................by $100s

$2,000-5,000..........................by $200/400/600/800s

$5,000-10,000........................by $500s

$10,000-20,000......................by $1,000s

$20,000-50,000........by $2,000/4,000/6,000/8,000s

$50,000-100,000....................by $5,000s

$100,000-200,000..................by $10,000s

above $200,000...................at auctioneer’s discretion

The auctioneer (or, for online-only sales, Bonhams’ online bidding system) shall have full discretion, as outlined in the Conditions of Sale to split or reject any bid at any time.

Currency Converter

Solely for the convenience of bidders, a currency converter may be provided at Bonhams’ auctions. The rates quoted for conversion of other currencies to U.S. Dollars are indications only and should not be relied upon by a bidder, and neither Bonhams nor its agents shall be responsible for any errors or omissions in the operation or accuracy of the currency converter.

Buyer’s Premium

A buyer’s premium is added to the winning hammer price of each individual lot purchased, at the rates set forth in the Conditions of Sale. The winning hammer price plus the premium constitute the purchase price for the lot. Applicable sales taxes are computed based on this figure, and the total becomes your final purchase price.

Unless specifically illustrated and noted, fine art frames are not included in the estimate or purchase price. Bonhams accepts no liability for damage or loss to frames during storage or shipment. All sales are final and subject to the Conditions of Sale found in our catalogs, on our website, and available at the reception desk.

Payment

Payment may be made to Bonhams by cash, checks drawn on a U.S. bank, money order, wire transfer, or by Visa, MasterCard, American Express or Discover credit or charge card or debit card. All items must be paid for within five (5) business days of the sale. Please note that payment by personal or business check may result in property not being released until purchase funds clear our bank.

Sales Tax

Buyers must pay applicable sales tax. Other state or local taxes (or compensation use taxes) may apply. Sales tax will be automatically added to the invoice if Bonhams is required to collect and remit sales tax in the subject jurisdiction based on our local nexus and applicable law, unless a valid resale number has been furnished. If you wish to use your resale license please contact the Client Services Department for our form.

Regulated Species Materials

The export of a lot from the United States or import into certain countries may be subject to export or import regulations, licensure and/or other restrictions; in particular, lots containing plant or animal materials such as tortoiseshell, coral, whalebone, Brazilian rosewood or certain types of reptilian or other exotic skins, fur or feathers, irrespective of age or value, may require the granting of one or more export or import licenses or certificates, or may be banned from import altogether by some countries. Moreover, the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country. Lots that contain such regulated species materials may also not be eligible for exportation or for re-importation into the United States. In addition, resales of lots containing certain regulated species materials may be subject to restrictions in some jurisdictions.

Lots noted in the catalog with a “Y” next to the lot number contain one or more such regulated plant or animal materials, however lots containing regulated material may lack the Y notation. It is the buyer’s responsibility to investigate any such restrictions and to obtain any relevant export or import licenses. Please note that this process is governed by local authorities and may take con-

siderable time. Regardless of any delay in the obtaining of an export/import license or certificate or denial thereof, purchased lots shall be paid for in accordance with the Conditions of Sale, and any such delay or denial shall not serve as the basis for cancellation of any sale. Prospective buyers are advised to obtain information from the relevant regulatory authorities regarding export and import restrictions, requirements, and costs prior to bidding.

Prospective buyers should also check with their local (e.g. state) regulatory authorities regarding any local restrictions and/or permit requirements that may apply with respect to purchases of regulated species materials. Certain third-party agents may be available to assist the buyer in attempting to obtain the appropriate licenses and/or certificates. However, there is no assurance that any necessary licenses or certificates can be obtained. Please contact the relevant Specialist Department for a suggested list of shipping agents prior to placing a bid if you are uncertain as to whether a lot is subject to export/import license or certificate requirements or related restrictions.

COLLECTION OF PURCHASES

Scheduling an appointment and payment in full prior to arrival will facilitate the quick release of your property.

For your convenience, pre-allocated 30-minute collection time slots are available by appointment Monday through Friday between 9am – 4:30pm local time.

If you are sending a third party to collect, please provide details to our Client Services Department prior to your scheduled pickup or we will be unable to release your property.

To schedule collection of purchases:

• For property from NEW YORK Sales and LOS ANGELES auctions: please contact our Client Services Department at Tel: 1-800-959-4383 (toll free, within the US) or Tel: 1-908-707- 0077 (outside the US), or via email at invoices.us@bonhams.com.

• For property form BOSTON Sales and MARLBOROUGH auctions: please use the online scheduler, available at https://skinner.appointlet.com/, or contact our Client Services Department at Tel: 1-508-970-3000 or via email at bids@bonhamsskinner.com.

For an additional fee, Bonhams may provide packing and shipping services for certain items. If you wish to receive a Bonhams’ shipping quote, please indicate this at the time of registration. Carriers are not permitted to deliver to P.O. boxes.

International buyers are responsible for all import/export customs duties and taxes. An invoice stating the actual purchase price will accompany all international purchases.

Handling and Storage Charges

Storage charges of US $5 per lot, per day will begin accruing for any lots not collected within 14 calendar days of the auction.

Bonhams reserves the right to remove uncollected sold lots to the warehouse of Door To Door at the buyer’s risk and expense. Handling and storage and Full Value Protection fees will apply, as further set forth in the Offsite Sold Property Storage section (below).

Shipping & Removal

Buyers are to review the Offsite Sold Property Storage section (below) for information regarding lots that will be removed to the offsite warehouse of Door To Door shortly after the sale. These designated lots must be collected by the buyer from Bonhams (at the designated premises where the sale occurred) prior to the day and time designated in the Offsite Sold Property Storage section, or from Door To Door thereafter. If buyers of these designated lots also buy other lots, these lots may also be removed to the warehouse of Door To Door, so all lots remain together and customers can collect or ship from one location. All other items will remain at Bonhams for a period of 14 days, after which time they may be transferred to offsite storage at the buyer’s risk and expense.

Offsite Sold Property Storage

All lots marked with a “W” in the catalogue are oversized and subject to additional storage and shipping as set forth below. Lots not so listed will remain at Bonhams; provided, however, THAT IF BUYERS OF W LISTED LOTS ALSO BUY OTHER NON-LISTED ITEMS, THESE OTHER LOTS WILL ALSO BE REMOVED TO THE WAREHOUSE OF DOOR TO DOOR, so that all lots remain together and buyers can collect their entire purchases from one location. For any questions please refer to the Bonhams Client Services Department.

The transfer of lots to the warehouse of Door To Door is at the buyer’s risk and expense. For sold lots removed to Door To Door, there will be transfer and Full Value Protection charges due immediately upon transfer and daily storage charges will begin to accrue five (5) business days after the transfer.

The per-lot charges of Door To Door Services are as follows (plus any applicable sales tax):

FURNITURE/LARGE OBJECTS

Transfer ………...$75

Daily storage …..$10

Full Value Protection (on Hammer + Premium + tax): 0.3%

SMALL OBJECTS

Transfer…..….....$37.50

Daily storage…...$5

Full Value Protection (on Hammer + Premium + tax): 0.3%

Please note, Door To Door does not accept liability for damage or loss due to negligence or otherwise, exceeding the stated value of such goods, or at its option the cost of repairing or replacing the damaged or missing goods.

A. NEW YORK Sales (and New York Online Sales). Unless you are otherwise notified:

• W lots (and additional purchases) from sales occurring on Tuesdays and Wednesdays will be transferred to offsite storage at Door To Door on the proximate Thursdays. You may collect W lots from Bonhams by 5pm Eastern Time on Wednesdays. Purchases will be available for collection on Fridays of the same week from Door To Door.

• W lots (and additional purchases) from sales occurring on Thursdays, Fridays and Mondays will be transferred to offsite storage at Door To Door on the proximate Tuesdays. You may collect W lots from Bonhams by 5pm Eastern Time on Mondays. Purchases will be available for collection on Wednesdays from Door To Door.

Collections appointments must be booked 24 hours in advance with Door To Door (subject to full payment of all outstanding amounts due to Bonhams and Door To Door).

Address: Door To Door Services 50 Tannery Rd. Somerville, NJ 08876

B. LOS ANGELES Sales (and Los Angeles Online Sales)

• You will be notified in advance of the sale of the date and time of the removal of W lots (and additional purchases) to the Door To Door warehouse. Please be advised that removal may occur the day following the day of the sale.

Collections appointments must be booked 24 hours in advance with Door To Door (subject to full payment of all outstanding amounts due to Bonhams and Door To Door).

Address: Door to Door Services 6280 Peachtree St. Commerce, CA, 90040

For more information regarding storage, shipping, or collection from Door To Door please contact Door To Door directly at auctions@dtdusa.com.

Payment

Payments for purchased lots must be made directly to Bonhams. Door To Door will not release property unless the buyer has paid Bonhams in full. All charges for handling and storage due to Door To Door must be paid by the time of collection from their warehouse. Payment may be made by cash, check, or credit card. Please contact Door to Door in advance to ascertain the amount due.

Lots will only be released from the Door To Door warehouse upon production of a “Release Order” obtained from the Cashier’s Office at Bonhams.

The removal/storage and/or shipment by Door To Door of any lots will be subject to their standard Conditions of Business, which can be found at https://www.dtdusa.com/terms-and- conditions and are available upon request from the Bonhams Client Services Department or from Door To Door directly.

COLLECTION OF PURCHASES FROM WINES AND SPIRITS AUCTIONS

All alcoholic beverage property, however collected, shipped or received, requires the recipient to be in possession of photo identification confirming that he or she is at least 21 years of age.

Subject to the terms set forth in this section and in the Conditions of Sale, we will make your purchase(s) available for collection in a manner that is commercially reasonable and facilitates the safe handling of the property. The inherent nature of fine wine and spirits requires that due care be taken in storage and handling. We request your partnership in making sure no harm arises during storage or collection. Bottles that are old or unusually shaped need to be collected in person. We shall have professional discretion when the circumstance arises.

Collection

Full payment must be received and processed by Bonhams following the close of the auction, prior to release of any purchases.

All purchases must be paid for and removed from Gordon’s premises within 30 days of the auction at which they were purchased. Any property not collected within 14 days of the auction in which it was purchased will be subject to storage charges at the then applicable rates charged by Gordan’s starting on day 15 following the auction. The buyer agrees to pay such storage charges which may be calculated and invoiced per lot on a daily or monthly basis. Any applicable payments to Gordon’s or other designated third party shipper must be paid for in full prior to the release of property.

All purchases must be collected from climate-controlled, off-site storage at the location designated below (unless otherwise noticed to you in writing after the auction). Collection is available only by prior appointment at:

Gordon’s Fine Wines Baker’s Best 150 Gould Street

Needham, MA 02494

Please schedule your collection with Gordon’s Fine Wines (“Gordon’s”) directly using the automated scheduler (included with your payment confirmation email which you will receive from Bonhams) at least three (3) business days in advance of your desired collection appointment day. For questions please contact wine@bonhams.com or staff@gordons. com. Contact staff@gordons.com for additional storage or delivery services.

Full payment of all applicable charges must be received prior to release of any purchases. Purchased property will only be released to those over 21 years of age. Valid government issued proof of age will be required. For any third-party collections (i.e. collection by the buyer’s authorized agent), an Authorized Release Form must be signed by the buyer of record and submitted to Gordon’s prior to collection.

Local Delivery

As an ancillary, third-party service, subject to availability, buyers may independently engage Gordon’s directly for the packing and delivery of purchases inside Route 495 for a fee. Deliveries are generally available Monday through Friday during normal business hours. All costs associated with delivery must be paid to Gordon’s directly. Buyers must arrange for such services directly with Gordan’s (or any other the third party service provider of buyer’s choice). Such services shall be independent of Bonhams, and shall be solely at the buyer’s risk and expense. Bonhams will not be liable for any acts or omissions of any packers or carriers, whether or not recommended by us. Such packers or carriers may carry their own insurance and any claim for lost or damaged property should be addressed directly to them. Purchases will only be delivered to, and must be signed for by an individual who is no less than 21 years of age, and presents satisfactory age identification.

Shipping

Buyers are required to comply with their respective states’ or jurisdictions’ regulations regarding the importation, exportation and shipment of alcoholic beverages. Buyers are solely responsible for the importation, exportation and shipment of alcoholic beverage products purchased. Many jurisdictions prohibit or limit the importation of alcoholic beverages, and some jurisdictions require the buyer, seller and/or shipper to obtain certain permits or licenses prior thereto. It is the buyer’s sole responsibility to determine whether any such restrictions, limitations or prohibitions are applicable prior to bidding and to obtain any required permits or licenses.

It is the buyer’s sole responsibility to collect purchased property or to make independent arrangements for collection and delivery service, and to ensure that such service provider is duly licensed or permitted to transport wine and/or spirits, as the case may be, to the relevant destination. Such third party services shall be independent of Bonhams, and shall be solely at the buyer’s risk and expense. Bonhams and the sellers will not be liable for any acts or omissions of any packers or carriers, whether or not recommended by us. Such packers or carriers may carry their own insurance and any claim for lost or damaged property should be addressed directly to them.

EVENING SALE

Lots 1A - 29A

EVENING SALE

New York | Wednesday, May 20, 2026, at 5pm ET

Reference catalogue. For full catalogue see www.bonhams.com/auction/31875

Bonhams

111 West 57th Street, New York, New York 10019 bonhams.com

Sale Number

31875

Lots 1A - 27A

Illustrations

Front cover: Lot 6A

Inside front cover: Lot 240

Frontispiece: Lot 4A

Title page: Lot 7A

Opposite page: Lot 10A

Inside back cover: Lot 242

Back cover: Lot 116

PREVIEW

INQUIRIES

New York

Andrew Huber

SVP, Head of Department, 20th & 21st Century Art +1 (917) 206 1633 andrew.huber@bonhams.com

Oliver Morris-Jones Specialist, Head of Sale +1 (917) 206 1634 oliver.morris-jones@bonhams.com

Emily Millier Specialist, Head of Sale +1 (917) 206 1627 emily.millier@bonhams.com

Condition Reports eveningsaleus@bonhams.com

With thanks Dr. Stephanie Lebas Huber Bonny Guo

BIDS

Bid online/VIA OUR APP

Please contact the department to arrange telephone bid or an absentee bid by emailing eveningsaleus@bonhams.com or on +1 (323) 578 3824 or our Client Services Office by emailing bids.us@bonhams.com or on +1 (212) 644 9001.

BIDDER REGISTRATION

The Bidder Registration Form can be found at the back of every catalogue and on our website at www.bonhams.com and should be returned by email to Client Services at bids.us@bonhams. com 24 hours ahead of the start of the sale.

LOTS IN THE CATALOG WITH A “P” NEXT TO THE LOT NUMBER ARE PREMIUM LOTS

Lots bearing the “P” symbol will not be available for online bidding, and bidders wishing to register to bid on such lots must do so in advance and may be required to provide a bank letter of reference or other credentials in advance of being permitted to bid on the lot. If you will not be attending the auction in person, contact the Specialist Department managing the auction at eveningsaleus@bonhams.com or +1 (917) 206 1696 or contact Bonhams’ Client Service Office at bids.us@bonhams.com or +1 (212) 644 9001 at least one business day in advance of the auction date to arrange a telephone bid or an absentee bid.

SHIPPING & COLLECTION

NOTICE TO BIDDERS

PROPERTY FROM THE COLLECTION OF ANN F. KAPLAN

1A W

OLGA DE AMARAL (B. 1932)

Imagen perdida 35 signed, inscribed and dated ‘1117 “IMAGEN PERDIDA 35” OLGA DE AMARAL 2005’ (on a label affixed to the reverse) linen, gesso, acrylic, Japanese paper and gold leaf

62 1/2 x 41 in (158.8 x 104.1 cm)

Executed in 2005

US$300,000 - 500,000

£220,000 - 370,000

HK$2,400,000 - 3,900,000

This work is accompanied by a certificate of authenticity issued by the artist and is registered in the Amaral Archives under registration no. OA1117.

Provenance

Bellas Artes Gallery, Santa Fe. Acquired from the above by the present owner in 2005.

JADÉ FADOJUTIMI (B. 1993)

Ribbon of Thought signed, inscribed and dated ‘August ‘20 Jadé Fadojutimi ‘Ribbon of Thought”’ (on the reverse) oil and oil stick on canvas

43 1/2 x 43 3/8 in (110.5 x 110 cm)

Painted in 2020

US$150,000 - 250,000

£110,000 - 180,000

HK$1,200,000 - 2,000,000

Provenance

Pippy Houldsworth Gallery, London. Acquired from the above by the present owner in 2020.

Literature

J. Higgie, Jadé Fadojutimi: Jesture , London, 2021 (exh. cat., illustrated p. 35).

3A W

RONI HORN (B. 1955)

Untitled (“Peacocks not only eat flowers; they eat them systematically, beginning at the head of a row and going down it. If they are not hungry, they will pick the flower anyway and let it drop. For general eating, they prefer chrysanthemums and roses.”)

solid cast glass with as-cast surfaces

19 x 36 x 36 in (48.3 x 91.4 x 91.4 cm)

Executed 2012-13. This work is unique

US$500,000 - 700,000

£370,000 - 520,000

HK$3,900,000 - 5,500,000

Provenance

Xavier Hufkens, Brussels.

Acquired from the above by the present owner in 2015.

PROPERTY FROM A PRIVATE COLLECTION, WESTCHESTER

HENRY MOORE (1898-1986)

Working Model for Animal Form

signed and numbered ‘Moore 9/9’ (on the top of the base)

bronze with brown patina

15 1/8 x 25 3/8 x 8 5/8 in (38.4 x 64.5 x 21.9 cm)

Conceived in 1969-1971, this bronze version cast by the Fiorini Foundry in an edition of 9 plus one artist’s proof.

US$250,000 - 350,000

£180,000 - 260,000

HK$2,000,000 - 2,700,000

This work is recorded in the archives of the Henry Moore Foundation under no. LH 615.

Provenance

Raymond Spencer Company Ltd., Much Hadham.

Acquired from the above by the late owner on June 18, 1984.

Literature

Exh. cat., Henry Moore: Graphic and Sculpture , Wildenstein Tokyo, Tokyo, 1975, no. 9 (another cast illustrated).

A. Bowness (ed.), Henry Moore, Sculpture and Drawings , Vol. IV, Sculpture 1964–73 , London, 1977, no. 615 (another cast illustrated pp. 59 & 160-161).

D. Mitchinson (ed.), Henry Moore Sculpture, With Comments by the Artist , Barcelona, 1981, no. 491 (another cast illustrated p. 226).

Exh. cat., Henry Moore Sculpture, Drawings, Graphics 1921-1981, Parque de El Retiro, Palacio de Velázquez, Madrid, 1981, no. 491 (another cast illustrated p. 226).

W.J. Strachan, Henry Moore, Animals , London, 1983, nos. 94–95 (another cast illustrated p. 108).

Exh. cat., Henry Moore: Maquettes and Working Models , The Nelson-Atkins Museum of Art, Kansas City, 1987, no. 40 (another cast illustrated p. 16).

Exh. cat., Henry Moore, Sculture, Disegni, Incisioni, Arazzi , Fondazione Giorgio Cini, Venice, 1995, no. 111 (another cast illustrated p. 193).

J. Hedgecoe, A Monumental Vision, The Sculpture of Henry Moore, New York, 1998, no. 546 (another cast illustrated p. 234).

Exh. cat., Henry Moore—Animals , Gerhard Marcks-Stiftung, Bremen, 1997, p. 48 (another cast illustrated).

Henry Moore Foundation (eds.), The Henry Moore Artwork Catalogue , online catalogue, no. LH 615.

5A P

CONSTANTIN BRANCUSI (1876-1957)

La Muse endormie II

signed ‘Brancusi’, numbered ‘7/8’ and inscribed with the foundry mark ‘Susse Fondeur Paris’ (on the underside) polished bronze

6 15/16 x 11 1/8 x 6 11/16 in (17.6 x 28.2 x 17 cm)

Conceived in alabaster in 1917 and bronze in 1922, this polished bronze version cast by the Susse Foundry from the Istrati-Dumitresco plaster in 2010 in a numbered edition of 8.

Five bronze and three plaster versions of this subject were cast during the artist’s lifetime. A further numbered edition of 8 were cast beginning in the 1970s by the legatees of Brancusi, Alexandre Istrati and Natalia Dumitresco, from a duplicate of the artist’s original plaster. The final four versions were cast by their appointed heir and the Estate of the artist in 2005, 2010 and 2013.

US$3,000,000 - 5,000,000

£2,200,000 - 3,700,000

HK$24,000,000 - 39,000,000

Provenance

Estate of the artist.

Literature

M. de Micheli, ‘Constantin Brâncusi,’ in I Maestri della Scultura, no. 46, Milan, 1966 (another cast illustrated on the cover).

S. Geist, Brancusi, A Study of the Sculpture, New York, 1967, p. 45 (alabaster and polished bronze versions illustrated nos. 78-79; dated ‘1914?’).

S. Geist, Constantin Brancusi 1876-1957, A Retrospective Exhibition , exh. cat., The Solomon R. Guggenheim Museum, New York, 1969 (alabaster and polished bronze versions illustrated pp. 88-89).

S. Geist, Brancusi, The Sculpture and Drawings , New York, 1975, no. 166a (another cast illustrated p. 119).

F.T. Bach, Constantin Brancusi, Metamorphosen Plastischer Form, Cologne, 1987, no. 216 (another cast illustrated p. 480).

P. Hultén, N. Dumitresco & A. Istrati, Brancusi , New York, 1987, no. 132 (another cast illustrated p. 299).

J. Neutres, Brancusi in New York 1913-2013 , exh. cat., Paul Kasmin Gallery, New York, 2014, no. 3 (another cast illustrated pp. 114-115, 118-121).

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION, FLORIDA

6A P

RENÉ MAGRITTE (1898-1967)

Le miroir vivant signed ‘Magritte’ (upper right) oil on canvas laid down on board

10 5/8 x 7 5/8 in (27 x 19.6 cm)

Painted in 1935

US$1,000,000 - 1,500,000

£740,000 - 1,100,000

HK$7,800,000 - 12,000,000

Provenance

Julien Levy Gallery, New York (acquired directly from the artist in 1936). Private collection, Cincinnati (probably acquired from the above in 1938). Thence by descent to the present owner.

Exhibited

New York, Julien Levy Gallery, René Magritte , January 3-20, 1936, no. 19. New York, Julien Levy Gallery, René Magritte, Paintings , January 4-18, 1938, no. 14. Cincinnati, Cincinnati Modern Art Society, 12 Surrealists , April 20 - May 23, 1943. (Possibly) Cincinnati, Cincinnati Art Museum, on loan, October 11, 1955 - May 21, 1956.

Literature

D. Sylvester (ed.) & S. Whitfield, René Magritte, Catalogue Raisonné , Vol. II, Oil Paintings and Objects, 1931-1948 , Antwerp, 1993, no. 374 (illustrated p. 201).

7A W

ROBERT COTTINGHAM (B. 1935)

20th Century Fox

signed and dated ‘COTTINGHAM 1969’ (lower right); signed and dated ‘COTTINGHAM 1969’ (on the reverse) oil on canvas

52 x 72 in (132.1 x 182.9 cm)

Painted in 1969

US$150,000 - 250,000

£110,000 - 180,000

HK$1,200,000 - 2,000,000

Provenance

Cara and Kent Wilson Collection, Los Angeles. June and Jon Summerill Collection, Kensington, England. Acquired from the above by the present owner.

Exhibited

Washington, D.C., National Museum of American History, Smithsonian Institution, Hollywood: Legend and Reality , April 17–June 15, 1986 (exh. cat. no. 8/22, illustrated p. 50) (later traveled to New York City, Cooper-Hewitt Museum, The Smithsonian Institution’s National Museum of Design; Miami, Center of the Fine Arts; Cincinnati, Cincinnati Art Museum; Denver, The Denver Art Museum; Los Angeles, Los Angeles County Museum of Natural History).

Washington, D.C., Smithsonian American Art Museum, Eyeing America: Robert Cottingham Prints, September 25, 1998-January 31, 1999.

Literature

L.K. Meisel, Photorealism , New York, 1989, no. 321 (illustrated p. 164).

PROPERTY FROM THE ESTATE OF SAMANTHA EGGAR

ED RUSCHA (B. 1937)

Streaks of Oil

signed with the artist’s initials, inscribed and dated ‘E.R. 1972 Samantha’ (lower left); inscribed and dedicated (on a label affixed to the reverse of the frame)

gunpowder and pastel on paper

11 1/2 x 29 in (29.2 x 73.7 cm)

Executed in 1972

US$300,000 - 500,000

£220,000 - 370,000

HK$2,400,000 - 3,900,000

Provenance

Private collection, Los Angeles (gifted by the artist). By bequest from the above.

Literature

L. Turvey, Edward Ruscha Catalogue Raisonné of the Works on Paper, Volume 1: 1956-1976, New York, 2014, no. D1972.34 (illustrated p. 315).

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

9A P W

YOSHITOMO NARA (B. 1959)

...Words Mean Nothing at All signed and inscribed ‘Words mean nothing at all... Nara’ (on the reverse) acrylic on wood, in artist’s frame

76 1/2 x 74 1/2 x 3 1/2 in (194.3 x 189.2 x 8.9 cm)

Painted in 2012

US$4,000,000 - 6,000,000

£2,900,000 - 4,400,000

HK$31,000,000 - 47,000,000

Provenance

Pace Gallery, New York.

Acquired from the above by the present owner in 2013.

Exhibited

Kobe, Hyogo Prefectural Museum of Art, New Phases in Contemporary Painting: A Curator’s Message 2012 , October 27–December 24, 2012. New York, Pace Gallery, Yoshitomo Nara , May 10-June 29, 2013.

Literature

The Yoshitomo Nara Foundation, Yoshitomo Nara: The Works, digital, ongoing (illustrated, no. YNF5636).

10A

BANKSY (B. 1975)

Girl and Balloon

tagged ‘BANKSY’ (on the right turning edge); numbered and dated ‘10/25 2003’ (on the stretcher)

spray paint on canvas

16 x 16 in (40.6 x 40.6 cm)

Painted in 2003. This work is number 10 from an edition of 25

US$700,000 - 1,000,000

£520,000 - 740,000

HK$5,500,000 - 7,800,000

This work is accompanied by a certificate of authenticity issued by Pest Control Office.

Provenance

Lazarides Gallery, London. Acquired from the above by the present owner in 2003.

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

11A

LYNETTE YIADOM-BOAKYE (B. 1977)

Victory Sweatsuit II

signed indistinctly, inscribed and dated ‘Victory Sweatsuit II 2008’ (on the reverse) oil on canvas

51 1/4 x 37 1/2 in (130 x 95.4 cm)

Painted in 2008

US$350,000 - 550,000

£260,000 - 410,000

HK$2,700,000 - 4,300,000

Provenance

Faye Fleming & Partner, Geneva.

Acquired from the above by the present owner in 2010.

12A W

JOHN CHAMBERLAIN (1927-2011)

MURMUROUS MOTO, MAESTRO

painted and chromed steel

73 1/8 x 65 x 48 in (185.7 x 165.1 x 121.9 cm)

Executed in 1991

US$800,000 - 1,200,000

£590,000 - 880,000

HK$6,300,000 - 9,400,000

Provenance

Pace Gallery, New York.

Private collection, Santa Fe.

Sale: Christie’s New York, Post-War & Contemporary Art (Morning Session) , November 12, 2003, Lot 410. Pace Gallery, New York.

Private collection, New York.

Sale: Sotheby’s New York, Contemporary Art Evening Auction , November 11, 2014, Lot 38. Acquired from the above by the present owner.

Exhibited

Los Angeles, Daniel Weinberg Gallery, John Chamberlain , January-March 1992. Santa Fe, Laura Carpenter Fine Art, John Chamberlain: New Sculpture , August 1992. Denver, The Ginny Williams Family Foundation, 2002. New York, Pace Gallery, Chamberlain at Pace , April 15-June 1, 2011. Basel, Switzerland, Lévy Gorvy , ART BASEL, June 19 - 22, 2014.

Literature

U. Fischer, The Tighter They’re Wound the Harder They Unravel: John Chamberlain Against the World , Aspen, 2023 (illustrated p. 130).

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

13A W

DAMIEN HIRST (B. 1965)

Au-195m

signed, inscribed and dated ‘2008 Damien Hirst “Au-195m”’ (on the reverse) gold enamel and household gloss paint on canvas laid on board

76 x 92 in (193 x 233.7 cm)

Painted in 2008

US$600,000 - 800,000

£440,000 - 590,000

HK$4,700,000 - 6,300,000

Provenance

White Cube, London.

Sale: Christie’s, New York, Post-War & Contemporary Art Afternoon Session , May 9, 2012, Lot 502. Acquired from the above by the present owner.

Exhibited Kiev, PinchukArtCentre, Damien Hirst: Requiem , April-September 2009 (exh. cat., illustrated p. 140).

Literature

J. Beard and M. Wilner (eds.), Damien Hirst: The Complete Spot Paintings 1986-2011 , London and New York, 2013 (illustrated p. 636).

PROPERTY FROM THE COLLECTION OF GLORIA LURIA

15A W

LARRY RIVERS (1923-2002)

Beyond Camel

signed and dated ‘Larry Rivers ‘80’ (lower right)

acrylic and graphite on canvas

98 5/8 x 79 1/4 in (250.5 x 201.2 cm)

Painted in 1980

US$250,000 - 350,000

£180,000 - 260,000

HK$2,000,000 - 2,700,000

Provenance

Gloria Luria Collection, Miami (acquired directly from the artist).

Thence by descent to the present owner.

PROPERTY FROM A BAY AREA COLLECTION

16A

JIM NUTT (B. 1938)

Untitled acrylic on canvas, in artist’s frame

27 1/4 x 22 1/4 in (69.2 x 56.5 cm)

Painted circa 1968-69

US$150,000 - 250,000

£110,000 - 180,000

HK$1,200,000 - 2,000,000

Provenance

Private collection, Sacramento (acquired directly from the artist circa 1969). Private collection, Bay Area (acquired from the above). By bequest from the above.

PROPERTY FROM AN IMPORTANT AMERICAN COLLECTION

17A W

FRIEDEL DZUBAS (1915-1994)

Sacrum

signed, inscribed and dated ‘Dzubas “Sacrum” 1987’ (on the reverse)

Magna on canvas

72 x 72 in (182.9 x 182.9 cm)

Painted in 1987

US$100,000 - 150,000

£74,000 - 110,000

HK$780,000 - 1,200,000

Provenance

André Emmerich Gallery, New York.

Private collection, New York (acquired from the above).

Acquired from the above by the present owner.

18A

JACOB LAWRENCE (1917-2000)

Two Comedians and a Dancer

signed and dated ‘J Lawrence 58’ (lower right) tempera on hardboard

18 x 24 in (45.7 x 60.8 cm)

Executed in 1958

US$400,000 - 600,000

£290,000 - 440,000

HK$3,100,000 - 4,700,000

Provenance

The Alan Gallery, New York.

Flora Whitney Miller Collection, New York (acquired by 1974).

Sale: Sotheby’s New York, Important American Paintings, Drawings and Sculpture , May 28, 1987, Lot 328.

Terry Dintenfass, Inc., New York (acquired from the above).

Andrew and Ann Dintenfass Collection, Pacific Palisades.

Terry Dintenfass, Inc., New York.

Private collection (acquired from the above in 1987).

Acquired from the above by the present owner.

Exhibited

New York, Whitney Museum of American Art, Jacob Lawrence , May 16-July 7, 1974, no. 136 (exh. cat., p. 58) (later traveled to The Saint Louis Art Museum; Birmingham Museum of Art; Seattle Art Museum; Kansas City, William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts; New Orleans Museum of Art).

Literature

P.T. Nesbitt & M. DuBois, Jacob Lawrence: Paintings, Drawings, and Murals (1935-1999): A Catalogue Raisonné , Seattle, 2000, no. P58-04 (illustrated p. 141).

PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

19A

CAMILLE PISSARRO (1830-1903)

Le Retour au village au clair de lune (Eragny) signed and dated ‘C. Pissarro. 86’ (lower left) gouache and watercolor on silk laid down on paper

7 15/16 x 25 9/16 in (20.2 x 65 cm) (fan)

17 1/2 x 29 1/2 in (44.5 x 75 cm) (support) Executed in 1886

US$150,000 - 200,000

£110,000 - 150,000

HK$1,200,000 - 1,600,000

This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Madame de Kerrieu Collection, Paris; her sale, Hôtel Drouot, Paris, February 8-9, 1898, lot 88.

Galerie Durand-Ruel et Cie., Paris (acquired at the above sale).

Jean & Marie-Louis d’Alayer (née Durand-Ruel) Collection, Paris (transferred from the above in 1940).

Sale: Hôtel Drouot, Paris, December 19, 1955, lot 22.

Sale: Drouot Rive Gauche, Paris, June 18, 1976, lot 108.

Sale: Drouot-Richelieu, Paris, May 14, 1997, lot 32.

Galerie Charles & André Bailly, Paris (likely acquired at the above sale). Acquired from the above by the present owner in August 1997.

Literature

L.-R. Pissarro & L. Venturi, Camille Pissarro, son art – son oeuvre , Vol. I, Paris, 1939, no. 1635 (Vol. II, illustrated pl. 309).

M-J. Pellé, Les Éventails de Camille Pissarro , Paris, 1990, no. 27 (illustrated p. 27; titled ‘Le Départ du village, Eragny’ and ‘Le Chemin de l’atelier’).

M-J. Pellé, “Vert Pissarro...” Impressions de Normandie et d’ailleurs, Luneray, 2000, no. 8 (illustrated p. 72).

J. Pissarro & C. Durand-Ruel Snollaerts, Pissarro, Critical Catalogue of Paintings , Vol. I, Paris, 2005, p. 281 (titled ‘The Path to the Studio’).

PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

20A

PAUL GAUGUIN (1848-1903)

Route de Rouen

gouache and watercolor on silk laid down on canvas

6 5/16 x 22 1/4 in (16 x 56.5 cm) (fan)

12 13/16 x 22 5/8 in (32.5 x 57.5 cm) (support)

Executed circa 1884

US$300,000 - 500,000

£220,000 - 370,000

HK$2,400,000 - 3,900,000

This work will be included in the forthcoming Paul Gauguin Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Anker & Louise Christine Heegaard Collection, Denmark (acquired from the artist through Mette Gauguin, Copenhagen before May 1893).

Stephanie Petrea Ankerita Bernhoft Collection, Hørsholm (by descent from the above circa January 1905).

Herman Anker Bernhoft Collection, Copenhagen (by descent from the above circa February 1936, until at least 1948).

Private collection, Copenhagen (by 1960, until at least 1968).

H. Fischer-Hansen Collection, Copenhagen (by 1970).

Locks Gallery, New York (by 1972).

A.M. Adler Fine Arts, New York (by 1974).

D.H. Vermeulen-van Lutterveld Collection, Hilversum (by 1976).

E. J. van Wisselingh & Co., Amsterdam (by 1984).

Private collection, France (by October 1985); their sale, Christie’s, London, December 1, 1987, lot 323.

Acquired at the above sale by the present owner through Leggatt Brothers, London.

Exhibited

Copenhagen, Fortegnelse over kunstværkerne paa den Frie udstilling 1893, March 26 - May 31, 1893, no. 135 (titled ‘Vifte’; dated ‘1885’). Copenhagen, Ny Carlsberg Glyptotek, Paul Gauguin 1848-1903 , May-June 1948, no. 57 (titled ‘Udkast til vifte. Flodlandskab. Fra Rouen?’; dated ‘1880s’).

Amsterdam, E. J. van Wisselingh & Co., Maître Français du XIXeme et XXeme Siècles: exposition organisée à l’occasion du Septième-Centenaire de la Ville d’Amsterdam , May 3 - June 4, 1971, no. 16.

Amsterdam, E. J. van Wisselingh & Co., Maître Français du XIXeme et XXeme Siècles, May 2 - June 6, 1975, no. 14. Stuttgart, Staatsgalerie, Kompositionen im Halbrund, Fächerblätter aus Vier Jahrhunderten , July 1 - September 2, 1984, no. 78 (titled ‘Uferpartie und Seine-Insel in Rouen’; later traveled to Zurich). Copenhagen, Ordrupgaard, Gauguin og van Gogh i København i 1893 , December 12, 1984 - February 10, 1985, no. 16 (titled ‘Motiver fra Rouen’).

St. Germain-en-Laye, Musée Départemental de Prieuré, Le Chemin de Gauguin, genèse et rayonnement , October 7, 1985 - March 2, 1986, no. 38.

Literature

H. Rostrup, ‘Eventails et Pastels de Gauguin’ in Gazette des Beaux-Arts , no. 56, September 1960, no. 6 (illustrated p. 162; titled ‘Environs de Rouen? Eventail’; dated ‘1883-1884’).

G. Wildenstein, Paul Gauguin , Vol. I, Paris, 1964, no. 108 (illustrated p. 43; titled ‘Route de Rouen I’).

M. Bodelsen, Gauguin og Impressionisterne, Copenhagen, 1968 (illustrated p. 156; titled ‘Vifte med motiver fra Rouen’; dated ‘1885’).

M. Kopplin, Das Fächerblatt von Manet bis Kokoschka, Europäische Traditionen und japanische Einflüsse , Cologne, 1981, no. 154 (pp. 135, 138-140, 311).

A.-B. Fonsmark, Manet, Gauguin, Rodin...Chefs-d’oeuvre de la Ny Carlsberg Glyptotek de Copenhague , exh. cat., Musée d’Orsay, Paris, 1995, p. 130 (illustrated).

J-P. Zingg, The Fans of Paul Gauguin , Paris, 2001, pl. III (illustrated p. 19; dated ‘1885’).

PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

21A

CAMILLE PISSARRO (1830-1903)

Berger et bergère à la barrière, Bazincourt stamped with the artists initials ‘C.P.’ (Lugt 613e; lower left) and inscribed ‘Esquisse de l’éventail de Mr Paulin’ (lower center) gouache and wash on paper

7 1/16 x 21 5/8 in (18 x 55 cm) (fan) 13 x 24 1/16 in (33 x 61.1 cm) (shaped sheet)

Executed in Bazincourt circa 1885

US$120,000 - 180,000

£88,000 - 130,000

HK$940,000 - 1,400,000

This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Jeanne & Alexandre Bonin Collection, Paris (the artist’s daughter and son-in-law; by descent from the artist circa 1903); their sale, Hôtel Drouot, Paris, June 26, 1931, lot 22. Madame Zimmerman Collection, Paris (acquired at the above sale). Private collection, Paris (by descent from the above); their sale, Sotheby’s, London, April 4, 1990, lot 107.

Acquired at the above sale by the present owner through Legatt Brothers, London.

Literature

L.-R. Pissarro & L. Venturi, Camille Pissarro, son art – son oeuvre , Vol. I, Paris, 1939, no. 1632 (illustrated Vol. II, pl. 309).

M-J. Pellé, Les Éventails de Camille Pissarro , Paris, 1990, no. 22 (illustrated p. 24).

As indicated by the inscription on the surrounding paper ‘Esquisse de l’éventail de Mr Paulin’ (lower center), the present work is a study for a gouache fan of the same date and titled Bazincourt, le Berger , last known in the collection of M. Paulin, Paris.

PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

22A

CAMILLE PISSARRO (1830-1903)

Etude pour Le Repos des moissonneurs

stamped with the artist’s initials ‘C.P.’ (Lugt 613e; lower left) gouache, watercolor and charcoal on paper

11 x 21 7/8 in (28 x 55.6 cm) (fan)

12 15/16 x 23 1/8 in (32.9 x 58.8 cm) (sheet)

Executed circa 1891

US$50,000 - 70,000

£37,000 - 52,000

HK$390,000 - 550,000

This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Julie Pissarro Collection, Étude-sur-Epte (the artist’s wife; by descent from the artist circa 1903); her Estate sale, Hôtel Drouot, Paris, December 8, 1928, no. 262.

Dr. Georges Viau Collection, Paris (acquired at the above sale).

Sale: Hôtel Drouot, Paris, May 8, 1936, lot 39.

Sale: Hôtel des ventes, Honfleur, July 15, 1989, lot 158.

Sale: Sotheby’s, London, November 29, 1989, lot 404.

Acquired at the above sale by the present owner through Leggatt Brothers, London.

Exhibited

Paris, Musée de l’Orangerie, Centenaire de la Naissance de Camille Pissarro , February - March 1930, no. 49 (titled ‘Les Moissonneurs; éventail’).

Literature

J. Pissarro, Camille Pissarro , New York, 1993, no. 218 (illustrated p. 189; titled ‘The Picnic’).

PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

23A

PIERRE BONNARD (1867-1947)

La Famille (Conception pour un éventail) signed ‘Bonnard’ (lower right) gouache, watercolor and pencil on paper

7 3/8 x 20 7/8 in (18.7 x 53 cm) (fan)

13 1/2 x 23 7/16 in (34.3 x 59.6 cm) (sheet) Executed in 1892

US$100,000 - 150,000

£74,000 - 110,000

HK$780,000 - 1,200,000

The authenticity of this work has kindly been confirmed by Guy-Patrice Dauberville and Floriane Dauberville.

Provenance

Galerie René Drouet, Paris. Private collection.

Sale: Sotheby’s, London, December 3, 1986, lot 422.

Acquired at the above sale through Legatt Brothers, London by the present owner.

Exhibited

New York, Metropolitan Museum of Art, Pierre Bonnard: The Graphic Art , December 2, 1989 - February 4, 1990, no. 15 (later traveled to Houston and Boston).

Montreal, The Montreal Museum of Fine Arts, Bonnard, Decorateur, June 18 - October 25, 1998.

Literature

C. Frèches-Thory & A. Terrasse, The Nabis, Bonnard, Vuillard and Their Circle , Paris, 1990, pp. 160-161 (illustrated).

This work depicts Bonnard’s sister, Andrée, her infant son Jean (born 1892) and her husband, the composer Claude Terrasse.

PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

24A

CAMILLE PISSARRO (1830-1903)

Éragny

stamped with the artists initials ‘C.P.’ (Lugt 613a; lower right)

watercolor on paper

12 3/16 x 25 3/16 in (31 x 64 cm) (fan)

14 3/4 x 25 3/16 in (37.5 x 64 cm) (sheet)

Executed circa 1890

US$25,000 - 35,000

£18,000 - 26,000

HK$200,000 - 270,000

The authenticity of this work has been confirmed by Dr. Joachim Pissarro. This work will be included in the forthcoming Catalogue Raisonné of Drawings by Camille Pissarro , currently being prepared.

Provenance

Paul-Émile Pissarro Collection, Paris (the artist’s son).

A. Krafft Collection, Paris.

Galerie de Soleil, Paris.

Sale: Christie’s, London, June 30, 1967, lot 40.

Sale: Parke-Bernet, New York, April 3, 1968, lot 52.

Galerie André Weil, Paris.

Sale: Sotheby’s, London, March 31, 1982, lot 154.

Private collection, Europe (acquired at the above sale); their sale, Sotheby’s, London, October 22, 1997, lot 34.

Acquired at the above sale by the present owner through H. Blairman & Sons, London.

PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

25A

CAMILLE PISSARRO (1830-1903)

Etude d’oies au bord d’un étang (recto); Etude de lavandières au bord d’un fleuve (verso) signed and dated ‘C. Pissarro. 89’ (lower left, recto) gouache and watercolor on paper (recto); pencil on paper (verso)

4 3/4 x 14 3/16 in (12 x 36 cm) (fan)

9 1/16 x 14 3/16 in (23 x 36 cm) (sheet)

Executed in 1889

US$20,000 - 30,000

£15,000 - 22,000

HK$160,000 - 240,000

This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Henri Cottereau Collection, Paris.

Pierre Cottereau Collection, France (by descent from the above); his sale, Sotheby’s, London, October 13, 1993, lot 33. Acquired at the above sale by the present owner through H. Blairman & Sons Ltd., London.

The drawing on the verso is a study for the painting Paysanne au repos au bord d’un canal (see: L.R. Pissarro & L. Venturi, Camille Pissarro, Son Art et son oeuvre , Paris 1939, no. 1617, illustrated p. 307).

PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

26A

OSKAR KOKOSCHKA (1886-1980)

Stillleben mit Sonnenblumen und Faunskopf (Still Life with Sunflowers and Faun’s Head) signed with the artist’s initials ‘OK’ (lower left) oil on canvas

25 1/2 x 31 3/4 in (64.7 x 80.6 cm)

Painted in 1964

US$180,000 - 250,000

£130,000 - 180,000

HK$1,400,000 - 2,000,000

Provenance

Marlborough Fine Art, London. Markus Collection, Chicago (acquired on March 17, 1965).

Sale: Sotheby Parke Bernet & Co, London, December 3, 1980, lot 61.

Acquired at the above sale by the present owner through Leggatt Brothers, London.

Exhibited

New York, Marlborough-Gerson Gallery Inc., Oskar Kokoschka , October - November 1966, no. 62 (titled ‘Sunflowers and mask’).

Appenzell, Stiftung Liner Appenzell, Oskar Kokoschka, Wunderkammer , July 11, 2010 - January 9, 2011, no. 46 (later travelled to Vevey).

Literature

K. Erling, W. Feilchenfeldt & Fondation Oskar Kokoschka (ed.), Oskar Kokoschka. Die Gemälde Online (https:// www.oskar-kokoschka.ch/de/1020/Online-Werkkatalog), Vevey, no. 1964/4 (illustrated).

PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

27A

AUGUSTE RODIN (1840-1917)

Main crispée droite, taille originale ou petit modèle dit aussi ‘Main griffe’ signed ‘A. Rodin’ (on the right side of the wrist) and inscribed with the foundry mark ‘G. Rudier Fondeur’ (on the back of the wrist) bronze with dark brown patina 5 1/4 x 4 x 2 3/8 in (13.4 x 10.2 x 5.8 cm)

Conceived circa 1885, this bronze version cast by the Georges Rudier Foundry in March 1954.

US$40,000 - 60,000

£29,000 - 44,000

HK$310,000 - 470,000

This work will be included in the forthcoming Catalogue Critique de l’Oeuvre Sculpté d’Auguste Rodin , currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.

Provenance

Musée Rodin, Paris.

M. Zwenmer Collection, London (acquired from the above in June 1959); their sale, Christie’s, London, March 25, 1986, lot 51. Acquired at the above sale by the present owner.

Literature

O. Mirbeau et al., Auguste Rodin et son oeuvre , Paris, 1900 (other casts illustrated pp. 28–32).

L. Roger-Milés, ‘Rodin,’ in Figaro Illustré , Vol. XXV, September 1906, Paris (other casts illustrated pp. 68-69).

A.E. Elsen, The Partial Figure in Modern Sculpture. From Rodin to 1969 , exh. cat., The Baltimore Museum of Art, Baltimore, 1969 (another cast illustrated p. 20).

J.L. Tancock, The Sculpture of Auguste Rodin , Philadelphia, 1976, no. 119 (the larger version illustrated p. 618).

J. Caso & P.B. Sanders, Rodin’s Sculpture, A Critical Study of the Spreckels Collection, California Palace of the Legion of Honor , San Francisco, 1977, no. 69 (other versions illustrated pp. 322 & 324).

A.E. Elsen, In Rodin’s Studio, A Photographic Record of Sculpture in the Making , Oxford, 1980 (other casts illustrated pls. 65-70). Exh. cat., Rodin, les mains, les chirurgiens , Musée Rodin, Paris, 1983 (other casts illustrated pp. 86-87).

A. Pingeot, Le Corps en morceaux , exh. cat, Musée d’Orsay, Paris, 1990 (other casts illustrated pp. 191-192).

P. Nitti & M. Restellini, Rodin en 1900. L’exposition de l’Alma , exh. cat. Musée du Luxembourg, Paris, 2001, no. 32 (plaster version illustrated p. 119).

A.E. Elsen, Rodin’s Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for Visual Arts at Standford University , New York, 2003, no. 188 (another cast illustrated p. 582).

B. Maaz (ed.), Druet sieht Rodin, Photographie & Skulptur , exh. cat., Staatlichen Museen, Berlin, 2005 (another cast illustrated pp. 15, 61 & 124).

H. Pinet, Rodin et la photographie , exh. cat., Musée Rodin, Paris, 2007 (the larger version illustrated pp. 79, 82-83).

A. Le Normand-Romain, Rodin et le bronze, catalogue des oeuvres conservées au Musée Rodin , Vol. II, Paris, 2007 (another cast illustrated p. 500).

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Gordon’s Fine Wines Baker’s Best 150 Gould Street

Needham, MA 02494

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IMPRESSIONIST & MODERN ART

New York | Thursday, May 21, 2026 at 12pm ET

Reference catalogue. For full catalogue see www.bonhams.com/auction/31845

Bonhams

111 West 57th Street, New York, New York 10019 bonhams.com

Sale Number

31845

Lots 101 - 157

Illustrations

Front cover: 6A

Inside front cover: 240

Frontispiece: 122

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Opposite page: 108

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St. Tropez

signed ‘Canu’ (lower right); inscribed ‘880 St. Tropez’ (on the reverse)

oil on canvas

25 9/16 x 21 in (65 x 53.4 cm)

US$8,000 - 12,000

£5,900 - 8,900

HK$63,000 - 94,000

YVONNE CANU (1921-2007)

Nu renversé à la draperie signed ‘Raoul Dufy’ (lower right) gouache and watercolor on paper 11 7/8 x 12 15/16 in (30.1 x 32.9 cm) Executed in 1930

US$15,000 - 20,000

£11,000 - 15,000

HK$120,000 - 160,000

RAOUL DUFY (1877-1953)

PROPERTY FROM THE DISTINGUISHED COLLECTION OF HISTORIAN PAUL A. COHEN

103

PAUL SIGNAC (1863-1935)

Port breton (Saint-Guénolé). Les langoustiers signed ‘P. Signac’ (lower right)

gouache, watercolor and black pencil on paper

11 x 17 5/16 in (28 x 44 cm)

Executed circa 1927

US$18,000 - 25,000

£13,000 - 19,000

HK$140,000 - 200,000

The authenticity of this work has been confirmed by Marina Ferretti.

PROPERTY

FROM A PRIVATE COLLECTION, SACRAMENTO

SERGE MENDJISKY (1929-2017)

L’Eglise de St. Paul

signed ‘Serge Mendjisky’ and extensively inscribed (on the reverse)

oil on canvas

25 9/16 x 19 11/16 in (65 x 50 cm)

Painted circa 1960

US$6,000 - 8,000

£4,400 - 5,900

HK$47,000 - 63,000

The authenticity of this work has been confirmed by Patricia Mendjisky.

PROPERTY FROM A PRIVATE COLLECTION, SCOTTSDALE

105

LE PHO (1907-2001)

Fleurs signed ‘Le Pho’ and further signed in Chinese (lower right) oil on canvas

25 9/16 x 31 7/8 in (65 x 81 cm)

Painted circa 1970

US$60,000 - 80,000

£44,000 - 59,000

HK$470,000 - 630,000

The authenticity of this work has been confirmed by the Findlay Institute. This work will be included in the forthcoming Le Pho catalogue raisonné, currently being prepared.

FROM LINE TO FORM: SELECTIONS FROM A PHILANTHROPIC NEW YORK COLLECTION

HENRI MATISSE (1869-1954)

Jeune femme au chapeau signed and dated ‘H Matisse 44’ (lower right) conté crayon on paper

16 9/16 x 12 5/8 in (42.1 x 32 cm)

Executed in Vence in November 1944

US$70,000 - 100,000

£52,000 - 74,000

HK$550,000 - 780,000

The authenticity of this work was confirmed by the late Wanda de Guébriant.

Provenance

The artist’s estate.

Hazlitt, Gooden & Fox Ltd., London (by 1986). Acquired from the above by the present owner on August 19, 1986.

Exhibited

London, Hazlitt, Gooden & Fox Ltd., French Drawings, June 19 - July 18, 1986, no. 39.

Jeune femme au chapeau attests to Henri Matisse’s consummate draughtsmanship at a pivotal moment in his career, during which he was living and working in Vence in the south of France. While his health was fragile and he was largely bedridden, this period proved extraordinarily productive for the artist, as he became deeply engaged in drawing and illustration and began pursuing an ever more distilled linear style.

Women - central to his oeuvre since his encounter with Paul Cézanne’s Trois baigneuses (1882) — remain his enduring subject. Here, the sitter appears unaware of the viewer’s gaze as she sits absorbed in thought: head bowed, chin resting on clasped hands. With a few fluid strokes, Matisse captures not only his model’s likeness but also her attitude, ably illustrating his belief that “drawing is the purest and most direct translation of my emotion. The simplification of the medium allows that” (the artist quoted in J. Flam, Matisse on Art, Berkely, 1995, p. 130).

“ABOVE ALL, I DO NOT CREATE A WOMAN, I MAKE A PICTURE.”

-HENRI MATISSE

Matisse achieved this apparent ease of execution through discipline, increasingly devoting himself to drawing from the mid-1930s onward. Though executed in conté crayon, the work possesses the immediacy of ink: the line is decisive, uncorrected, and continuous. Form emerges through contour alone. Hair and figure resolve into arabesque curves, fingers into delicate loops, eyelashes into fleeting accents. Eschewing shading, Matisse relies on subtle variations in pressure to suggest volume, anticipating the radical economy of his late cut-outs.

Jeune femme au chapeau was executed in November 1944, just a few months after the Liberation of Paris of which his estranged wife, Amélie Matisse, and his daughter, Marguerite Duthuit-Matisse, were directly affected. Despite this turmoil, the drawing remains serenely self-contained, marked by clarity and formal purity - a testament to the artist’s aim not to depict a woman, but to make a picture.

FROM LINE TO FORM: SELECTIONS FROM A PHILANTHROPIC NEW YORK COLLECTION

HENRI MATISSE (1869-1954)

Jonquilles (recto); Palmiers et nuages (verso) signed with the artist’s initials and dated ‘HM 8.3.45’ (lower right, recto)

pencil on paper

11 x 15 in (28.2 x 38.3 cm)

Executed in Vence on March 8, 1945

US$18,000 - 25,000

£13,000 - 19,000

HK$140,000 - 200,000

The authenticity of this work was confirmed by the late Wanda de Guébriant.

Provenance

The artist’s estate.

Lumley Cazalet Ltd., London.

Acquired from the above by the present owner in March 1995.

Exhibited

Le Cateau-Cambrésis, Musée Matisse, Matisse, Fleurs, Feuillages, Dessins, July 8 - September 30, 1989, no. 82.

108

FROM LINE TO FORM: SELECTIONS FROM A PHILANTHROPIC NEW YORK COLLECTION

EDGAR DEGAS (1834-1917)

Danseuse assise

stamped with artist’s signature ‘Degas’ (Lugt 658; lower left); stamped with the artist’s atelier stamp (Lugt 657; verso) charcoal heightened with white chalk on blue paper 19 1/8 x 11 7/16 in (48.5 x 29.1 cm)

Executed circa 1878-1880

US$150,000 - 200,000

£110,000 - 150,000

HK$1,200,000 - 1,600,000

We are grateful to Professor Theodore Reff for his assistance in cataloguing this work.

Provenance

Atelier Edgar Degas, Paris; his Estate sale, Galerie Georges Petit, Paris, 3rd Sale, April 7-9, 1919, lot 358-2.

Hazlitt, Gooden & Fox Ltd., London.

Acquired from the above by the present owner on July 8, 1982.

Exhibited

London, Hazlitt, Gooden & Fox, Nineteenth Century French Drawings, June 10 - July 8, 1982, no. 56.

Washington, National Gallery of Art, Degas, The Dancers, November 22, 1984 - March 10, 1985, no. 28.

Executed circa 1878–1880, Danseuse assise belongs to a pivotal moment in the career of Edgar Degas. Though Degas sustained a deep interest in and engagement with themes of the ballet throughout his career, it was not until the late 1870’s that Degas’ depictions of ballet dancers reached one of their most innovative, psychologically nuanced phases.

During these years, Degas shifted decisively away from the spectacle of performance toward the intimate, often unguarded moments of rehearsal and rest, focusing on dancers not as idealized performers, but as working bodies—subjects through which he could explore the mechanics of movement, balance, and modern life.

FROM LINE TO FORM: SELECTIONS FROM A PHILANTHROPIC NEW YORK COLLECTION

The present sheet captures a young dancer in a moment of quiet repose, her torso pitched forward and arms extending toward her knees. Executed in charcoal heightened with white chalk on blue paper, the drawing exemplifies Degas’s masterful exploitation of a three-tone system: the blue ground establishes a middle value, while charcoal defines shadow and white chalk articulates passages of light. Fine but firm contours describe the structure of the body, while broader, widely spaced strokes of charcoal and chalk—occasionally softened through stumping—model volume with remarkable efficiency. This interplay of line and tone lends the figure a striking sense of weight and presence. Indeed, the pose itself—defined by the parallel extension of the arms and the corresponding bend of the legs—imbues the dancer with a monumental stillness, evoking the compact, self-contained mass of an ancient sculptural form.

The faint grid that structures the composition provides further insight into Degas’ working method. According to Professor Theodore Reff, a leading expert in Degas’ art, the sheet is “squared,” a traditional device used to transfer a figure from a preparatory drawing to a larger composition. Exceptionally, however, no definitive corresponding painting for this specific configuration has been identified. A closely related drawing of a seated dancer in the Norton Simon Museum, executed in the same medium, format, and likewise squared, can be directly linked to a finished composition, Dancers Resting in the Museum of Fine Arts, Boston.

The present work thus occupies a compelling position within Degas’s practice: while clearly intended for transfer, it may represent either a stage in a compositional process that was later altered or abandoned, or a fragment of a larger conception that has not survived.

More broadly, this drawing belongs to Degas’s method of constructing compositions through the accumulation and recombination of individual studies. Figures developed in isolation were not fixed endpoints, but rather elements within a larger visual archive, capable of being repositioned, adapted, and reused across multiple works. The present figure, often identified as the English dancer Nelly Franklin, appeared in major paintings of the period, including The Dance Lesson (c. 1879) and Dancers in the Rehearsal Room with a Double Bass (c. 1885), where dancers are arranged in carefully orchestrated, frieze-like spaces. In these compositions, Degas draws upon a repertoire of observed and constructed forms, assembling them with a precision that belies their apparent spontaneity.

Degas’s fascination with the depiction of movement places this work within a broader late nineteenth-century dialogue surrounding the analysis of motion. In this context, the artist’s practice finds a compelling parallel in the contemporaneous photographic studies of Eadweard J. Muybridge, whose Animal Locomotion series (1884–86) sought to break down movement into sequential phases. Muybridge’s Woman Dancing (Fancy),

Edgar Degas (1834-1917), La Lecon de Dance, circa 1879, National Gallery of Art, Washington D.C.

for example, presents the body in a series of discrete, analytical poses, each frame isolating a moment within a continuous action. While Degas did not adopt such strictly sequential methods, his repeated studies of dancers in varying positions and viewpoints reveal a similarly sustained investigation into the mechanics and rhythms of the human body. Rather than freezing motion into isolated instants, however, Degas sought to capture its continuity, suggesting both the immediacy of lived experience and the underlying structure that governs it.

The subject of the dancer held a singular importance within Degas’s oeuvre. Though often associated with the Impressionists, Degas rejected the label, preferring to align himself with a more rigorous, studio-based practice rooted in observation, memory, and classical draftsmanship. As he famously remarked, “nothing in art must seem an accident,” a principle that resonates strongly in the present work. The apparent spontaneity of the pose belies a highly considered construction, in which each line and tonal passage contributes to a carefully balanced whole.

At the same time, Degas’s focus on dancers at rest—rather than in performance—signals a deliberate departure from the polished illusion of the stage. By turning his attention to moments of fatigue, adjustment, and stillness, he reveals the physical demands and disciplined labor that underline the spectacle of ballet. These intimate views subtly complicate the glamour traditionally associated with the Paris Opéra, offering instead a more candid

vision of the dancer’s experience, one shaped as much by exertion and repetition as by grace. In this sense, Degas’s images function not only as studies of movement, but as reflections on the conditions of modern life and work, a theme that parallels his own methodical and iterative approach to artmaking.

The distinguished provenance of the present sheet further attests to its significance. Retained in the artist’s studio until his death, it was included in the landmark posthumous sale of Degas’s estate at Galerie Georges Petit in Paris in 1919, a foundational moment in the dispersal of his oeuvre. Subsequently handled by the esteemed London dealers Hazlitt, Gooden & Fox, the drawing was exhibited in their Nineteenth Century French Drawings exhibition in 1982 before being acquired by the present owner the same year. It was later included in the important exhibition Degas: The Dancers at the National Gallery of Art, Washington, D.C. (1984–85), where it was presented alongside related works, underscoring its place within Degas’s sustained exploration of the ballet theme.

At once intimate and analytical, Danseuse assise encapsulates Degas’s singular ability to reconcile observation with invention. Through a restrained yet highly expressive technique, the artist transforms a fleeting moment of rest into a profound study of form, movement, and modern life—revealing the dancer not as an icon of grace alone, but as a body shaped by discipline, fatigue, and time.

Eadweard J. Muybridge (1830-1904), Woman Dancing (Fancy): Plate 187 from Animal Locomotion (1887), Museum of Modern Art, New York.

FROM LINE TO FORM: SELECTIONS FROM A PHILANTHROPIC NEW YORK COLLECTION

110 ALBERT GLEIZES (1881-1953)

Bermuda or Maisons sur une colline aux Bermudes or Paysage cubiste

signed, inscribed and dated ‘Alb Gleizes Bermudes 17’ (lower right)

watercolor and pen and ink on paper

7 5/16 x 8 1/8 in (18.5 x 20.6 cm)

Executed in 1917

US$7,000 - 10,000

£5,200 - 7,400

HK$55,000 - 78,000

Provenance

Sale: Sotheby’s, London, December 6, 1973, lot 209. F. Pole Collection (acquired at the above sale).

Sale: Galerie Wolfgang Ketterer, Munich, December 1, 1975, lot 589.

Sale: Sotheby Parke Bernet & Co., London, April 8, 1976, lot 287. Acquired by the present owner in the mid 1990s.

Literature

A. Varichon, Albert Gleizes, Catalogue raisonné, Vol. I, Paris, 1998, no. 797 (illustrated p. 270).

FROM LINE TO FORM: SELECTIONS FROM A PHILANTHROPIC NEW YORK COLLECTION

CONSTANTINE GUYS (1805-1892)

Jeune femme au bonnet bleu

watercolor and pen and ink on paper

12 15/16 x 9 13/16 in (32.8 x 25 cm)

US$1,000 - 1,500

£740 - 1,100

HK$7,800 - 12,000

Provenance

Duchess of Luynes. Hazlitt, Gooden & Fox Ltd., London (by 1980).

Private collection, France.

Private collection, New York.

Acquired from the above by the present owner on January 30, 1986.

Exhibited

London, Hazlitt, Gooden & Fox Ltd., Nineteenth Century French Drawings, June 18 - July 18, 1980, no. 24.

HONORÉ DAUMIER (1808-1879)

Deux études du Retour de l’Enfant prodigue pen and ink on paper 11 5/16 x 7 13/16 in (28.7 x 19.9 cm)

Executed circa 1860s

US$3,000 - 5,000

£2,200 - 3,700

HK$24,000 - 39,000

Provenance

D. L. Collection, Berlin; their sale, Amsler & Ruthardt, Berlin, October 29, 1925, lot 201.

Alfred Strölin, Lausanne. Private collection.

Private collection, Paris (by 1967).

Hazlitt, Gooden & Fox Ltd., London (by 1976).

Acquired from the above by the present owner on December 1, 1980.

Exhibited

London, Hazlitt, Gooden & Fox Ltd., Nineteenth Century French Drawings, May 20 - June 18, 1976, no. 14.

Literature

K.E. Maison, Honoré Daumier, Catalogue Raisonné of the Paintings, Watercolours and Drawings, Vol. II, The Watercolours and Drawings, London, 1967, no. 755 (illustrated pl. 298).

B. Laughton, The Drawings of Daumier and Millet, New Haven & London, 1991, no. 9.25 (illustrated p. 155).

PROPERTY FROM A PRIVATE AUSTRALIAN COLLECTION

PIERRE-AUGUSTE RENOIR (1841-1919)

Femme nue assise (fragment)

oil on canvas

9 1/4 x 8 11/16 in (23.5 x 22 cm)

Painted circa 1915-1917

US$100,000 - 150,000

£74,000 - 110,000

HK$780,000 - 1,200,000

This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

PROPERTY OF A PRIVATE MIAMI COLLECTOR

ÉDOUARD VUILLARD (1868-1940)

Madame Hessel à Les Étincelles signed ‘E Vuillard’ (lower center) oil on cardboard

16 3/4 x 22 7/8 in (42.6 x 58.1 cm) Painted in 1902, reworked in 1926

US$100,000 - 150,000

£74,000 - 110,000

HK$780,000 - 1,200,000

PROPERTY FROM THE COLLECTION OF SAMUEL AND ESTHER SARICK

115 AUGUSTE RODIN (1840-1917)

Saint Barthélémy

signed and inscribed ‘S Barthélemy Aug Rodin’ (along the upper edge) and signed again ‘Aug Rodin’ (lower right) watercolor and pencil on paper 19 3/8 x 12 9/16 in (49.2 x 31.9 cm) Executed circa 1898-1900

US$15,000 - 20,000

£11,000 - 15,000

HK$120,000 - 160,000

The authenticity of this work has been confirmed by Christina Buley-Uribe. This work will be included in the forthcoming Auguste Rodin catalogue raisonné of paintings and works on paper, currently being prepared.

This singular standing female nude, conceived in a manner akin to a flayed figure (écorché), reflects Auguste Rodin’s sustained engagement with themes of corporeal tension and expressive distortion. The work may relate to his illustrations for Le Jardin des supplices by Octave Mirbeau, whose visceral imagery of cruelty finds an echo in the figure’s anatomized treatment. Such écorché forms recur in Rodin’s graphic practice of the 1870s–80s, particularly in connection with The Gates of Hell, underscoring his fascination with the expressive potential of the exposed body. Here, the inscription “Saint Barthélemy” introduces an additional historical resonance, alluding to the St. Bartholomew’s Day Massacre, and inflecting the image with associations of violence and martyrdom.

Executed with remarkable fluency, the sheet is distinguished by Rodin’s use of layered watercolor washes, which both delineate and dissolve the figure, producing a dynamic interplay between form and atmosphere characteristic of his most painterly works. The present drawing also benefits from distinguished provenance.

It formed part of the celebrated collection assembled by Kishizaemon Kishimoto, whose efforts were instrumental in introducing Rodin’s work to Japan in the early twentieth century. The drawing was exhibited in Tokyo in 1920 at the Nihon Bijutsuin in Tokyo, an exhibition which generated considerable attention from the press and marked a pivotal moment in the international reception of Rodin’s drawings. Koban Tobari celebrated the event:

“It is perhaps not an exaggeration to say that this is the first time in history that so many original works and sketches by the master have been exhibited. The mere fact of having been able to assemble such a large number of pieces has already astonished Parisians.”

In 1961, the present work was exhibited again at the Osaka Musée des beaux-arts, alongside drawings by sculptors Henry Moore and Jean Arp and a large selection of Rodin works from the Kishimoto collection. To this day, only a very small number of works from this group have been dispersed to private hands.

“THE FEELING FOR THE OBJECT IS ALREADY IN PRIMITIVE PICTURES—IN WORKS OF THE HIGH PERIODS OF EGYPTIAN, ASSYRIAN, GREEK, ROMAN AND GOTHIC ART. THE MODERNS ARE GOING TO DEVELOP IT, ISOLATE IT, AND EXTRACT EVERY POSSIBLE RESULT OF IT.”

- FERNAND LÉGER

PROPERTY FROM A PROMINENT BEVERLY HILLS COLLECTION

116

FERNAND LÉGER (1881-1955)

Composition aux gants jaunes

signed and dated ‘F. Leger 34.’ (lower right); signed and dated again and inscribed ‘Composition aux gants jaunes’ (on the reverse) and further inscribed ‘No 24’ (on the stretcher) oil on canvas

25 5/8 x 21 1/4 in (65.1 x 54 cm) Painted in 1934

US$250,000 - 350,000

£190,000 - 260,000

HK$2,000,000 - 2,700,000

In the 1930s, Fernand Léger became increasingly preoccupied with creating a new artistic language that captured the outside, modern world in an accessible way. This period was marked by a departure from the rigid, mechanical imagery of his earlier Purist works from the 1920s towards a more liberated pictorial language. This shift was key to Léger’s abstraction: rather than dissolving objects into architectonic structures of pure form, Léger isolated them, preserving their legibility while freeing them from gravity, perspective, and narrative context. While

Léger would continue to create works that showed everyday scenes in his trademark style of bold, outlined, well-shaded forms in unmodulated bursts of pure color, he discarded the rigid geometric grid that asserted a traditional rappel à l’ordre (call to order) within his compositional structures. In a newly found exaltation of the spontaneous, Léger sought to cut the everyday object loose from its accustomed formal moorings, allowing it to drift freely across the canvas, suspended against a nebulous background.

Vincent van Gogh (1853-1890), Still Life of Oranges and Lemons with Blue Gloves, 1889, National Gallery of Art, Washington, D.C.

This impulse found a natural extension in his sustained engagement with circus imagery; the emphasis on movement, spectacle, and popular entertainment provided Léger with a rich repertoire of dynamic forms and familiar objects that could be both recognizable and formally inventive.

Although never officially affiliated with the Surrealist movement, this transformation in Léger’s working style is a clear testament to the powerful influence of Surrealism on the artist’s aesthetic at the time. The gloved hands floating at the center of Composition aux gants jaunes are a key exemplar of the biomorphic imagery patently influenced by the Surrealist movement and the amoeboid forms used by contemporaries Yves Tanguy and Salvador Dalí. At the same time, the presence of gloves, balls, and juggler’s pins subtly evokes the world of the circus, a recurring subject in Léger’s work during this decade, where performers and props alike were distilled into bold, simplified forms. While there are clear similarities between the fluid, playful freedom of Léger’s compositions from the 1930s and the ambiguous, weightless vistas of the Surrealists’ ‘dreamscapes,’ the artist repudiated any surreal intent to these images. This resistance can be understood in the sense that, while similarly isolating common objects from their conventional contexts, this juxtaposition was purely pictorial for Léger. Unlike the transcendental Surrealist works, the incongruity of the present work should not be read as a violation of the subconscious, but, rather, a play on contrasts that was grounded within the physical reality of his objects, objects that often recall the performative space of the circus, yet remain governed by plastic requirements and the laws of rhythm and contrast.

As such, Composition aux gants jaunes operates in a paradoxical register between representation and abstraction. The everyday items appear suspended in indeterminate space, not fully grounded within reality nor entirely abstract. Their subtle association with circus imagery underscores Léger’s fascination with accessible, collective forms of modern life, where spectacle and familiarity intersect. When musing on the creation of a new, liberated visual order, Léger wrote that: “In painting, the strongest restraint has been that of subject matter upon composition, imposed by the Italian Renaissance. The effort towards freedom began with the Impressionists

and has continued to express itself until our day... The feeling for the object is already in primitive pictures, in works of the high periods of Egyptian, Assyrian, Greek, Roman and Gothic art. The moderns are going to develop it, isolate it, and extract every possible result of it” (F. Léger, ‘The New Realism’, in Fernand Léger, Functions of Painting , New York, 1973, p. 109). This freedom can be understood in the sense that Léger’s isolated objects are not the dominant subject of the composition, allowing both color and geometric form to have realities in and of themselves, harmoniously independent from the other. The circus motif, with its emphasis on performance, balance, and rhythmic movement, reinforces this conceptual shift: the object is no longer subordinate to subject matter, but instead constitutes the primary vehicle of pictorial meaning.

Yves Tanguy (1900-1955), The Hostages , 1934, Metropolitan Museum of Art, New York.

PROPERTY FROM A PROMINENT BEVERLY HILLS COLLECTION

117

ACHILLE LAUGÉ (1861-1944)

L’Entrée de Cailhau au printemps signed and dated ‘A. Laugé 1919’ (lower left) oil on canvas

21 x 28 3/4 in (53.5 x 73 cm)

Painted in 1919

US$20,000 - 30,000

£15,000 - 22,000

HK$160,000 - 240,000

The authenticity of this work has been confirmed by Nicole Tamburini. This work will be included in the forthcoming Achille Laugé catalogue raisonné, currently being prepared.

PROPERTY FROM A PROMINENT BEVERLY HILLS COLLECTION

118

BLANCHE HOSCHEDÉ-MONET (1865-1947)

La Risle, Beaumont-le-Roger

signed ‘Blanche Hoschede’ (lower left) oil on canvas

23 5/8 x 31 7/8 in (60 x 81.1 cm)

Painted in 1910

US$20,000 - 30,000

£15,000 - 22,000

HK$160,000 - 240,000

The authenticity of this work has been confirmed by Philippe Piguet. This work will be included in the forthcoming Blanche Hoschedé-Monet catalogue raisonné, currently being prepared.

PROPERTY FROM A PROMINENT BEVERLY HILLS COLLECTION

119

PIERRE EUGÈNE MONTÉZIN (1874-1946)

Printemps à Bessé

signed ‘Montezin’ (lower left); inscribed ‘Printemps à Bessé’ (on the reverse) oil on canvas

19 3/4 x 25 9/16 in (50.1 x 65 cm)

US$8,000 - 12,000

£5,900 - 8,900

HK$63,000 - 94,000

The authenticity of this work has been confirmed by Cyril Klein-Montézin.

PROPERTY FROM A PROMINENT BEVERLY HILLS COLLECTION

120

JACQUES MARTIN-FERRIÈRES (1893-1972)

Voiliers dans le port de Collioure signed and dated ‘Jac Martin-Ferrières 26’ (lower left)

oil on canvas

22 3/8 x 35 3/16 in (56.9 x 89.4 cm)

Painted in 1926

US$5,000 - 7,000

£3,700 - 5,200

HK$39,000 - 55,000

The authenticity of this work has been confirmed by Marie-Anne Destrebecq-Martin.

PROPERTY FROM A PROMINENT BEVERLY HILLS COLLECTION

121

JACQUES MARTIN-FERRIÈRES (1893-1972)

Monastère sur le lac d’Ohrid - Yougoslavie signed and dated ‘Martin-Ferrières 19’ (lower left)

oil on canvas

15 1/2 x 19 1/2 in (39.8 x 49.7 cm)

Painted in 1919

US$8,000 - 12,000

£5,900 - 8,900

HK$63,000 - 94,000

The authenticity of this work has been confirmed by Marie-Anne Destrebecq-Martin.

“PAINTING, WE DO NOT TALK ABOUT IT, WE DO NOT ANALYZE IT, WE FEEL IT.”

- BERNARD BUFFET

PROPERTY OF A DISTINGUISHED DELAWARE COLLECTOR

122

BERNARD BUFFET (1928-1999)

Tréboul, environs de Douarnenez, le port à marée basse signed ‘Bernard Buffet’ (upper right) and dated ‘1972’ (upper left); inscribed ‘Tréboul, environs de Douarnenez, le port à Marée Basse’ (on the reverse) oil on canvas

35 1/4 x 51 3/16 in (89.5 x 130 cm)

Painted in 1972

US$200,000 - 300,000

£150,000 - 220,000

HK$1,600,000 - 2,400,000

The authenticity of this work has been confirmed by Galerie

Maurice Garnier.

Postcard, Douarnenez - Vue générale prise de Tréboul

Painted in 1972, Tréboul, environs de Douarnenez, le port à marée basse epitomizes the mature coastal imagery of Bernard Buffet, whose stark linearity and disciplined compositions define a singular postwar vision. Executed during a period of relative retreat from the Parisian art world, the work reflects both personal and artistic recalibration, as Buffet sought renewed clarity in the enduring rhythms of maritime life.

The composition unfolds across a Breton harbor at low tide, where a cluster of moored boats rests upon still, reflective waters. Their elongated hulls—articulated in accents of ochre, rust, and green—cut diagonally across the foreground, tethered by a web of taut, graphic lines. Behind them rises a dense façade of whitewashed buildings, their rigid geometry punctuated by dark window apertures and the vertical thrust of a church spire. The compressed horizon and subdued sky heighten the sense of containment, while Buffet’s signature black contours impose both structural rigor and emotional intensity.

Here, the state of marée basse (low tide) becomes more than a descriptive detail; it serves as the conceptual anchor of the painting. Boats—typically emblems of movement and departure— are rendered inert, suspended between utility and stillness. This quiet stasis imbues the scene with a contemplative atmosphere, underscored by mirrored reflections that blur distinctions between solid and liquid, presence and absence.

Buffet’s affinity for coastal subjects is rooted in his early experiences along the western coast of France. His lifelong engagement with harbors and shorelines reflects both memory and method: a return to motifs that allowed for the exploration of repetition, structure, and subtle variation. By the 1970s, having withdrawn with his wife Annabel to the quieter environs of the

Yvelines, he found in such subjects a renewed sense of autonomy, working free from the pressures that had accompanied his meteoric early success.

Indeed, Buffet’s career was marked by precocity and intensity. Championing figuration at a time when abstraction dominated postwar Europe, he rose swiftly to prominence, supported early on by the industrialist Pierre Bergé, his devoted companion. By 1955, he was recognized among the leading artists of his generation, and in 1974 he became the youngest member ever elected to the Académie des Beaux-Arts. Yet this acclaim was accompanied by periods of critical reassessment, prompting his retreat and subsequent re-engagement with painting on his own terms.

The present work exemplifies this later phase with particular clarity. Buffet’s controlled palette—dominated by cool whites, slate greys, and earthy tones—is enlivened by incisive accents, while his linear precision approaches the architectural. The surface retains a tactile immediacy, suggestive of palette-knife application, yet remains disciplined, never surrendering to excess.

As noted by Nick Foulkes in Bernard Buffet: The Invention of the Modern Mega- Artist, Buffet found profound contentment in his maritime subjects: “There has never been a happier time than painting the ‘Ship’ series.” In Tréboul, this contentment is palpable—not as exuberance, but as equilibrium. The harbor, emptied of human activity yet rich with implied presence, becomes a site of introspection. Ultimately, the work distills a central tension in Buffet’s oeuvre: between motion and stillness, vitality and restraint—capturing not merely a place, but a state of mind poised delicately between departure and return.

JACQUES LIPCHITZ (1891-1973)

Pregnant Woman

signed and numbered ‘3/7 J. Lipchitz’ and marked with the artist’s thumbprint (on the base) bronze with brown patina 24 x 5 7/8 x 5 1/2 in (61 x 15 x 14 cm)

Conceived in 1912, this bronze version cast in an edition of 7.

US$50,000 - 70,000

£37,000 - 52,000

HK$390,000 - 550,000

Pregnant Woman belongs to the classical current that shaped Jacques Lipchitz during his brief academic training of 1911–12. Although he achieved early success with Woman and Gazelles , Lipchitz grew increasingly dissatisfied with the conservative Beaux-Arts framework in which he had been working. As he later reflected, he became acutely aware of the radical developments unfolding around him—an allusion to the Analytic Cubism of Pablo Picasso and Georges Braque, which would soon exert a decisive influence on his sculptural practice. It was only in 1913, however, that his work began to register a clear departure from academic convention.

Likely one of the final major works of his years as a student, Pregnant Woman was conceived without a live model—an absence Lipchitz attributed simply to financial constraints. Yet

the sculpture’s pronounced elongation of the lower torso and legs suggests a deliberate move away from direct observation toward an imaginative, interpretive approach. As the artist has said, the subject engages the enduring theme of motherhood, a motif he associated with his deep personal attachment to his own mother.

As is often the case in an artist’s early production, certain formal tendencies emerge that anticipate later developments. In both Woman and Gazelles and Pregnant Woman, the emphasis on symmetry and frontal presentation prefigures compositional strategies that recur throughout Lipchitz’s mature oeuvre. Throughout his career, his sculpture would continually shift between these balanced, architectonic arrangements and a more dynamic, Baroque-inflected sense of movement.

124 W

JACQUES LIPCHITZ (1891-1973)

Musical Instruments with Basket of Fruit and Grapes signed and numbered ‘3/7 J. Lipchitz’ and marked with the artist’s thumbprint (on the upper right rim) and stamped with the foundry mark ‘Modern Art FDRY N.Y’ (on the lower right edge) bronze with black green patina

31 3/4 x 41 1/2 x 6 7/8 in (80.6 x 105.4 x 17.7 cm)

Conceived in 1922, this bronze version cast by the Modern Art Foundry, New York, between 1922 and 1973 in an edition of 7.

US$40,000 - 60,000

£30,000 - 44,000

HK$310,000 - 470,000

PROPERTY FROM THE ESTATE OF JUDITH MARX GOLUB

MARC CHAGALL (1887-1985)

Roi David à la lyre

signed ‘Chagall’ (lower right)

lithographic crayon and pen and Sepia ink on card 5 1/2 x 4 3/16 in (13.8 x 10.6 cm)

Executed circa 1974

US$8,000 - 12,000

£5,900 - 8,900

HK$63,000 - 94,000

The authenticity of this work has been confirmed by the Comité Marc Chagall.

This jubilant drawing of King David playing the lyre is executed on the verso of the wedding announcement for the artist’s daughter, Ida Chagall, and Franz Meyer.

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

FERNAND LÉGER (1881-1955)

Composition aux quatre figures, affiche pour l’entente entre les peuples pour le désarmement contre la guerre microbienne signed and inscribed ‘a Lydmila Kassatkina notre chére tigresse

FLeger’ and further inscribed in Cyrillic (lower right) gouache and brush and India ink on paper 22 7/8 x 15 7/8 in (58.1 x 40.5 cm)

Executed circa 1952-1955

US$80,000 - 120,000

£59,000 - 89,000

HK$630,000 - 940,000

PROPERTY FROM A PRIVATE COLLECTION, WESTCHESTER

127

HENRY MOORE (1898-1986)

Reclining Mother and Child III signed and numbered ‘Moore 6/9’ (to the back of the base) bronze with brown patina

4 5/16 x 9 3/16 x 4 7/8 in (10.9 x 23.4 x 12.4 cm) (including base)

Conceived and cast in 1979, this bronze version cast by the Fiorini Foundry in an edition of 9 plus one artist’s proof.

US$100,000 - 150,000

£74,000 - 110,000

HK$780,000 - 1,200,000

This work is recorded in the Henry Moore Foundation archives under no. LH 780.

“THE MOTHER AND CHILD IS A THEME THAT’S BEEN UNIVERSAL FROM THE BEGINNING OF TIME. SOME OF THE VERY EARLIEST SCULPTURES WE HAVE ARE FROM NEOLITHIC TIMES, ARE MOTHERS AND CHILDREN. IT’S A SUBJECT, JUST LIKE TALKING ABOUT HUMAN FIGURE OR THE FEMALE FIGURE. THE MOTHER AND CHILD THEME IS JUST SOMETHING UNIVERSAL.”

– HENRY MOORE

Eight Reclining Figures in Yellow, Red and Blue later signed and dated ‘Moore 66’ (lower right) felt-tip pen on tissue paper mounted on paper

11 1/2 x 9 1/2 in (29 x 24.1 cm)

Executed in 1966

US$8,000 - 12,000

£5,900 - 8,900

HK$63,000 - 94,000

HENRY MOORE (1898-1986)

Group of Standing Women

signed and dated ‘Moore 66’ (lower right) felt-tip pen on paper

11 1/2 x 9 1/2 in (29.2 x 24.1 cm)

Executed in 1966

US$10,000 - 15,000

£7,400 - 11,000

HK$78,000 - 120,000

HENRY MOORE (1898-1986)

130 W

JACQUES LIPCHITZ (1891-1973)

Hagar I

signed and numbered ‘J. Lipchitz 4/7’ and marked with the artist’s thumbprint (on the top of the base); signed again (on the underside of the figure’s back) and stamped with the foundry mark ‘.Modern Art Foundry. New York. N.Y.’ (to the side of the base)

bronze with dark brown patina

31 x 36 x 17 11/16 in (79 x 91.5 x 45 cm)

Conceived in 1948, this bronze version cast by the Modern Art Foundry, New York, between 1948 and 1973 in an edition of 7.

US$60,000 - 80,000

£44,000 - 59,000

HK$470,000 - 630,000

JACQUES LIPCHITZ (1891-1973)

Seated Harlequin with Mandolin

stamped with the foundry mark ‘C. Valsuani Cire Perdue’ (on the back of the base)

bronze with dark brown patina

8 1/2 x 6 1/2 x 5 in (22 x 16.5 x 12.5 cm)

Conceived and cast in 1926, this work is unique.

US$40,000 - 60,000

£30,000 - 44,000

HK$310,000 - 470,000

PROPERTY FROM THE COLLECTION OF SAMUEL AND ESTHER SARICK

132

FERNAND LÉGER (1881-1955)

Composition à la danseuse

pencil on paper

23 1/8 x 17 1/2 in (58.8 x 44.5 cm)

Executed circa 1928

US$60,000 - 80,000

£44,000 - 59,000

HK$470,000 - 630,000

PROPERTY OF A NEW YORK LADY 133

KURT SCHWITTERS (1887-1948)

Plate 3, from Merz 3 signed and numbered ‘K. Schwitters 2/3’ (lower left) paper collage on lithograph

21 7/8 x 17 1/2 in (55.5 x 44.6 cm) Executed in 1923

US$10,000 - 15,000

£15,000 - 22,000

HK$160,000 - 240,000

We are grateful to Dr. Isabel Schulz for her assistance cataloguing this work from high-resolution images.

PROPERTY

OF A PRIVATE MIAMI COLLECTOR

JEAN (HANS) ARP (1886-1966)

Le Soleil recerclé paper collage on paperboard 18 x 17 1/8 in (45.6 x 43.5 cm)

Executed circa 1962

US$25,000 - 35,000

£19,000 - 26,000

HK$200,000 - 270,000

EXCEPTIONAL WORKS FROM A DISTINGUISHED SAN FRANCISCO COLLECTION

135

LÁSZLÓ MOHOLY-NAGY (1895-1946)

CH9

signed, inscribed and dated ‘L. Moholy-Nagy CH9 (39)’ (on the reverse)

oil on canvas laid down on aluminum

40 5/16 x 50 5/16 in (102.4 x 127.8 cm)

Painted in 1939

US$250,000 - 350,000

£190,000 - 260,000

HK$2,000,000 - 2,700,000

This work is recorded in the Moholy-Nagy Foundation archives.

Entrance to the New Bauhaus, Chicago, 1937.

A leading proponent of the global avant-garde and fundamental Bauhaus figure, László Moholy-Nagy’s artistic output reveals a diverse practice that spans across photography, painting, sculpture, film, and design: defying all attempts at categorization.

As Western civilization struggled to reconcile with a rapidly changing world, Moholy-Nagy’s innovative artistic practice relentlessly sought to question the role of the art object and artist in society. Heavily ensconced within Bauhaus, Dada, and Constructivist theories, Moholy-Nagy believed that art should adapt with the times, reach the general masses, and reflect the ever-evolving developments in technology. Rather than demanding the amalgamation of art and technology, however, Moholy-Nagy’s art encouraged viewers to analyze their perception of technology, and reconsider how the machine could best be utilized to serve the needs of humankind. The clean lines and meticulously reduced forms, now a hallmark of Moholy-Nagy’s work, have always been ingrained within the artist’s oeuvre and rhetoric: willing a future world of clean, advanced modernity ushered in by technological industry.

Painted in 1939, CH9 is the ninth work in the artist’s ‘CH’ series, aptly titled to represent the body of works created throughout the artist’s time in Chicago. Forced to flee the rise of Nazi control in Europe, László Moholy-Nagy moved to the United States in 1937, eventually settling in Chicago where he opened his own design school, The New Bauhaus - American School of Design (later becoming the Institute of Design in 1944). While the artist’s days in America were filled with the responsibilities of administration and teaching, Moholy-Nagy’s interest in the creative potential of industrial materials, and how this potential could be harnessed across various artistic disciplines, never ceased. With the outbreak of WWII, the New Bauhaus adjusted to the wartime socioeconomic climate, resulting in an even stronger focus on functional design and the fundamental understanding of modern materials. In Moholy-Nagy’s personal artistic practice, this meant incorporating industrial materials such as sheet metal. CH9 is painted canvas laid down on a panel of aluminum, a decision suggested as most likely original to the artist given how deeply the use of recycled materials was ingrained within Moholy-Nagy’s aesthetic practice and ideological beliefs.

László Moholy-Nagy (1895-1946), Double Hands, 1926, Annely Juda Fine Art.

Ever the innovator, and constantly developing, it has also been suggested that there may in fact be another Moholy-Nagy work on the panel, hidden beneath the canvas.

While Moholy-Nagy’s legacy is most-typically linked with the photogram and his iconic Light Prop kinetic sculptures, painting remained a visionary medium for the artist throughout his oeuvre. Walter Gropius once wrote that: “Entirely unprejudiced by conventional methods, he ventured into ever new experiments with the curiosity of a scientist” (Schlemmer, The Theater of the Bauhaus, Middletown, 1961, p. 11). Moholy-Nagy’s experiments with paint resulted in dynamic worlds filled with floating, colorful possibilities that disrupted all traditional modes of seeing. In the present work, the stark contrast of the archipelago of capsular elements against the white background creates abstract patterns of light and dark, continuing an experimentation with light that was prevalent throughout the artist’s career. MoholyNagy’s passion for light as an emotive experience, aesthetic ideal, and profound philosophical study became a wholly consuming

quest in the artist’s life, as he sought to create not only with color and line, but light itself. Often bringing home large panes of Rhodoid, a plastic of vitreous transparency, Moholy-Nagy would paint the same abstract elements from previous paintings directly onto the plastic. As light passed through the newly painted plastic sheet, the artist reveled in comparing the twodimensional effect of the original, painted canvas in relation to the shadows cast from the three-dimensional ‘light modulator’.

Painted on canvas as opposed to transparent sheet, CH9 seeks to extricate optimum contrasts, not only in light, but in the sensations induced from the composition’s colors, spatial tensions, forms, lines, and surface texture. The sharply sketched lines of the main, bolt-like motif form an exacting 90-degree angle that is quickly offset by the rounded edges and curvilinear lines on the shape’s outer edges. The delicately painted islands of stippled impasto create a tangible texture in the green capsule’s lower half, while the upper half of the capsule’s sparing application of paint results in a smooth finish.

Though made up of disparate, contrasting formal elements, CH9’s composition remains balanced, as if unified through some grandly synergetic, cosmic order. Moholy-Nagy’s ability to find unity of form and mastery of contrasting tensions through paint, as seen in the present work, was one of the artist’s primary reasons for continuing to experiment with the painted medium in addition to his creations of kinetic art. When writing to František Kalivoda in 1936 about his ‘strange’ proclivity for painting, Moholy-Nagy explained that: “I started out by rediscovering the visual fundamentals of space, color, texture, form and plasticity–open to every human being. I have always to go back to these things...to recharge my willingness to go beyond. To keep one from tearing one’s nerves in all directions there must be the calm of tangible achievement–the one problem solved. For me it is abstract painting” (Moholy-Nagy quoted in J.H. Caton, The Utopian Vision of Moholy-Nagy, Ann Arbor, 1984, p. 55). For Moholy-Nagy, painting was a visionary medium; an outlet through which the artist could explore the transformative power of visual art and bolster his hopes for a better future.

Throughout his life, László Moholy-Nagy incessantly strove to interpret space in its relation to time, a visionary artist whose imagination stretched far beyond the limits of existent conventions of seeing. His daring compositions of non-figural abstractions offered viewers a blueprint for the reconfiguration of one’s perception. Moholy-Nagy emphatically believed that art could, and should, work side-by-side with technology to better humanity. As both an artist and teacher, he was convinced of art’s ability to educate, and stated: “Art sharpens one’s senses, one’s view, one’s mind and one’s observations”. By habituating viewers to new, modern modes of perception, Moholy-Nagy believed that art could transform the world and shape a better future. This optimistic idealism, along with his technical brilliance and abounding zeal for innovation, are palpable in the profound purity of the present work: an enduring balance of tension between movement and stasis, light and dark, opaque depth and shallow translucence. Measuring over three feet in both directions, CH9 is a both a monumental and rare example of László Moholy-Nagy’s technical genius.

El pa a la barca noIX signed ‘Tàpies’ (lower right) brush and ink, wash, oil stick, charcoal, pencil and frottage on paper

15 3/16 x 21 3/4 in (38.6 x 55.2 cm)

Executed in 1963

US$35,000 - 55,000

£26,000 - 41,000

HK$270,000 - 430,000

ANTONI TÀPIES (1923-2012)

Tauromachie

stamped with the artist’s Estate sale stamp (Lugt 3166; verso) gouache, watercolor and ballpoint pen on paper

17 5/16 x 13 7/8 in (43.9 x 35.3 cm)

Executed in 1957

US$12,000 - 18,000

£8,900 - 13,000

HK$94,000 - 140,000

The authenticity of this work has been confirmed by the Association of experts and heirs in defense of Óscar Domínguez’s work.

ÓSCAR DOMÍNGUEZ (1906-1957)

LYONEL FEININGER (1871-1956)

Dröbsdorf

signed ‘Feininger’ (lower left), inscribed ‘Dröbsdorf’ (lower center) and dated ‘20 8 27’ (lower right); stamped with the artist’s estate stamp (verso) charcoal and pen and ink on paper

11 1/4 x 16 1/16 in (28.7 x 40.8 cm)

Executed in 1927

US$12,000 - 18,000

£8,900 - 13,000

HK$94,000 - 140,000

The authenticity of this work has been confirmed by Achim Moeller, Managing Principal of The Lyonel Feininger Project LLC, New York – Berlin, which is registered under no. 448-05-02-11.

LYONEL FEININGER (1871-1956)

Hafendampfer Rauchfahne IV

signed and inscribed ‘Feininger: Hafendamper’ (lower left), further inscribed ‘Rauchfahne IV’ (lower center), and dated ‘1931’ (lower right); stamped with the artist’s estate stamp (verso) watercolor and pen and ink on paper 11 7/8 x 18 1/2 in (30.3 x 47.1 cm)

Executed in 1931

US$12,000 - 18,000

£8,900 - 13,000

HK$94,000 - 140,000

The authenticity of this work has been confirmed by Achim Moeller, Managing Principal of The Lyonel Feininger Project LLC, New York – Berlin, which is registered under no. 409-11-16-10.

PROPERTY FROM A PRIVATE COLLECTION, LOS ANGELES

ALEXEJ VON JAWLENSKY (1864-1941)

Kleiner geneigter Frauenkopf mit geschlossenen Augen signed with the artist’s initials ‘A.J.’ (lower left); signed again, variously inscribed in Cyrillic and dated ‘29.V.24’ (lower center, on the inside left page)

watercolor and pencil on paper

7 1/8 x 4 3/4 in (18.1 x 12.1 cm)

Executed on May 29, 1924

US$12,000 - 18,000

£8,900 - 13,000

HK$94,000 - 140,000

PROPERTY FROM A PRIVATE COLLECTION, CONNECTICUT

JOAN MIRÓ (1893-1983)

Sans titre, carte de voeux signed and dated ‘Miró. 20/XII/49’ (lower right) and inscribed ‘Joyeux Nöel et Bonne Nouvelle Année’ (along the top edge)

gouache and brush and ink and pen on Japon paper

5 1/16 x 9 5/16 in (12.9 x 23.6 cm)

Executed on December 20, 1949

US$15,000 - 20,000

£11,000 - 15,000

HK$120,000 - 160,000

The authenticity of this work has been confirmed by the Association pour la Défense de l’oeuvre de Joan Miró (ADOM).

PROPERTY FROM THE COLLECTION OF VALERIE AND ROBERT MALLETT

144

FRANÇOISE GILOT (1921-2023)

Petit Portrait de Juliènne en Tunisiène signed ‘F. Gilot’ (lower right); inscribed and dated ‘Tunisie 1956

Pour Maurice Lefèbvre-Foinet’ (on the reverse) oil on canvas

16 1/8 x 10 5/8 in (40.8 x 27 cm)

Painted in 1956

US$25,000 - 35,000

£19,000 - 26,000

HK$200,000 - 270,000

This work is registered in the Françoise Gilot Archive under the number 337.

Painted in 1956, this work belongs to a pivotal moment in Françoise Gilot’s independent artistic development, following her separation from Pablo Picasso and during a period of renewed personal and creative autonomy. That spring, Gilot traveled to Tunisia, where she was captivated by the vitality of street life—particularly Berber women and children, as well as hammam scenes—and by the intensity of the region’s light and atmosphere. Rather than working directly from observation, she later translated these impressions from memory in her Paris studio, imbuing her compositions with a synthesis of lived experience and imaginative reconstruction. The present depiction of a Tunisian woman exemplifies this approach: the figure is not treated as an ethnographic study, but as a timeless, sculptural presence, articulated through rhythmic contour and luminous color. Executed at a moment when Gilot had returned her focus to the analysis of the human figure, the work reflects her evolving pictorial language, in which elements of Cubism and abstraction coalesce into a distinctly personal vision.

The present work was acquired in 2011 from Vincent Mann Gallery, a New Orleans based gallery distinguished for its longstanding relationship with Françoise Gilot and its sustained advocacy of her work. Under the direction of Jacob Manguno, the gallery organized a series of focused exhibitions devoted to Gilot, including Collection Privée: Early Works by Françoise Gilot 1940–1960, from which this painting was sold to the present owner in 2011. Exhibitions such as this were developed in close dialogue with the artist herself, reflecting her active role in shaping the presentation and interpretation of her early work.

Together, its evocative subject, refined formal language, and distinguished provenance underscore the work’s importance within Gilot’s oeuvre, encapsulating a moment of artistic clarity and independence that would define her mature practice.

JEAN-PIERRE CASSIGNEUL (B. 1935)

Le peignoir de bain

signed ‘Cassigneul’ (lower left); signed again, inscribed and dated ‘T “le peignoir de bain 1969 Nº 29’ (on the reverse) oil on canvas

23 13/16 x 19 9/16 in (60.5 x 49.7 cm)

Painted in 1969

US$45,000 - 65,000

£33,000 - 48,000

HK$350,000 - 510,000

The authenticity of this work has been confirmed by the artist.

PROPERTY FROM A PRIVATE COLLECTION, TEXAS

LOUIS VALTAT (1869-1952)

Fleurs dans un pichet vert signed with the artist’s initials ‘L.V’ (lower right) oil on canvas

16 1/16 x 10 5/8 in (40.8 x 27 cm)

Painted in 1905

US$15,000 - 20,000

£11,000 - 15,000

HK$120,000 - 160,000

The authenticity of this work has been confirmed by Les Amis de Louis Valtat. This work will be included in the forthcoming Louis Valtat catalogue raisonné, currently being prepared.

PROPERTY FROM A PRIVATE COLLECTION, TEXAS

147

EDGAR DEGAS (1834-1917)

Danseuse faisant la révérence signed, numbered and stamped with the foundry mark ‘Degas 34/E Cire Perdue A.A. Hébrard’ (on the top of the base) bronze with dark brown patina

13 x 8 1/4 x 7 5/16 in (33 x 20.9 x 18.6 cm)

Conceived circa 1896-1911, this bronze version cast between 1919 and 1921 in an edition of 20, numbered from A to T, plus two additional casts for the Degas family and the founder.

US$60,000 - 80,000

£44,000 - 59,000

HK$470,000 - 630,000

PROPERTY FROM A PRIVATE COLLECTION, TEXAS

JEAN DUFY (1888-1964)

La maison Perrier à Preuilly-sur-Claise signed ‘Jean Dufy’ (lower left) oil on canvas

19 3/4 x 25 9/16 in (50.2 x 65 cm)

Painted circa 1938-1940

US$25,000 - 35,000

£18,000 - 26,000

HK$200,000 - 270,000

PROPERTY FROM A PRIVATE COLLECTION, FLORIDA

JEAN DUFY (1888-1964)

L’écuyère à panneaux

signed ‘Jean Dufy’ (lower right) oil on canvas

21 9/16 x 14 15/16 in (54.7 x 38 cm)

Painted circa 1950

US$15,000 - 20,000

£11,000 - 15,000

HK$120,000 - 160,000

The authenticity of this work has been confirmed by Jacques Bailly. This work will be included in the forthcoming volume of the Jean Dufy catalogue raisonné, currently being prepared.

PROPERTY FROM A PRIVATE COLLECTION, UK

150

BENITO QUINQUELA MARTIN (1890-1977)

Tarde de Sol

signed ‘Quinquela Martin’ (lower right) oil on board

19 11/16 x 23 5/8 in (50 x 60 cm)

Painted in 1954

US$8,000 - 12,000

£5,900 - 8,900

HK$63,000 - 94,000

PROPERTY FROM A PRIVATE COLLECTION, UK

BENITO QUINQUELA MARTIN (1890-1977)

Mañana de Invierno

signed ‘Quinquela Martin’ (lower left); signed again and inscribed

‘Mañana de Invierno’ (on the reverse) oil on board

19 11/16 x 23 5/8 in (50 x 60 cm)

Painted circa 1955

US$8,000 - 12,000

£5,900 - 8,900

HK$63,000 - 94,000

PROPERTY FROM THE DISTINGUISHED COLLECTION OF HISTORIAN PAUL A. COHEN

152

CHRISTIAN ROHLFS (1849-1938)

Belvedere-Allee in Weimar

signed with the artist’s initials and dated ‘CR 98’ (lower right) oil on canvas

12 1/2 x 18 1/8 in (31.7 x 46 cm)

Painted in 1898

US$8,000 - 12,000

£5,900 - 8,900

HK$63,000 - 94,000

Red Landscape

signed and dated ‘Ardon 64’ (lower left); signed and dated again (on the stretcher) oil on canvas

16 5/16 x 21 5/8 in (41.5 x 55 cm)

Painted in 1964

US$50,000 - 70,000

£37,000 - 52,000

HK$390,000 - 550,000

MORDECAI ARDON (1896-1992)

MORDECAI ARDON (1896-1992)

The Purple Twilight signed ‘Ardon.’ (lower right); signed again, inscribed and dated ‘The Purple Twilight 1969’ and further signed in Hebrew (on the stretcher) oil on canvas

35 1/16 x 45 11/16 in (89 x 116 cm)

Painted in 1969

US$80,000 - 120,000

£59,000 - 89,000

HK$630,000 - 940,000

PROPERTY OF A PRIVATE LONG ISLAND COLLECTION

REUVEN RUBIN (1893-1974)

Bouquet signed ‘Rubin’ and further inscribed in Hebrew (lower right) oil on canvas

31 7/8 x 25 9/16 in (81 x 65 cm)

Painted in 1948

US$45,000 - 65,000

£33,000 - 48,000

HK$350,000 - 510,000

The authenticity of this work has been confirmed by Carmela Rubin.

PROPERTY

OF A PRIVATE LONG ISLAND COLLECTION

156

JANKEL ADLER (1895-1949)

Bauersfrau mit Kuh (Peasant Woman with Cow)

signed ‘Adler’ (lower left) oil on canvas

44 3/16 x 34 in (112.2 x 86.5 cm)

Painted in 1943

US$30,000 - 50,000

£22,000 - 37,000

HK$240,000 - 390,000

PROPERTY OF A PRIVATE LONG ISLAND COLLECTION

157

EMMANUEL MANÉ-KATZ (1894-1962)

Shepherdess

signed with the artist’s initials ‘M.K.’ (lower right)

oil on canvas

27 x 18 7/8 in (68.6 x 48.1 cm)

Painted circa 1940

US$7,000 - 10,000

£5,200 - 7,400

HK$55,000 - 78,000

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Gordon’s Fine Wines Baker’s Best 150 Gould Street

Needham, MA 02494

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POST-WAR & CONTEMPORARY ART

New York | Thursday, May 21, 2026, at 2pm ET

Reference catalogue. For full catalogue see www.bonhams.com/auction/31876

Bonhams

111 West 57th Street, New York, New York 10019 bonhams.com

Sale Number

31876

Lots 201 - 266

Illustrations

Front cover: Lot 6A

Inside front cover: Lot 240

Frontispiece: Lot 231

Title page: Lot 210

Opposite page: Lot 222

Inside back cover: Lot 242

Back cover: Lot 116

PREVIEW

INQUIRIES

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Isabel Norsten Specialist, Head of Sale +1 (323) 578 3824 isabel.norsten@bonhams.com

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TWO IMPORTANT WORKS BY

MASON

LOTS 201 - 202

PROPERTY FROM THE COLLECTION OF ANN F. KAPLAN

Spending Scarlet

signed and dated ‘Emily Mason 2000’ (lower right) oil on canvas

32 x 23 7/8 in (81.1 x 60.6 cm)

Painted in 2000

US$30,000 - 50,000

£22,000 - 37,000

HK$240,000 - 390,000

EMILY MASON (1932-2019)

“SPENDING SCARLET, LIKE A WOMAN/ YELLOW SHE AFFORDS/ ONLY SCANTLY AND SELECTLY/ LIKE A LOVER’S WORDS. ”

– EMILY DICKINSON, “NATURE RARER USES YELLOW”, CA. 1862

Emily Mason came of age in an environment where abstraction was not merely practiced but rigorously debated and lived. As a child, she attended gatherings and art exhibitions alongside her mother, recalling early encounters with Piet Mondrian and Josef Albers—experiences that grounded her understanding of Modernism as both a visual language and an intellectual pursuit.

Working in the decades following Abstract Expressionism, a movement historically shaped by heroic, male-centered narratives, Mason developed an approach that engaged and subtly reconfigured its principles. Her paintings are grounded in process, yet resist the performative nature often associated with the New York School. Instead, she cultivated a more intimate and responsive approach to gesture. Utilizing improvisation as a means of construing the composition, Mason allowed both chance and intentionality to guide the image toward resolution with color as the most essential guide.

Often described by the artist in terms of “solar” and “lunar” energies, her palette is driven by a dynamic tension between warmth and coolness: radiant reds, oranges, and yellows are counterbalanced by the stabilizing presence of blues and greens. Further central to Mason’s work is a profound engagement with the materiality of paint itself. Her surfaces emerge through a

dynamic interplay of additive and subtractive processes, in which layers accumulate, dissolve, and reconfigure. This process transforms the canvas into an archeological site for curiosity in which the tradition of painting is re-examined in a new context.

Dividing her time between New York and her summer home in Brattleboro, Vermont, Mason frequently worked with the studio open to the landscape, allowing shifts in light and atmosphere to inform her evolving compositions. Earlier travels through Europe, including encounters with frescoes, mosaics, and prehistoric cave painting, as well as later journeys to Venice and Africa, further deepened her sensitivity to surface, layering, and chromatic intensity.

Frequently drawing titles from the writings of Emily Dickinson, Mason conceived of painting as a form of visual poetics— capable of evoking emotional and perceptual states beyond language. The title of these two works originate from verses in Dickinson’s poems “Nature Rarer Uses Yellow” and “Tie the Strings to my Life, My Lord.” While deeply connected to the relationship between the gestural immediacy of Expressionism, color and poetry, Mason creates resonant paintings that lyrically bridge these traditions and expand the possibilities of abstraction.

“BUT NEVER I MIND THE BRIDGES/ AND NEVER I MIND THE SEA/ HELD FAST IN EVERLASTING RACE/ BY MY OWN CHOICE AND THEE. ”

-EMILY DICKINSON, “TIE THE STRINGS TO MY LIFE, MY LORD”, CA. 1861

PROPERTY FROM THE COLLECTION OF ANN F. KAPLAN

EMILY MASON (1932-2019)

Mind the Bridges signed and dated ‘Emily Mason 2002’ (lower right); inscribed ‘Mind the Bridges’ (on studio label affixed to the frame backing) oil on canvas

24 x 48 in (60.9 x 121.9 cm)

Painted in 2002

US$40,000 - 60,000

£29,000 - 44,000

HK$310,000 - 470,000

203 DOROTHY FRATT (1923-2017)

Midnight Choir

signed ‘Fratt’ (upper left); signed, inscribed and dated ‘Midnight Choir 1989 Fratt’ (on the reverse)

acrylic on canvas

26 x 21 in (66 x 53.4 cm)

Painted in 1989

US$35,000 - 55,000

£26,000 - 41,000

HK$270,000 - 430,000

JANICE BIALA (1903-2000)

Untitled (Coucou, Monsieur Ingres) signed ‘Biala’ (lower right) oil on canvas

13 x 18 in (33 x 45.9 cm) Painted circa 1969

US$10,000 - 15,000

£7,400 - 11,000

HK$78,000 - 120,000

Foliage Study

signed, inscribed and dated ‘Foliage Study 1962 Lynne Drexler’ (on the reverse)

gouache and watercolor on paper board

16 1/8 x 13 in (40.9 x 33 cm)

Executed in 1962

US$30,000 - 50,000

£22,000 - 37,000

HK$240,000 - 390,000

LYNNE DREXLER (1928-1999)

PROPERTY FROM THE COLLECTION OF ANN F. KAPLAN

206

JANET FISH (1938-2025)

Painted Flowers - April signed and dated ‘1975 Janet Fish’ (lower right) oil on canvas

56 x 56 in (142.2 x 142.2 cm)

Painted in 1975

US$60,000 - 80,000

£44,000 - 59,000

HK$470,000 - 630,000

Executed in 1975, Painted Flowers - April is a commanding example of Janet Fish’s celebrated style in which the familiar is transformed into a complex and immersive optical experience. Arranged across a reflective surface, nine vessels—each varying in height, form, pattern, and level of liquid—create a composition that is at once structured and fluid, unified yet richly diverse. The absence of a singular focal point encourages the eye to move continuously across the canvas, discovering subtle shifts in transparency, reflection, and distortion.

Light operates as the true subject of the work. Passing through and around the glass forms, it refracts, fractures, and reconstitutes itself in a network of mirrored surfaces and chromatic echoes. Fish renders these effects through a restrained yet luminous palette of greens, blues, and yellows, layered with fluid, responsive brushwork that captures an accumulation of perceptual experience over time. As the artist noted, “the real subject is the light, movement, and color,” (Janet Fish as quoted in Janet Fish , Madison Museum of Contemporary Art, Online) a principle that finds particularly vivid expression in the present painting.

The painting’s large square format—unusual for the traditionally intimate genre of still life—further amplifies its impact. By expanding a domestic subject to such scale, Fish

challenges historical hierarchies that positioned still life, and particularly subjects associated with the domestic sphere, as secondary. In this sense, the present lot asserts both visual and conceptual authority, elevating everyday objects into a space of ambition and presence. This approach resonates with Fish’s training at the Yale School of Art and Architecture under Alex Katz, where scale functioned as a means of asserting pictorial power, even as she diverged from the dominant ethos of Abstract Expressionism to pursue a more perceptually grounded mode of painting.

Glassware, which is one of Fish’s most iconic and sought-after motifs, serves here as both subject and instrument. Its inherent properties of transparency and reflectivity allow the artist to collapse distinctions between object and environment, surface and depth. The reflective tabletop doubles forms and introduces a rhythmic interplay of vertical and horizontal lines, while details such as patterned decoration, floral elements, and even an inverted vessel subtly disrupt expectation, rewarding sustained attention.

Painted during the height of her New York period, when Fish worked in a sunlit SoHo studio, the present work encapsulates the defining concerns of her practice: the materiality of paint, the behavior of light, and the transformation of ordinary objects into sites of perceptual complexity.

“I DIDN’T CHOOSE TO MAKE ART THE WAY I DO WITH THE IDEA OF ASTONISHING PEOPLE. SUCH A NOTION WOULD QUICKLY TURN INTO A CLICHÉ AND LOSE THE ABILITY TO TOUCH HONESTLY AND COMMUNICATE PERSONALLY AND DIRECTLY, WHICH IS WHAT I’M TRYING TO DO.”

- FERNANDO BOTERO

207

FERNANDO BOTERO (1932-2023)

Still Life With Grapes

signed and dated ‘Botero 68’ (lower right) gouache and pastel on paper laid on board 35 1/2 x 32 in (90.2 x 81.3 cm)

Executed in 1968

US$100,000 - 150,000

£74,000 - 110,000

HK$780,000 - 1,200,000

208

CLAUDIO BRAVO (1936-2011)

Dos rosas

signed and dated ‘Claudio Bravo MMX’ (lower left) oil on canvas

18 1/2 x 15 in (46.5 x 38 cm)

Painted in 2010

US$30,000 - 50,000

£22,000 - 37,000

HK$240,000 - 390,000

209

HELEN LUNDEBERG (1908-1999)

Fruit and Leaves

signed ‘Lundeberg’ (lower left) oil on board

5 1/2 x 8 in (14 x 20.5 cm)

Painted in 1951

US$8,000 - 12,000

£5,900 - 8,800

HK$63,000 - 94,000

This work is registered in The Feitelson / Lundeberg Art Foundation Archive and will be included in the forthcoming Helen Lundeberg Catalogue Raisonné , currently being prepared by Louis Stern Fine Arts and The Feitelson / Lundeberg Art Foundation.

210

RALPH GOINGS (1928-2016)

Three Flavors

signed and dated ‘Goings ‘09’ (lower left); signed, inscribed and dated ‘Ralph Goings 2009 ‘THREE FLAVORS’’ (on the reverse)

oil on canvas

8 x 8 1/8 in (20.3 x 20.6 cm)

Painted in 2009

US$12,000 - 18,000

£8,800 - 13,000

HK$94,000 - 140,000

CLAUDIO BRAVO (1936-2011)

Japanese Objects

signed and dated ‘Claudio Bravo/MCMLXXXVI’ (lower right) pastel on paper

29 3/4 x 43 3/8 in (75.5 x 110 cm)

Executed in 1986

US$30,000 - 50,000

£22,000 - 37,000

HK$240,000 - 390,000

ROBERT BECHTLE (1932-2020)

House on Clay Street

watercolor and graphite on paper

22 3/8 x 30 in (56.7 x 76 cm)

Executed in 2008

US$15,000 - 25,000

£11,000 - 18,000

HK$120,000 - 200,000

213 HUGHIE LEE-SMITH (1915-1999)

The Watcher signed ‘Lee-Smith’ (lower right) oil on canvas

26 x 34 in (66.0 x 86.4 cm)

US$100,000 - 150,000

£74,000 - 110,000

HK$780,000 - 1,200,000

214

ALEX KATZ (B. 1927)

Green Hat 2

signed and dated ‘Alex Katz 64’ (upper right) oil on board

13 1/8 x 14 7/8 in (33.4 x 37.8 cm)

Painted in 1964

US$80,000 - 120,000

£59,000 - 88,000

HK$630,000 - 940,000

The present work, Green Hat 2, was acquired directly from Alex Katz by Charles L. Reinhart, an influential figure in American modern dance whose career fostered collaboration across artistic disciplines and cultural borders. Resonating beyond its formal qualities, Green Hat 2 embodies a moment of creative cross-pollination in mid-twentieth-century New York, when painters, choreographers, and cultural leaders worked in close proximity and shared intellectual ground. It was within this orbit, where dance intersected with contemporary visual art, that Reinhart met Alex Katz, who had a long-standing creative relationship with Paul Taylor, designing sets and costumes for Taylor’s productions. Through his work with Taylor’s company, Reinhart became embedded in this same network of artists and collaborators, positioning him in direct contact with Katz at a formative moment in both of their careers.

Painted in 1964, Green Hat 2 reflects Alex Katz’s commitment to a contemporary mode of portraiture grounded in immediacy, clarity,

and modern visual experience. Created at a time when American painting was largely dominated by abstraction, Katz pursued figuration not as a return to tradition but as a language for the present. Katz’s cool, pared-down portrait mirrors the modern sensibility of the artistic circles Reinhart cultivated. As both artwork and historical object, Green Hat 2 stands as a testament to the intertwined worlds of visual art and performance and to the legendary figures, like Reinhart, who helped shape the cultural landscape of their time.

Reinhart ultimately served as Director of the American Dance Festival for 43 years, where he was a celebrated and deeply respected authority in contemporary dance in the United States. Under his leadership, the festival became a vital platform for experimentation, new commissions, and international exchange. He subsequently held leadership roles with major cultural institutions and championed cross-cultural artistic exchange, fostering enduring artistic global connections.

LILY TOMLIN & JANE WAGNER: WIT, WOMEN & THE ART OF COLLECTING LOTS 216 -217

ROBERT RAUSCHENBERG (1925-2008)

Koan

signed and dated ‘RAUSCHENBERG 80’ (lower right)

solvent transfer and fabric collage on paper

31 1/2 x 23 in (80 x 58.4 cm)

Executed in 1980

US$20,000 - 30,000

£15,000 - 22,000

HK$160,000 - 240,000

This work is registered in the archives of the Robert Rauschenberg Foundation, New York, under RRF 80.D013.

ROBERT RAUSCHENBERG (1925-2008)

Damper

signed and dated ‘RAUSCHENBERG 80’ (lower left)

solvent transfer and fabric collage on paper

30 1/2 x 22 1/4 in (77.5 x 56.5 cm)

Executed in 1980

US$20,000 - 30,000

£15,000 - 22,000

HK$160,000 - 240,000

This work is registered in the archives of the Robert Rauschenberg Foundation, New York, under RRF 80.D007.

218 CHRISTO (1935-2020)

The Pont Neuf, Wrapped (120A & 120B) signed and dated ‘Christo 1985’ (lower right, 120A); each signed, variously inscribed and dated ‘© Christo 1985’ (on the reverse) 120A: ink, charcoal, fabric collage and paper collage on paper laid on board 120B: charcoal, pastel, fabric collage and thread on paper laid on board overall: 32 7/8 x 28 in (83.5 x 71 cm) Executed in 1985

US$70,000 - 90,000

£52,000 - 66,000

HK$550,000 - 710,000

JEAN DUBUFFET (1901-1985)

Texte Logologique III (from Parade Funébre pour Charles Estienne) signed with the artist’s initials and dated ‘J.D. 67’ (upper right); inscribed ‘M 318 III’ (verso) marker on paper

10 3/4 x 16 7/8 in (27.3 x 42.9 cm) Executed in 1967

US$30,000 - 50,000

£22,000 - 37,000

HK$240,000 - 390,000

FROM LINE TO FORM: SELECTIONS FROM A PHILANTHROPIC NEW YORK COLLECTION

LOTS 220 - 221

220

ELLSWORTH KELLY (1923-2015)

Sweet Pea with Hand signed, inaccurately dated and inscribed ‘Kelly 1974 P 74.60’ (verso) graphite on paper 13 3/4 x 10 3/4 in (34.8 x 27.3 cm) Executed in 1960

US$70,000 - 90,000

£52,000 - 66,000

HK$550,000 - 710,000

Provenance

Collection of the artist, New York. Paul Morris Gallery, New York (acquired from the above in 2002). Acquired from the above, in partnership with Matthew Marks Gallery, New York, by the present owner in 2003.

Exhibited

Paris, Centre national d’art et de culture Georges Pompidou, Henri Matisse | Ellsworth Kelly: dessins de plantes , January 16-April 8, 2002 (exh. cat., illustrated p. 55, listed as Main et pois de senteur ) (later traveled to Saint Louis, Saint Louis Art Museum; Edinburgh, Inverleith House, Royal Botanic Garden).

FROM LINE TO FORM: SELECTIONS FROM A PHILANTHROPIC NEW YORK COLLECTION

LOTS 220 - 221

For Ellsworth Kelly, the plant drawings that span his career are not botanical studies but deeply personal records of perception and memory. As recalled in a 2012 interview with Marla Prather, these works are “portraits of flowers, not anonymous,” each tied to a specific time and place (Karen Rosenberg. “Loving Flowers and Vines to Abstraction” The New York Times, June 7, 2012). A 1960 drawing of wild grape leaves recalls a summer in Springs on eastern Long Island, while an image of coral leaves evokes a holiday in St. Martin.

As Kelly noted in a 2008 interview with The Art Newspaper, “Drawings are about what the paintings get to... about seeing” (“The Freedom of Colours in Space.” The Art Newspaper, May 31, 2008). For him, drawing was not preparatory but foundational - a means of understanding how form emerges from perception. His plant studies, begun in the late 1940s, form a vital bridge between the observed world and the unique language of his abstract paintings.

Executed in 1960, Sweet Pea with Hand presents a refined example of this celebrated body of work, where the contours of the flower and hand are reduced to their essential elements, each line carefully emphasizing clarity and structure. Though often positioned as a central figure of American abstraction,

Kelly here reveals a practice grounded in observation, line, and the transformative potential of drawing. While many of Kelly’s botanical works isolate the plant against a blank background, the presence of the hand in Sweet Pea with Hand anchors the composition in lived experience, introducing personal touch and memory.

The work also exemplifies Kelly’s artistic dialogue with Henri Matisse, which was brought into focus in the 2002 exhibition Henri Matisse | Ellsworth Kelly: dessins de plantes at the Centre Pompidou, in which the present work was included. Proposing a “creative intimacy” between the two artists, rather than a narrative of direct influence, the exhibition highlighted how both Kelly and Matisse returned repeatedly to botanical subjects, using line to rearticulate natural form through their respective stylistic approaches.

Sweet Pea with Hand therefore encapsulates an important core tenet of Kelly’s artistic inquiry: a disciplined and personal engagement with the visible world and its depiction. The work affirms the expressive potential of line while asserting Kelly’s distinct vision - one in which observation and abstraction operate as mutual forces, each working to inform and shape the other.

FROM LINE TO FORM:

SELECTIONS FROM A PHILANTHROPIC NEW YORK COLLECTION LOTS 220 - 221

221

WILLEM DE KOONING (1904-1997)

Woman

signed ‘de Kooning’ (lower right) charcoal on paper

11 x 8 3/8 in (27.9 x 21.3 cm)

Executed circa 1975

US$20,000 - 30,000

£15,000 - 22,000

HK$160,000 - 240,000

Provenance

Paul Morris Gallery, New York. Acquired from the above by the present owner in 2002.

PROPERTY OF A NEW YORK LADY

222

KAREL APPEL (1921-2006)

Waiting Face

signed ‘Appel’ (lower left); signed and inscribed ‘Waiting Face Appel’ (on the stretcher) oil on canvas

39 1/4 x 31 3/4 in (99.5 x 80.5 cm)

Painted in 1967

US$40,000 - 60,000

£29,000 - 44,000

HK$310,000 - 470,000

The artist pictured in his studio with the present work. © Sem Presser/Maria Austria Institute Artwork: © 2026 Karel Appel Foundation / Artists Rights Society (ARS), New York / c/o Pictoright Amsterdam

223 W

FRIEDEL DZUBAS (1915-1994)

Blue Heart signed, inscribed and dated ‘”Blue Heart” 1988 Dzubas’ (on the reverse) Magna on canvas

58 x 36 5/8 in (147.1 x 93 cm)

Painted in 1988

US$40,000 - 60,000

£29,000 - 44,000

HK$310,000 - 470,000

224 W

STEPHEN S. PACE (1918-2010) 55-16

signed and dated ‘Pace .55’ (on the reverse) oil on canvas

48 1/8 x 68 1/8 in (122.2 x 173.1 cm)

Painted in 1955

US$40,000 - 60,000

£29,000 - 44,000

HK$310,000 - 470,000

225

FRANCES KORNBLUTH (1920-2014)

Untitled

signed and dated ‘Kornbluth 57’ (lower left); signed ‘Frances Kornbluth’ (on the reverse) oil on canvas

30 x 24 in (76 x 60.8 cm)

Painted in 1957

US$7,000 - 10,000

£5,200 - 7,400

HK$55,000 - 78,000

226

PAUL KEENE (1920-2009)

Untitled

signed and dated ‘Keene 59’ (lower right) oil on illustration board

30 x 20 in (76 x 50.7 cm)

Painted in 1959

US$4,000 - 6,000

£2,900 - 4,400

HK$31,000 - 47,000

227

SAM FRANCIS (1923-1994)

Untitled (Wheel of Fortune)

signed twice and dated ‘Sam Francis Sam Francis 1976’ (verso)

acrylic on paper

30 x 21 7/8 in (76.2 x 55.6 cm) (dimensions interchangeable)

Executed in 1976

US$20,000 - 30,000

£15,000 - 22,000

HK$160,000 - 240,000

This work is included in the Sam Francis Online Catalogue Raisonné Project under Francis Archive number SF76-524 and can be displayed vertically or horizontally.

228

PAUL JENKINS (1923-2012)

Phenomena: Bright Bright

signed ‘Paul Jenkins’ (lower right); signed, inscribed and dated ‘Paul Jenkins New York 1964 Phen. Bright Bright’ (on the reverse of the left panel); signed again and inscribed “Paul Jenkins “Phenomena Bright Bright” (on the reverse of the right panel)

acrylic on canvas, in two parts

overall: 20 1/4 x 32 in (51.4 x 81.3 cm)

Painted in 1964

US$15,000 - 25,000

£11,000 - 18,000

HK$120,000 - 200,000

229 W

TONY SMITH (1912-1980)

Model for Last Plexiglas, painted orange

21 1/2 x 47 1/2 x 3 3/4 in (54.6 x 120.7 x 9.5 cm)

Executed in 1974

US$10,000 - 15,000

£7,400 - 11,000

HK$78,000 - 120,000

Tony Smith was a sculptor who resisted neat aesthetic classification. While his work is often placed in dialogue with Minimalism—particularly through its phenomenological concerns—it is equally shaped by a more personal and psychological exploration of presence. Smith himself moved between disciplines: he studied drawing, painting, and architecture, and worked professionally as an architect for two decades, continuing to teach the subject throughout his career. This background gave him an intimate understanding of construction, material, and spatial experience—knowledge that would become central to his sculptural practice.

The sculpture envisioned in this maquette, Last, reflects that synthesis. It would become the largest sculpture Smith ever realized. Of the work, he remarked, “It is very typical of the classical quality that I like to get into a work,” underscoring his enduring engagement with proportion, balance, and monumentality (J. Voorhies and S. Auld (eds.), Tony Smith Sculpture: Catalogue Raisonné I, Cambridge, 2024, p. 462)

Alternate view

More broadly, Smith’s outdoor sculptures sought to counteract what he perceived as the dehumanizing effects of modern urban environments—effects often produced, in his view, by the impersonal forms of modernist architecture. Although he only turned fully to sculpture in the early 1960s, Last belongs to a later phase of his practice, when, from the late 1960s into the 1970s, he began to explore more complex and eccentric geometries. During this period, his attention shifted from suburban contexts to the dense verticality of the city, drawing on forms such as the grid and the skyscraper, with their emphatic horizontals and verticals.

Installed beside the Frank J. Lausche State Office Building in Cleveland, Last can be considered alongside Light Up (1971, University of Pittsburgh) and Gracehoper (1962, Detroit Institute of Arts) as one of Smith’s most significant public works—each engaging, and at times competing with, the scale and authority of surrounding architecture. Last is also unusual within Smith’s oeuvre for its cantilevered structure, which necessitates a

weighted base. The only other work to employ such a device is Mistake (1963), though Last is unique in its scale. In developing its stepped cantilever, Smith collaborated closely with architect Fred Toguchi.

This maquette represents a crucial stage in Smith’s working process, illuminating his progression from concept to finished form. He typically began with small, easily manipulated cardboard models, which allowed him to experiment with gravity, projection, and spatial tension. These were followed by more stable mockups in materials such as plywood or Plexiglas, as seen here. This example, the second version following an earlier cardstock model, demonstrates how changes in material could introduce new formal tensions, while also revealing Smith’s effort to unify the composition through a single, continuous color. In his finished works, Smith generally employed steel, as in the realized version of Last in Ohio. There, the sculpture’s orange automotive enamel was chosen to create a vivid contrast with the dark, glass curtain wall of the adjacent office building.

230 W

ANTHONY CARO (1924-2013)

Table Piece CCCLXV

steel, rusted and varnished

34 x 41 1/2 x 24 in (86.4 x 105.4 x 61 cm)

Executed in 1976-77. This work is unique

US$40,000 - 60,000

£29,000 - 44,000

HK$310,000 - 470,000

Alternate view

231 W

EMMI WHITEHORSE (B. 1957)

Upshoot signed, inscribed and dated ‘#1225 “UPSHOOT” July 1999 Emmi Whitehorse’ (on the reverse) oil, chalk, graphite, and pastel on paper mounted to canvas 51 x 78 1/2 in (129.5 x 199.4 cm)

Executed in 1999

US$60,000 - 80,000

£44,000 - 59,000

HK$470,000 - 630,000

232 LARRY RIVERS (1923-2002)

Dutch Masters, Presidents signed, inscribed and dated ‘”Dutch masters” Rivers ‘63’ (on a board affixed to the reverse) oil and paper collage on board 30 x 35 1/2 in (76.1 x 90.2 cm) Executed in 1963

US$25,000 - 35,000

£18,000 - 26,000

HK$200,000 - 270,000

BOB THOMPSON (1937-1966)

Horseman of the Queen of Sheba pastel and crayon on paper laid on canvas 53 5/8 x 34 in (136 x 85.5 cm)

Executed in 1966

US$100,000 - 150,000

£74,000 - 110,000

HK$780,000 - 1,200,000

Bob Thompson often drew his compositions directly from the canon of Western art, reimagining Old Master paintings as sites of reinvention. Much like in the jazz tradition where familiar melodies are reinterpreted through altered harmonies, rhythms and improvisation, Thompson reanimates historic narratives for the 20th century. Depicting the figures in vibrant hues, parables and myths become universal as Thompson removes the predominance of white figures in the art historical tradition. Flattening space and perspective while applying his signature use of kaleidoscopic color, the scene becomes resolutely modern. In the present work, Horseman of the Queen of Sheba, Thompson re-envisions Piero della Francesca’s Procession of the Queen of Sheba. Executed circa 1452-66, the scene is an episode from The Legend of the True Cross, a fresco depicted in the Basilica of San Francesco in Arezzo, Italy. While Thompson often renders his versions of classical compositions in their entirety, it is notable that here he chose to depict only a portion of the full scene, and titling it in accordance with his chosen protagonist—a horseman rather than a queen. Elevating this once peripheral figure into the primary subject, this classical image becomes more relatable to a contemporary audience.

Piero della Francesca, Procession of the Queen of Sheba , ca. 1452–66. Basicailla di San Francesco, Arezzo

JONAS WOOD (B. 1977)

Dirk #1

signed twice with the artist’s initials, inscribed and dated ‘Dirk #1 JBPW JBPW 2012’ (verso)

gouache, ink and colored pencil on paper

40 3/4 x 30 1/8 in (103.5 x 76.5 cm)

Executed in 2012

US$50,000 - 70,000

£37,000 - 52,000

HK$390,000 - 550,000

SHERRIE LEVINE (B. 1947)

Bird Mask

incised with the artist’s initials and numbered ‘LV 2/12’ (on the underside) cast bronze

14 x 6 1/2 x 5 1/8 in (35.6 x 16.5 x 13 cm)

Executed in 2014. This work is number two from an edition of twelve

US$60,000 - 80,000

£44,000 - 59,000

HK$470,000 - 630,000

Alternate view

237 W ROY LICHTENSTEIN (1923-1997)

Suspended Mobile stamped ‘1990/Roy Lichtenstein/Saff Tech Arts’ (verso); signed, stamped with the Saff Tech Arts stamp, numbered and dated ‘rf Lichtenstein ‘90’ (on the reverse of the frame) screenprint on polyester monofilament fabric stretched over rectangular frame with concave interior 50 3/4 x 76 x 4 in (129 x 192.3 x 10.1 cm)

Executed in 1990 and published in 1991. This work is number 19 from an edition of 19 plus one bon à tirer , two printer’s proofs, one presentation proof, two archive proofs reserved by Saff Tech Arts, one archive copy and four Artist’s Proofs

US$150,000 - 200,000

£110,000 - 150,000

HK$1,200,000 - 1,600,000

238

ALEXANDER CALDER (1898-1976)

Central Black Spiral

signed and dated ‘Calder 69’ (lower right)

gouache and ink on paper

29 1/2 x 42 1/2 in (74.9 x 107.9 cm)

Executed in 1969

US$50,000 - 70,000

£37,000 - 52,000

HK$390,000 - 550,000

This work is registered in the archives of the Calder Foundation, New York, under application no. A06340.

PROPERTY OF A NEW YORK LADY

ALEXANDER CALDER (1898-1976)

Two-Tone Boomerang

signed with the artist’s initials and dated ‘60 CA’ (lower right)

gouache and ink on paper

29 3/8 x 41 1/4 in (74.6 x 104.8 cm)

Executed in 1960

US$30,000 - 50,000

£22,000 - 37,000

HK$240,000 - 390,000

This work is registered in the archives of the Calder Foundation, New York, under application no. A06870.

240 W

SOL LEWITT (1928-2007)

Squiggly Brushstrokes

signed and dated ‘S. Lewitt 1997’ (lower right) gouache on paper

60 1/2 x 60 1/2 in (153.7 x 153.7 cm)

Executed in 1997

US$120,000 - 180,000

£88,000 - 130,000

HK$940,000 - 1,400,000

Executed in 1997, Squiggly Brushstrokes belongs to Sol LeWitt’s celebrated late series of gouaches, marking his significant and final return to a more direct, painterly mode after decades devoted to conceptual and systematic practices. Monumental in scale and immersive in effect, the composition unfolds as an all-over field of undulating, interwoven lines, rejecting any fixed focal point or compositional hierarchy. Instead, the eye moves continuously across the surface, guided by a rhythmic interplay of color and form.

Rendered in a deliberately limited palette of primary colors offset by black, white, and gray—the work reflects LeWitt’s enduring commitment to reduction and clarity.

Within these limitations, however, he achieves remarkable complexity. Each brushstroke retains its individual presence while contributing to a dense, interconnected network, creating a dynamic tension between autonomy and cohesion. The result is a surface that feels at once structured and improvisational.

Created in the final decade of LeWitt’s life, the present lot reflects a mature synthesis of his practice. It revisits the fundamental principles of seriality and permutation while embracing the sensory possibilities of drawing. In doing so, Squiggly Brushstrokes challenges the perceived divide between idea and execution, demonstrating how structure and intuition can coexist within a single, unified composition.

241

SOL LEWITT (1928-2007)

Untitled

signed and dated ‘S. LeWitt 04’ (lower right)

gouache on paper

22 5/8 x 30 in (57.3 x 76.2 cm)

Executed in 2004

US$12,000 - 18,000

£8,800 - 13,000

HK$94,000 - 140,000

FROM THE COLLECTION

242 W

IAN DAVENPORT (B. 1966)

Colourcade: Pink + Black

signed, inscribed and dated ‘I. Davenport 2014 Colourcade: Pink + Black’ (on the reverse of the right panel)

acrylic on stainless steel mounted onto aluminum, in two parts overall: 78 3/4 x 78 7/8 in (200 x 200.4 cm)

Painted in 2014

US$40,000 - 60,000

£29,000 - 44,000

HK$310,000 - 470,000

PROPERTY

OF LOUISE M. SUNSHINE

KUSAMA: THE COLLECTION OF THE LATE DR. TERUO HIROSE

243

YAYOI KUSAMA (B. 1929)

Untitled

signed and dated ‘Kusama 67’ (on the underside) silver paint on sewn fabric and straw hat assemblage 9 x 13 1/4 x 15 3/4 in (22.8 x 33.5 x 40 cm)

Executed in 1967

US$20,000 - 30,000

£15,000 - 22,000

HK$160,000 - 240,000

This work is accompanied by a registration card issued by Yayoi Kusama Inc., Tokyo.

Alternate view

PROPERTY FROM A BAY AREA COLLECTION 244

Minor Likes

signed and inscribed ‘”Minor Likes” Jim Nutt’ (on the reverse)

acrylic and graphite on board

10 1/8 x 8 in (25.7 x 20.3 cm)

Painted circa 1972

US$60,000 - 80,000

£44,000 - 59,000

HK$470,000 - 630,000

JIM NUTT (B. 1938)

245 W

ED PASCHKE (1939-2004)

signed and dated ‘E. Paschke ‘82’ (lower right); signed, inscribed and dated ‘E. Paschke ‘82 “Tofu”’ (on the stretcher) oil on linen

42 x 79 7/8 in (106.7 x 202.9 cm)

Painted in 1982

US$25,000 - 35,000

£18,000 - 26,000

HK$200,000 - 270,000

Tofu

PROPERTY FROM THE ESTATE OF SAMANTHA EGGAR

signed and dated ‘LBell ‘81’ (lower center)

vaporized metal on paper

56 5/8 x 34 7/8 in (143.8 x 88.6 cm)

Executed in 1981

US$8,000 - 12,000

£5,900 - 8,800

HK$63,000 - 94,000

LARRY BELL (B. 1939)

EL 37

PROPERTY FROM THE COLLECTION OF GLORIA LURIA

LOTS 247 - 251

KARL GERSTNER (1930-2017)

Color Sound 15 Intro-Version signed, inscribed and dated ‘CS 15 Intro-Version Karl Gerstner sig. 30. XI. 72’ (on the reverse)

nitrocellulose lacquer on phenolic resin panels

44 3/4 x 44 3/4 in (113.7 x 113.7 cm)

Executed 1969-73

US$10,000 - 15,000

£7,400 - 11,000

HK$78,000 - 120,000

ROBERT RAUSCHENBERG (1925-2008)

Untitled

signed and dated ‘Bob Rauschenberg 86’ (lower center); inscribed ‘For Gloria Luria’ (upper center)

solvent transfer on paper

13 7/8 x 10 1/4 in (35.2 x 26 cm)

Executed in 1986

US$10,000 - 15,000

£7,400 - 11,000

HK$78,000 - 120,000

This work is registered in the archives of the Robert Rauschenberg Foundation, New York, under RRF 86.D024.

LOTS 247 - 251

249 W NANCY GRAVES (1939-1995)

Circumfoliate incised with the artist’s signature, inscribed and dated ‘”Circumfoliate” N.S. Graves 1-83’ (on the pink exterior rim) bronze with polychrome patina

45 3/4 x 44 1/4 x 32 in (116.2 x 112.4 x 81.3 cm) Executed in 1983

US$8,000 - 12,000

£5,900 - 8,800

HK$63,000 - 94,000

250 W

ANTHONY CARO (1924-2013)

Table Piece CXXXIX steel, rusted and varnished

8 x 68 x 22 in (20.3 x 172.7 x 55.9 cm)

Executed in 1973. This work is unique

US$30,000 - 50,000

£22,000 - 37,000

HK$240,000 - 390,000

PROPERTY FROM THE COLLECTION OF GLORIA LURIA

LOTS 247 - 251

251

TOM WESSELMANN (1931-2004)

Partial Monica with Hat and Beads signed, incised with the artist’s signature, variously inscribed and dated ‘Wesselmann 89 Tom Wesselmann 1985/89 Steel Drawing | Partial Monica with Hat and Beads’ (on the reverse) enamel on laser-cut steel

30 x 33 in (76.2 x 83.8 cm)

Executed 1985/89

US$70,000 - 100,000

£52,000 - 74,000

HK$550,000 - 780,000

Provenance

Gloria Luria Collection, Miami. Thence by descent to the present owner.

One of the twentieth century’s great artists, Tom Wesselmann was an unabashedly singular painter. Taking up the mantle of late Modern practice from Matisse, through Dada and Pop Wesselmann synthesized a style that aligned with Pop Art but dared to stray into expressionistic tendencies. Partial Monica with Hat and Beads demonstrates the artist’s ceaseless curiosity. Belonging to his celebrated series of Steel Drawings, which he began producing in the mid-1980s, here the line is liberated from the pictorial field and given physical form in space.

The composition is characteristically economical. A seated female nude, adorned with a wide-brimmed hat and a looping strand of beads, is articulated through a continuous, fluid line that defines the composition with remarkable clarity. Executed in enamel on laser-cut steel, the work essentializes the female

figure, Wesselmann’s most iconic subject, to a spare yet incisive contour, transforming the conventions of drawing into an object that hovers between sculpture and image. The enameled surface lends the lines a crisp, graphic legibility that reinforces the work’s affinity with both commercial design and modernist abstraction.

Partial Monica with Hat and Beads exemplifies Wesselmann’s later practice, in which the artist revisits his central motifs with a reinvigorated conceptual rigor. Here, as line becomes both subject and medium, it is both descriptive and autonomous. Resonating in this way with Matisse’s late cut-outs, in which contour assumes a decisive, sculptural presence, Wesselmann’s translation introduces a distinctly contemporary inflection by incorporating industrial material.

TOM WESSELMANN (1931-2004)

Study for Sneakers & Purple Panties signed and dated ‘Wesselmann 81’ (lower right) thinned Liquitex and graphite on rag board 30 1/8 x 40 1/8 in (76.5 x 101.9 cm) Executed in 1981

US$35,000 - 55,000

£26,000 - 41,000

HK$270,000 - 430,000

This work is included in the Tom Wesselmann Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

253

By the Wave

signed and dated ‘Schloss 78’ (lower right) oil on canvas

19 3/4 x 21 1/4 in (50.1 x 53.9 cm)

Painted in 1978

US$3,000 - 5,000

£2,200 - 3,700

HK$24,000 - 39,000

EDITH SCHLOSS (1919-2011)

JUDITH ROTHSCHILD (1921-1993)

Untitled oil and gouache on card

7 1/4 x 7 1/4 in (18.4 x 18.4 cm)

Executed circa 1946

US$4,000 - 6,000

£2,900 - 4,400

HK$31,000 - 47,000

This work is registered with the Judith Rothschild Foundation, New York, under registration no. NC/ND 0294.

PROPERTY OF A NEW YORK LADY

ADOLF FLEISCHMANN (1892-1968)

Composition #94 (Circular Balance)

signed ‘Fleischmann’ (lower center); signed and inscribed ‘Fleischmann Op #94 (circular balance)’ (on the reverse) oil on canvas

42 x 41 7/8 in (106.7 x 106.4 cm)

Painted in 1956

US$15,000 - 25,000

£11,000 - 18,000

HK$120,000 - 200,000

ALEXANDER LIBERMAN (1912-1999)

Untitled

signed and dated ‘A. Liberman 1961’ (on the reverse) oil on canvas

48 1/4 x 48 1/4 in (122.5 x 122.6 cm)

Painted in 1961

US$12,000 - 18,000

£8,800 - 13,000

HK$94,000 - 140,000

34 x 35 in (86.4 x 88.8 cm)

in 1962

US$8,000 - 12,000

£5,900 - 8,800

HK$63,000 - 94,000

HOWARD MEHRING (1931-1978)

Untitled

Magna and graphite on canvas

Painted

258 W

signed ‘Hampton’ (lower right)

44 1/8 x 67 5/8 in (112 x 171.8 cm)

Painted circa 1980

US$15,000 - 25,000

£11,000 - 18,000

HK$120,000 - 200,000

PHILLIP J. HAMPTON (1922-2016)

Funky Rainbow Blues

acrylic on shaped canvas

WILLEM DE KOONING (1904-1997)

Untitled (De Kooning Drawings) signed ‘de Kooning’ (lower right) pen and ink on book cover

10 1/4 x 8 1/4 in Executed in 1967

US$8,000 - 10,000

£5,900 - 7,400

HK$63,000 - 78,000

260

SAM FRANCIS (1923-1994)

Untitled acrylic on paper

19 x 15 1/2 in (48.3 x 39.4 cm)

Executed in 1985

US$20,000 - 25,000

£15,000 - 18,000

HK$160,000 - 200,000

This work is stamped with the artist’s estate stamp and signature on the verso and is included in the Sam Francis Online Catalogue Raisonné Project under Francis Archive no. SF85-493.

261

ALEX KATZ (B. 1927)

Ada in the Woods

signed and dated ‘Alex Katz 84’ (lower right) graphite on paper

22 x 15 in (55.9 x 38 cm)

Executed in 1984

US$18,000 - 25,000

£13,000 - 18,000

HK$140,000 - 200,000

262

ALEX KATZ (B. 1927)

Vivien

signed and dated ‘Alex Katz 87’ (lower left)

sanguine, charcoal and graphite on paper

44 x 30 5/8 in (111.8 x 77.6 cm)

Executed in 1988

US$15,000 - 20,000

£11,000 - 15,000

HK$120,000 - 160,000

263

LEON GOLUB (1922-2004)

Head signed ‘Golub’ (lower right) oil on unstretched canvas

54 3/4 x 40 1/4 in (139 x 102 cm)

Painted circa 1965

US$30,000 - 50,000

£22,000 - 37,000

HK$240,000 - 390,000

264 W

ROBERTO FABELO (B. 1950)

Persistencia oil on linen

90 5/8 x 78 3/4 in (230 x 200 cm)

Painted in 2017

US$90,000 - 120,000

£66,000 - 88,000

HK$710,000 - 940,000

This work is accompanied by a certificate of authenticity signed by the artist and dated August 9, 2017.

PROPERTY OF A PRIVATE COLLECTION, GREENWICH, CT

265 W

ANTONIO SEGUÍ (1934-2022)

Barroco tropical signed and dated ‘Seguí 84’ (lower right) oil on canvas

78 5/8 x 78 3/4 in (199.5 x 200 cm) Painted in 1984

US$30,000 - 50,000

£22,000 - 37,000

HK$240,000 - 390,000

This work is included in the Archives Seguí, Arceuil, France, under registration no. 1984-001.

JULIO LARRAZ (B. 1944)

Le Corsaire signed ‘Larraz’ (lower right); signed, inscribed and dated ‘Le Corsaire Larraz XXII’ (on the reverse) oil on canvas

40 1/4 x 30 in (102 x 76.2 cm)

Painted in 2022

US$20,000 - 30,000

£15,000 - 22,000

HK$160,000 - 240,000

This work is accompanied by a certificate of authenticity issued by the artist’s foundation.

Conditions of Sale

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Collection

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Buyer’s Guide -

Gordon’s Fine Wines Baker’s Best 150 Gould Street

Needham, MA 02494

Local Delivery

Shipping

ARTIST INDEX

A LASTING IMPRESSION: THE RENOIR COLLECTION OF GABRIELLE RENARD

RENOIR, PIERRE-AUGUSTE 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21

ARTIST INDEX

IMPRESSIONIST & MODERN ART

JANKEL

ARDON, MORDECAI

154 ARP, JEAN (HANS) 134

B BUFFET, BERNARD

C CANU, YVONNE

CASSIGNEUL, JEAN-PIERRE

CHAGALL, MARC

D DAUMIER, HONORÉ

DEGAS, EDGAR

DOMÍNGUEZ, ÓSCAR

DUFY, JEAN

DUFY, RAOUL DUFY

LYONEL

FRANÇOISE

GLEIZES, ALBERT

CONSTANTINE

H HOSCHEDÉ-MONET, BLANCHE

L LAUGÉ, ACHILLE

LE PHO (1907-2001)

LÉGER, FERNAND

126, 132

HENRI

MIRÓ, JOAN

LIPCHITZ, JACQUES 123, 124, 130, 131 M MANÉ-KATZ, EMMANUEL

JACQUES

MOHOLY-NAGY, LÁSZLÓ

MONTÉZIN, PIERRE EUGÈNE

MOORE, HENRY

QUINQUELA MARTIN, BENITO

AUGUSTE

ANTONI

LOUIS

VON JAWLENSKY, ALEXEJ

VUILLARD, ÉDOUARD

ARTIST INDEX

POST-WAR & CONTEMPORARY ART

B BECHTLE,

BIALA,

BOTERO,

BRAVO, CLAUDIO

DREXLER,

DUBUFFET,

FRATT,

GOLUB,

GRAVES,

CREDITS & ACKNOWLEDGEMENTS

COVERS/FRONTISPIECES

Front Cover, Lot 6A

Back Cover, Lot 116

Inside Front Cover

Sol LeWitt, Squiggly Brushstrokes, 1997

Frontispiece, Lot 5A

Frontispiece, Lot 122

Frontispiece, Lot 127

DACS 2026 / www.henry-moore.org

IMPRESSIONIST & MODERN ART

Lot 108

Photo: Royal Academy of London / Heritage Images / Art Resource, NY

Lot 116

Photo: The Metropolitan Museum of Art / Art Resource, NY

POST-WAR & CONTEMPORARY ART

Lot 202

Lot 206

Artwork: Jay Stock (1923 - 2019), Portrait of Janet Fish, 2002

Lot 220

Lot 222

Artwork: The artist pictured in his studio with the present work. © Sem Presser/Maria Austria Institute Artwork: © 2026 Karel Appel Foundation / Artists Rights Society (ARS), New York / c/o Pictoright Amsterdam

Lot 233

Artwork: Piero della Francesca, Procession of the Queen of Sheba, ca. 1452–66. San Francesco, Arezzo

Paris | 3 June 2026, 4pm

ENQUIRIES

Emilie Millon

emilie.millon@bonhams.com +33147278521 bonhams.com

FRANÇOIS POMPON (1855-1933)

Ours Blanc, 1926 signed ‘Pompon’ pierre de Lens

25 x 46 x 10 cm.

9 13/16 x 18 1/8 x 3 15/16 in.

€180,000-250,000

US$200,000-300,000 *

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Type of bid

(A-Absentee, T-Telephone) Lot no.

Sale

A Lasting Impression:

The Renoir Collection of Gabrielle Renard May 10 - 20, 2026

32380

General Bid Increments:

$10 - 200 by 10s

$200 - 500 by 20 / 50 / 80s

$500 - 1,000 by 50s

$1,000 - 2,000 by 100s

$2,000 - 5,000 by 200 / 500 / 800s

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New York

$10,000 - 20,000 by 1,000s

$20,000 - 50,000 by 2,000 / 5,000 / 8,000s

$50,000 - 100,000 by 5,000s

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Type of bid

(A-Absentee, T-Telephone) Lot no.

Sale

20th and 21st Century Art Evening Sale May 20, 2026

31875

General Bid Increments:

$10 - 200 by 10s

$200 - 500 by 20 / 50 / 80s

$500 - 1,000 by 50s

$1,000 - 2,000 by 100s

$2,000 - 5,000 by 200 / 500 / 800s

$5,000 - 10,000 by 500s

New York

$10,000 - 20,000 by 1,000s

$20,000 - 50,000 by 2,000 / 5,000 / 8,000s

$50,000 - 100,000 by 5,000s

$100,000 - 200,000 by 10,000s above $200,000 at the auctioneer’s discretion The auctioneer has discretion to split any bid at any time.

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/ Zip code

mobile

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Please note that all telephone calls are recorded.

Brief description (In the event of any discrepancy, lot number and not lot description will govern.) If you are bidding online there is no need to complete this section.

MAX bid in US$ (excluding premium and applicable tax) Emergency bid for telephone bidders only*

You instruct us to execute each absentee bid up to the corresponding bid amount indicated above.

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If successful I will collect the purchases myself

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Type of bid

(A-Absentee, T-Telephone) Lot no.

Sale

Impressionist & Modern Art

31845

General Bid Increments:

$10 - 200 by 10s

$200 - 500 by 20 / 50 / 80s

$500 - 1,000 by 50s

$1,000 - 2,000 by 100s

$2,000 - 5,000 by 200 / 500 / 800s

$5,000 - 10,000 by 500s

May 21, 2026

New York

$10,000 - 20,000 by 1,000s

$20,000 - 50,000 by 2,000 / 5,000 / 8,000s

$50,000 - 100,000 by 5,000s

$100,000 - 200,000 by 10,000s above $200,000 at the auctioneer’s discretion The auctioneer has discretion to split any bid at any time.

Company name (to be invoiced if applicable)

/ Zip code

mobile

Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2 next to the telephone number.

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SHIPPING

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Please note that all telephone calls are recorded.

Brief description (In the event of any discrepancy, lot number and not lot description will govern.) If you are bidding online there is no need to complete this section.

MAX bid in US$ (excluding premium and applicable tax) Emergency bid for telephone bidders only*

You instruct us to execute each absentee bid up to the corresponding bid amount indicated above.

* Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed by Bonhams only if we are unable to contact you by telephone or should the connection be lost during bidding.

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Auction Registration Form

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If successful I will collect the purchases myself

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Please email the completed Registration Form and requested information to: Bonhams Client Services Department 111 W 57th Street New York, New York 10019 Tel +1 (212) 644 9001 bids.us@bonhams.com

Type of bid

(A-Absentee, T-Telephone) Lot no.

Sale

Post-War & Contemporary Art

31876

General Bid Increments:

$10 - 200 by 10s

$200 - 500 by 20 / 50 / 80s

$500 - 1,000 by 50s

$1,000 - 2,000 by 100s

$2,000 - 5,000 by 200 / 500 / 800s

$5,000 - 10,000 by 500s

May 21, 2026

New York

$10,000 - 20,000 by 1,000s

$20,000 - 50,000 by 2,000 / 5,000 / 8,000s

$50,000 - 100,000 by 5,000s

$100,000 - 200,000 by 10,000s above $200,000 at the auctioneer’s discretion The auctioneer has discretion to split any bid at any time.

Company name (to be invoiced if applicable)

/ Zip code

mobile

Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2 next to the telephone number.

E-mail (in capitals)

By providing your email address above, you authorize Bonhams to send you marketing materials and news concerning Bonhams and partner organizations. Bonhams does not sell or trade email addresses.

I am registering to bid as a private client I am registering to bid as a trade client

Resale: please enter your resale license number here

SHIPPING

Shipping Address (if different than above):

We may contact you for additional information.

Please note that all telephone calls are recorded.

Brief description (In the event of any discrepancy, lot number and not lot description will govern.) If you are bidding online there is no need to complete this section.

MAX bid in US$ (excluding premium and applicable tax) Emergency bid for telephone bidders only*

You instruct us to execute each absentee bid up to the corresponding bid amount indicated above.

* Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed by Bonhams only if we are unable to contact you by telephone or should the connection be lost during bidding.

Your signature: Date: